"Education, Faculty of"@en . "Curriculum and Pedagogy (EDCP), Department of"@en . "DSpace"@en . "UBCV"@en . "McRobb, Janice Helen"@en . "2010-03-17T16:16:36Z"@en . "1980"@en . "Master of Arts - MA"@en . "University of British Columbia"@en . "The first chapters of this thesis provide a brief survey to establish the antiquity of the Peruvian textile tradition. The development of this tradition, using the most rudimentary of equipment,\r\nthe continuous warp loom, is traced from its beginnings millenia ago, to the Spanish conquest in the fifteenth century, which disruption\r\nof the established pattern of life resulted in the loss of many sophisticated textile techniques. The continuation of the warp-pattern weaves results from their position as peasant weaving techniques,\r\nin contradistinction to the other techniques which were used in the production of status textiles. The versatility of the continuous\r\nwarp loom is shown, with reference to prehistoric models and early Spanish literature, followed by a discussion of contemporary loom set ups, observed during field work in Peru in 1978. A later chapter provides detailed descriptions of spinning, warping and weaving techniques observed in the Cuzco region of Peru. The weaving descriptions include finger weaving techniques in the production of narrow and wide bands, and loom weaving of wide cloth, using a variety of loom set ups. The thesis concludes with a description of how the Peruvian weavers transmit their knowledge, as experienced by the researcher, who participated in this culture transmission by learning to weave while in Peru, and the effects of the learning process on the evolution of designs in the textiles."@en . "https://circle.library.ubc.ca/rest/handle/2429/21972?expand=metadata"@en . "\ A CONTEMPORARY PERUVIAN WEAVING TECHNIQUE ON THE CONTINUOUS WARP LOOM: LEARNING AND INSTRUCTION IN A NON LITERATE SOCIETY. by JANICE HELEN McROBB B.Ed. ( S e c ) , The U n i v e r s i t y of B r i t i s h Columbia 1977. A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS OF THE DEGREE OF MASTER OF ARTS i n THE FACULTY OF GRADUATE STUDIES ( Department of A r t Education) we accept t h i s t h e s i s as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA March 1980 (c) J a n i c e Helen McRobb In p resent ing t h i s t h e s i s i n p a r t i a l f u l f i l m e n t of the requirements f o r an advanced degree a t the U n i v e r s i t y of B r i t i s h Co lumbia , I agree t h a t the L i b r a r y s h a l l make i t f r e e l y a v a i l a b l e f o r re fe rence and s tudy . I f u r t h e r agree tha t permiss ion f o r e x t e n s i v e copying of t h i s t h e s i s f o r s c h o l a r l y purposes may be granted by the Head of my Department or by h i s r e p r e s e n t a t i v e s . I t i s understood tha t copying or p u b l i c a t i o n of t h i s t h e s i s f o r f i n a n c i a l ga in s h a l l not be a l lowed wi thout my w r i t t e n p e r m i s s i o n . Department The U n i v e r s i t y of B r i t i s h Columbia 2075 Wesbrook P lace Vancouver, Canada V6T 1W5 DE-6 BP 75-51 1 E ABSTRACT The f i r s t c h a p t e r s o f t h i s t h e s i s p r o v i d e a b r i e f survey t o e s t a b l i s h the a n t i q u i t y o f the P e r u v i a n t e x t i l e t r a d i t i o n . The development o f t h i s t r a d i t i o n , u s i n g the most rud i m e n t a r y o f e q u i p -ment, the c o n t i n u o u s warp loom, i s t r a c e d from i t s b e g i n n i n g s m i l l e n i a ago, to the S p a n i s h conquest i n the f i f t e e n t h c e n t u r y , which d i s r u p -t i o n o f :the e s t a b l i s h e d p a t t e r n o f l i f e r e s u l t e d i n the l o s s o f many s o p h i s t i c a t e d t e x t i l e t e c h n i q u e s . The c o n t i n u a t i o n o f the warp-p a t t e r n weaves r e s u l t s from t h e i r p o s i t i o n as p e a s a n t weaving t e c h -n i q u e s , i n c o n t r a d i s t i n c t i o n t o the o t h e r t e c h n i q u e s which were used i n the p r o d u c t i o n o f s t a t u s t e x t i l e s . The v e r s a t i l i t y o f the c o n t i n -uous warp loom i s shown, w i t h r e f e r e n c e t o p r e h i s t o r i c models and e a r l y S p a n i s h l i t e r a t u r e , f o l l o w e d by a d i s c u s s i o n o f contemporary loom s e t ups, o b s e r v e d d u r i n g f i e l d work i n P e r u i n 1978. A l a t e r c h a p t e r p r o v i d e s d e t a i l e d d e s c r i p t i o n s o f s p i n n i n g , warping and weaving t e c h n i q u e s o b s e r v e d i n the Cuzco r e g i o n o f P e r u . The weaving de s c r i p - t t i o n s i n c l u d e f i n g e r weaving t e c h n i q u e s i n the p r o d u c t i o n o f narrow and wide bands, and loom weaving o f wide c l o t h , u s i n g a v a r i e t y o f loom s e t ups. The t h e s i s c o n c l u d e s w i t h a d e s c r i p t i o n o f how the P e r u v i a n weavers t r a n s m i t t h e i r knowledge, as e x p e r i e n c e d by the r e s e a r c h e r , who p a r t i c i p a t e d i n t h i s c u l t u r e t r a n s m i s s i o n by l e a r n i n g to weave w h i l e i n P e r u , and the e f f e c t s o f the l e a r n i n g p r o c e s s on the e v o l u t i o n o f d e s i g n s i n the t e x t i l e s . ' - i i ' i -TABLE OF CONTENTS A b s t r a c t i i ' -L i s t o f T a b l e s v L i s t o f F i g u r e s v i Acknowledgements v i i CHAPTER 1 I n t r o d u c t i o n 1 D e s c r i p t i o n o f A r e a o f R e s e a r c h 4 CHAPTER 2 The Andean Weaver: P a s t and P r e s e n t 12 CHAPTER 3 The Andean Loom A. D e s c r i p t i o n 23 B. Working P o s i t i o n s a t t h e Loom 33 CHAPTER 5 The Warp-patterned Weaves A. D e f i n i t i o n 40 B. Review o f t h e L i t e r a t u r e 41 C. H i s t o r i c a l Development 43 CHAPTER 5 F i e l d R e s e a r c h : S p i n n i n g and Weaving i n t h e Cuzco Region 51 A. The Weavers 52 B. S p i n n i n g 55 S p i n n i n g U s i n g a Drop S p i n d l e 58 C. F i n g e r Weaving o f Bands-1. Warping - 62 2. T y i n g t h e Heddle S t r i n g s 69 3. S t a r t i n g t h e Band . 72 4. Weaving a Narrow Band 73 Band A. Complementary-warp Weave 74 Band B. Supplementary-warp Weave 77 5. Weaving a Wide Band 79 D. Loom Weaving o f Wide C l o t h 1. O c t a v i a 86 2. Sacsahuaman Weaver 95 3. Gerardo Gusman Ramos 101 E. Comparison o f Weaving Technigue 104 CHAPTER 6 L e a r n i n g and I n s t r u c t i o n 107/ The R e s e a r c h e r as P a r t i c i p a n t 122 CHAPTER 7 C o n c l u s i o n 127 APPENDIX A The Compound Weaves 132 APPENDIX B The Loom 135 Names o f Loom P a r t s i n Quechua 137 APPENDIX C Warping Frame 139 APPENDIX D Weaving D e s i g n s 141 G l o s s a r y 152 B i b l i o g r a p h y 154 LIST OF TABLES T a b l e 1 P r e h i s t o r i c C u l t u r e P e r i o d s i n Peru T a b l e 2 Quechua Names f o r the Loom P a r t s - v i -LIST OF FIGURES F i g u r e 1. South America 8 2. P e r u : A r c h e o l o g i c a l and Contemporary S i t e s 9-10 3. ' The Cuzco REgion 11 4. M o d e l l o f Weaver from Chancay 27 5. 1615 drawing o f Back T e n s i o n Loom Weaver 28 6. U p r i g h t Loom, from Model on Chimu Ceramic 30 7. 1615 drawing o f U p r i g h t Loom 31 8. Warp t a k e u p - d u r i n g weaving 38 9. S p i n d l e and f l e e c e from O l l a n t a y t a m b o 38 10. S p i n n i n g : p u l l i n g o u t t h i c k e r l e n g t h o f y a r n 60 11. S p i n n i n g : h o l d i n g s p i n d l e w h i l e w i n d i n g y a r n 60 12. S p i n n i n g : w i n d i n g o v e r s p u n y a r n onto s p i n d l e 61 13. S p i n n i n g : drawing f i b r e s o u t o f f l e e e e \u00E2\u0080\u00A2 61' 14. Warping: f o r m i n g t h r e a d c r o s s 64 15. Warp wrapped i n f i g u r e e i g h t around f o u r s t a k e s 65 16. Warping: showing d i r e c t i o n o f warping 67 17. Warping: O c t a v i a l a y i n g d o u b l e t h r e a d c r o s s 68 18. T y i n g f h e d d l e s 70 19.. A t t a c h i n g h e d d i e s t i c k 70 20. Opening r e a r ' shedooniinarrowobarid 75 21. Opening r e a r shed on narrow band 75 22. Opening r e a r shed on narrow band 76 23. P a t t e r n p i c k up on narrow band 76 24. P a t t e r n p i c k up on narrow band 78 25. Opening h e d d i e shed on narrow band 78 26. O c t a v i a u ses s e v e r a l s t i c k s t o h o l d p a t t e r n sheds 80 27. O c t a v i a uses m u l t i p l e h e d d l e s 80 28. P a t t e r n p i c k up on wide band 83 29. P a t t e r n p i c k up on wide band 83 30. S t a f a n i a p a s s e s weft t h r o u g h shed 85 31. B e l t w i t h s e v e r a l p a t t e r n s t i c k s i n p l a c e 85 32. S o n i a weaving 87 33. Shed ch a n g i n g on back t e n s i o n loom 90 34. Shed s t i c k i n s e r t e d i n shed 90 35. P i c k i n g up p a t t e r n t h r e a d s 92 36. I n s e r t i n g weft 92 37. B e a t i n g i n t h e weft 93 38. B e a t i n g i n t h e weft 93 39. A s t a k e d o u t loom 99 40. Weaver b e a t s i n wef t 99 41. H o r i z o n t a l s t a k e d out loom 102 42. P a t t e r n p i c k up 102 43. S o n i a , s e a t e d on ground, w h i l e l e a r n i n g t o weave 112 44. S'acas, S o n i a ' s weaving d e s i g n 11-1 - v i a -F i g u r e 45. Supplementary-warp weave s t r u c t u r e s 133 46. Complementary-warp weave s t r u c t u r e s 134 47. The loom 136 48. Warping frame 140 49. B i r d m o t i f i n warp f l o a t s from Huaca P r i e t a 142 50. F e l i n e m o t i f from Ocucaje 143 51. D e s i g n from O l l a n t a y t a m b o 144 52. S 1 a c a s 145 53. V a r i a t i o n o f s 1 a c a s 146 54. Diamond r e p e a t from C h i n c h e r o 147 55 . M u l t i p l e diamond d e s i g n from T i n t a 148 56. Two d e s i g n s from narrow bands woven i n T i n t a 149 57. S m a l l diamond m o t i f s 150 58. Bands o f p a t t e r n s from a bag i n the Museum R o y a l S c o t t i s h - v i i -ACKNOWLE DGEME NTS I n a p r o j e c t o f t h i s magnitude i t i s i n e v i t a b l e t h a t t h e r e s e a r c h e r has t o seek h e l p and guidance from many s o u r c e s and p e o p l e and i t i s o n l y r i g h t t h a t due acknowledgement s h o u l d be made. But, i t i s a l s o the case t h a t as w e l l as the h e l p and guidance a g r e a t d e a l o f f r i e n d -s h i p was a l s o o f f e r e d . Formal acknowledgement cannot p o s s i b l y e x p r e s s the f u l l f e e l i n g s which were engendered by the f r i e n d s h i p . However, i t must be s a i d t h a t t h e s e f e e l i n g s w i l l l o n g remain i n my memory. I n the U n i t e d S t a t e s The T e x t i l e Museum, Washington, D.C. and Ann Rowe. The S m i t h s o n i a n Museum o f N a t u r a l H i s t o r y , Washington, D.C. and S a l l y K l a s s . Dumbarton Oaks Museum, Washington, D.C. and t o E l i z a b e t h Benson and Anne-Louise S c h a f f e r . The American Museum o f N a t u r a l H i s t o r y , New York and J u n i u s B. B i r d , M i l i c a S k i n n e r and P h i l l i p G i f f o r d (Dept. o f A n t h r o -pology) . M e t r o p o l i t a n Museum o f A r t , Museum o f the American I n d i a n and J u l i e Jones, B a r b a r a Teague and Nobuko K a j i t a n i ( C o n s e r v a t i o n Dept.) The B r o o k l y n Museum, New York and Mary Ann Dergan and h e r s t a f f . I n Canada The R o y a l O n t a r i o Museum, T o r o n t o and John V o l l m e r . The U n i t e d Kingdom The U n i v e r s i t y A n t h r o p o l o g i c a l Museum a t Aberdeen. The U n i v e r s i t y Museum o f A r c h e o l o g y and E t h n o l o g y , Cambridge and Mary C a i s t e r and h e r s t a f f . The Museum o f Mankind, the Ethnography Department o f the B r i t i s h Museum, London and Penny Bateman. The P i t t - R i v e r s Museum, O x f o r d and B.A.L. Cranstone and h i s s t a f f . The R o y a l S c o t t i s h Museum, E d i n b u r g h and Dale I n d i e n s . I n P e r u The Museo Amano, Lima. The Museo N a c i o n a l do A n t r o p o l o g i a , Lima. The Museo ' i n S i t i o ' Pachacamac, Near Lima. - v i i a _ To People i n P e r u Dr. Chavez B a l l o n , U n i v e r s i t y o f Cuzco. S r a . V y r o u b a l P i n e d a Chavez. Dr. L u i s Watanabe, D i r e c t o r o f Machu P i c c h u A r c h e o l o g i c a l s i t e , S r . Manuel S o l t a r o ) Sr.. R i g o b e r t o R u i s ) o f the P o l i c e F o r c e s t a t i o n e d a t T i n t a . S r a . O c t a v i a S i n c h i ) S r a . S t e f a n i a Quispe Huaman ) S r . Gerardo Gusman Ramos ) The Woman n e a r Sacsahuaman ) the Weavers. F r a n c i s c o , my i n t e r p r e t e r . S i l v i a Lawson My T h e s i s Committee Graeme Chalmers ) Don M c i n t o s h ) Dept. o f A r t E d u c a t i o n . M a r v i n Cohodas ) A l a n R. Sawyer ) Dept. o f F i n e A r t s . Joanne S t a n i s z k i s , Dept. o f Home Economics, f o r r e a d i n g the weaving d e s c r i p t i o n s o f t h i s t h e s i s . P a r t i c u l a r thanks a r e due t o Mr. & Mrs. J . S h e r i d a n o f Washington, D.C., Mr. & Mrs. A. Hartman o f New York and M i s s E . A l l e n o f T o r o n t o f o r p r o v i d i n g a s s i s t a n c e and accommodation d u r i n g my v i s i t s t o the E a s t e r n U n i t e d S t a t e s and Canada f o r Museum r e s e a r c h . and t o Genevieve L u n d q u i s t and Jean Kuwabara f o r t h e i r c o n s i d e r a b l e p a t i e n c e i n h e l p i n g and t y p i n g d r a f t s o f t h i s t h e s i s . l a s t l y , b u t by no means l e a s t : t o my Mother f o r t r a n s p o r t i n g me round the U n i t e d Kingdom i n a t r o c i o u s w i n t e r weather t o v i s i t the museums t h e r e ; and t o my F a t h e r f o r c o n s t r u c t i n g a warping frame and f o r h i s h e l p w i t h t h e w r i t i n g and e d i t i n g o f t h i s t h e s i s . J . H. McRobb 19/3/80 -1-CHAPTER 1 INTRODUCTION W i t h i n the l a s t c e n t u r y , as a r e s u l t o f the e f f o r t s o f many d e d i c a t e d c o l l e c t o r s and a r c h e o l o g i s t s , a c o n s i d e r a b l e amount o f pre-Columbian t e x t i l e s has been r e c o v e r e d , p r e s e r v e d i n museums thro u g h o u t the w o r l d . T h i s m a t e r i a l i s a v a i l a b l e f o r s t u d y and i t has s t i m u l a t e d much o f the work o f t h i s t h e s i s . Recent e x a m i n a t i o n o f t h i s m a t e r i a l has a r o u s e d e x t r a o r d i n a r y i n t e r e s t because o f the s o p h i s t i c a t e d development o f some o f the d e s i g n s , and a l s o , because o f the c o m p l e x i t y and d i v e r s i t y o f the t e c h n i q u e s which were used t o c r e a t e the f a b r i c s t h e m s e l v e s . A few o f these t e c h n i q u e s are s t i l l i n use i n contemporary P e r u v i a n weaving. A r c h e o l o g i c a l and h i s t o r i c a l e v i d e n c e shows t h a t the e a r l y t e x t i l e s were p r o d u c e d on v e r y r u d i m e n t a r y equipment. The looms t h a t were used c o n s i s t o f a few s i m p l e wooden elem e n t s . I t i s w i t h these looms and the t e x t i l e s p r o d u c e d on them, t h a t t h i s t h e s i s i s c o n c e r n e d . The f i r s t p a r t o f t h i s t h e s i s i s d e v o t e d t o the development o f the t e x t i l e t r a d i t i o n i n p r e h i s t o r i c t i m e s , from an e x a m i n a t i o n of pre-Columbian fragments and i n f o r m a t i o n i n a range o f r e l e v a n t l i t e r a t u r e . A c o n s i d e r a b l e number o f s t r u c t u r a l a n a l y s e s have been made o f t e x t i l e t e c h n i q u e s which were used i n the p r o d u c t i o n o f p r e h i s t o r i c t e x t i l e s . T h i s has added g r e a t l y t o the knowledge o f the v e r s a t i l i t y o f the s i m p l e loom. F i e l d s t u d i e s were made by t h i s -2-r e s e a r c h e r i n t o contemporary weaving t e c h n i q u e s t o determine p r e -c i s e l y how the warp and w e f t were m a n i p u l a t e d t o c r e a t e the f a b r i c s . But i t seems t h a t l i t t l e work has been done y e t t o r e l a t e p r e h i s t o r i c t e c h n i q u e s t o the looms on which they were worked, so t h a t p r e s e n t day weavers c o u l d produce t e x t i l e s u s i n g the same weaves t h a t were de v e l o p e d by pre-Columbian I n d i a n s o f P e r u . E q u a l l y l i t t l e work has been done t o r e l a t e the contemporary t e x t i l e t r a d i t i o n t o i t s p r e -h i s t o r i c o r i g i n s . The second p a r t o f the t h e s i s c o n s i s t s o f a d e t a i l e d e x a m i n a t i o n of contemporary weaving t e c h n i q u e s used i n the Cuzco r e g i o n o f P e r u . From the d a t a g a t h e r e d d u r i n g a d e t a i l e d e x a m i n a t i o n o f the weaving p r o c e s s i t i s hoped t o p r o v i d e a s t o r e o f p r a c t i c a l knowledge on weaving t e c h n i q u e s . I t i s a l s o i n t e n d e d t o d i r e c t the a t t e n t i o n o f p r e s e n t day weavers t o the f a s c i n a t i n g p o s s i b i l i t i e s which c o u l d a r i s e from the use o f the c o n t i n u o u s warp loom. D e s c r i p t i o n s have been i n c l u d e d o f weaving on f u l l - s i z e d looms t o p r o v i d e as complete a p i c t u r e as p o s s i b l e o f the weaving p r o c e s s , a l t h o u g h the main i n t e r e s t has been i n the warp p r e p a r a t i o n and weaving o f b e l t s and bands u s i n g f i n g e r weaving t e c h n i q u e s . These t e c h n i q u e s which do n o t seem t o have been r e p o r t e d i n d e t a i l e lsewhere i n the l i t e r a t u r e , f u n c t i o n b o t h as an end i n themselves and as a t e c h n i c a l v e h i c l e . By these means, not o n l y may b e l t s , bands and e d g i n g s be p r o d u c e d b u t , i n m i n i a t u r e , t e c h n i q u e s and p a t t e r n s may be l e a r n e d more e a s i l y t h a n on a l a r g e p i e c e . -3-F o r p r a c t i c a l r e a s o n s t h e w o r k i n t h i s t h e s i s h a s b e e n l i m i t e d t o a d e s c r i p t i o n o f o n e t e c h n i q u e o n l y : c o m p l e m e n t a r y - w a r p w e a v e . T h e t w o w e a v e r s w i t h whom m o s t t i m e w a s s p e n t , u s e d t h i s w e a v e s t r u c t u r e i n t h e d e m o n s t r a t i o n b a n d s w h i c h t h e y w o v e . A l s o t h e t i m e f a c t o r s e t a d e f i n i t e l i m i t a t i o n w i t h r e g a r d t o t h e s i z e o f t h e p i e c e s w h i c h c o u l d b e t h u s m a d e . E q u a l l y , a l t h o u g h d e s c r i p t i o n s a r e f i v e n o f w e a v i n g o n f u l l s i z e l o o m s f o r c o m p a r a t i v e p u r p o s e s , i t i s w i t h t h e n a r r o w b a n d s t h a t I am m o s t c o n c e r n e d . B u t i t i s i m p o r t a n t t h a t a b a l a n c e d p i c t u r e i s g i v e n o f t h e c o n t e m p o r a r y t r a d i t i o n w h i c h h a s g r o w n o u t o f t h e p r e h i s t o r i c p a s t . T h e t h i r d p a r t o f t h e t h e s i s d e a l s w i t h t h e l e a r n i n g p r o c e s s . I s p e n t s i g n i f i c a n t p e r i o d s o f t i m e w i t h I n d i a n w e a v e r s , d u r i n g w h i c h I was g i v e n l e s s o n s o n t h e i r w e a v i n g t e c h n i q u e s a n d m e t h o d s . I t w a s t h i s w o r k t h a t m a d e i t p o s s i b l e f o r me t o c o n t i n u e w e a v i n g a f t e r t h e e n d o f t h e w o r k i n S o u t h A m e r i c a . T h r o u g h t h i s l e a r n i n g cv. e x p e r i e n c e I w a s p r o v i d e d w i t h a n u n i q u e o p p o r t u n i t y t o s t u d y t h e t r a n s m i s s i o n o f a c u l t u r a l t r a d i t i o n , c o n t i n u o u s w a r p w e a v i n g , i n a n o n l i t e r a t e s o c i e t y . -4-D e s c r i p t i o n o f A r e a o f Research i n P e r u Research f o r t h i s t h e s i s was c a r r i e d o u t i n the Department o f Cuzco, i n the Andean a l t i p l a n o , o r h i g h p l a t e a u a r e a , between the two c o r d i l l e r a t h a t form the Andean mountain c h a i n . The I n d i a n p e o p l e o f t h i s r e g i o n are Quechua s p e a k e r s and S p a n i s h i s spoken by many o f them as a second language. Some o f them, those who l i v e i n the more i s o l a t e d v i l l a g e s , many o f which are a c c e s s i b l e o n l y by a narrow f o o t t r a i l , speak l i t t l e o r no S p a n i s h . To the s o u t h towards Lake T i t i c a c a , and i n B o l i v i a , l i v e the Aymara s p e a k e r s . The Aymara are the descen-dants o f the C o l l a , one o f the f o u r g r e a t groups t h a t the I n c a , the o r i g i n a l Quechua s p e a k e r s , p a r t i a l l y subdued n o t l o n g b e f o r e the a r r i v a l o f the S p a n i a r d s . Due t o the l o n g p e r i o d o f c r o s s c u l t u r a l i n f l u e n c e , and the f u r t h e r o v e r l a y o f S p a n i s h i n f l u e n c e s , i t i s n o t p o s s i b l e t o say whether c e r t a i n weaving s t y l e s o r loom s e t ups are o f Quechua o r Aymara o r i g i n . The p i c t u r e has become to o c o n f u s e d . However, i n b o t h P e r u and B o l i v i a , t h e r e i s s t i l l an a c t i v e t r a d i t i o n o f weaving on back t e n s i o n e d and s t a k e d o u t looms. A l t h o u g h the d e s i g n s p r o d u c e d a r e d i f f e r e n t , and they v a r y from v i l l a g e t o v i l l a g e , as w e l l as from c o u n t r y t o c o u n t r y , the weave s t r u c t u r e s and the loom s e t ups t h a t are used are the same. D e s p i t e the i n c r e a s i n g breakdown o f t r a d i t i o n a l l i f e , many o f the v i l l a g e r s i n the a l t i p l a n o s t i l l l i v e i n a manner t h a t i s r e l a -t i v e l y unchanged from I n c a t i m e s . Many o f the women'wore t r a d i t i o n a l I n d i a n d r e s s , c o n s i s t i n g o f a t r e a d l e loom woven s k i r t , e m broidered -5-j a c k e t , t r a d i t i o n a l h a t and hand woven, p a t t e r n e d manta, which i s wrapped around the s h o u l d e r s and p i n n e d a t the f r o n t . A l l goods are c a r r i e d on the back, i n a hand woven, p a t t e r n e d c a r r y i n g . c l o t h t h a t the women s t i l l weave. Many go b a r e f o o t , a l t h o u g h some wear . s l i p -on s a n d a l s , made from used automobile t i r e s . Fewer men wear the t r a d i t i o n a l . I n d i a n costume. A l l men wear a poncho and k n i t t e d cap f o r warmth. O c c a s i o n a l l y , a man w i l l a l s o be seen i n the t r a d i t i o n a l t r e a d l e loom woven p a n t s , which end j u s t below the knee, and an embroidered j a c k e t s i m i l a r t o t h a t worn by the women. C l o t h i n g i s e s s e n t i a l i n the a l t i p l a n o as p r o t e c t i o n a g a i n s t the c l i m a t e , which i s c o l d and windy. The f a b r i c s must be t i g h t l y packed t o keep o u t the wind and the r a i n , d u r i n g the months o f l o n g r a i n y s e a s o n . S i n c e the manufacture o f each garment i s a l e n g t h y p r o c e s s t h a t must be f i t t e d i n between o t h e r e s s e n t i a l and b a c k b r e a k i n g c h o r e s , the f i n i s h e d garment must be d u r a b l e and h a r d w e a r i n g , so t h a t i t need n o t be r e p l a c e d f o r many y e a r s . I n the markets t h e r e are two d i s t i n c t a r e a s . One a r e a i s l a i d o u t w i t h p r o p e r s t a l l s , and these are c o v e r e d i n c e r a m i c s , t e x t i l e s and o t h e r h a n d i c r a f t s t h a t have p r o v e d p o p u l a r w i t h t o u r i s t s . The o t h e r s e c t i o n , s e e m i n g l y s e p a r a t e d by an i n v i s i b l e l i n e , i s where -the l o c a l p e o p l e s p r e a d o u t t h e i r wares on the ground. They s e l l o r b a r t e r b r e a d , p e p p e r s , p o t a t o e s , beans, a few eggs and a n y t h i n g e l s e t h a t they have p r o d u c e d . They form a v e r y t i g h t k n i t group and may r e f u s e t o s e l l t o o u t s i d e r s , who c o u l d e a s i l y buy up the -6-e n t i r e s u p p l y and l e a v e n o t h i n g f o r the r e g u l a r customers. We found t h i s i n P i s a c , where we t r i e d t o buy some eggs and o t h e r p r o -v i s i o n s f o r a camping t r i p . The same t h i n g happened a g a i n l a t e r i n O l lantaytambo, a l t h o u g h t h e r e we were b u y i n g from l i t t l e s t o r e s r a t h e r t h a n i n an open a i r market. L i f e on the puna, the h i g h e s t p l a t e a u a r e a s t h a t are i n h a b i t e d , up t o 15,000 f e e t a l t i t u d e , i s a c o n s t a n t , h a r s h b a t t l e f o r s u r v i v a l . The c l i m a t e and the a l t i t u d e combine t o reduce d a i l y l i f e t o c e r t a i n s t a r k e s s e n t i a l s , b a l a n c e d on a k n i f e edge, c l o s e t o d i s e a s e and m a l n u t r i t i o n . Even w i t h improved m e d i c a l ca r e and h y g e n i c a d v i c e the i n f a n t m o r t a l i t y r a t e i s s t i l l a l a r m i n g l y h i g h . Weavers were o b s e r v e d i n s e v e r a l v i l l a g e s as shown on the map ( f i g . 3 ) . Access t o the v a r i o u s v i l l a g e s was made by bus, t r a i n t r u c k o r p r i v a t e c a r . The l a s t method o f t r a n s p o r t a t i o n was used t o g e t t o T i n t a , s i n c e t h e r e was n o t the time t o spend one o r two n i g h t s t h e r e , which would have been n e c e s s a r y i f l o c a l t r a n s p o r t a t i o n had been used. Senora O c t a v i a S i n c h i , a weaver i n h e r e a r l y t h i r t i e s , was from an i s o l a t e d v i l l a g e . She had walked i n t o the town o f O l l a n t a y t a m b o , where she was o b s e r v e d . She s t a y e d f o r two days, d u r i n g which time she demonstrated weaving on the back t e n s i o n loom as w e l l as p r e p a r i n g and weaving p a r t s o f s e v e r a l narrow bands. She spoke v e r y l i t t l e S p a n i s h , making communication d i f f i c u l t . I n o r d e r t o observe h e r weaving f o r the two days t h a t she s t a y e d I employed h e r , and p a i d h e r two days wages, p l u s the c o s t o f the m a t e r i a l s t h a t -7-she used f o r the sample bands which she l e f t w i t h me. We n e g o t i a t e d the wages and o t h e r c o s t s t h a t she c h a r g e d me. Such i s the d i f f e r -ence i n the c o s t o f l i v i n g t h e r e t h a t I p a i d h e r o n l y a few d o l l a r s f o r two days o f h e r ti m e . When I o b s e r v e d S t e f a n i a Quispe i n C h i n c h e r o , I d i d n o t pay h e r d i r e c t l y f o r h e r time b u t r a t h e r bought the bands t h a t she was working on w h i l e I o b s e r v e d h e r . I a l s o p a i d h e r f o r my b o a r d and l o d g i n g f o r the t h r e e days t h a t I s t a y e d w i t h h e r . S i m i l a r i l y , goods were p u r -chased from the o t h e r two weavers o b s e r v e d , Gerardo Gusman i n T i n t a , and the unknown woman a t Sacsahuaman. -8-F i g u r e 1 South America Lima Pachacamac Pa r a c a s , P e n i n s u l a Urubamba \u00C2\u00BBPisac Cuzco \u00E2\u0080\u00A2 \u00E2\u0080\u00A2Urcos L O Grande a z c a 'Lake T i t i c a c a ILa Paz BOLIVIA F i g u r e 2 A r c h e o l o g i c a l and Contemporary S i t e s i n Peru CHILE -11-F i g u r e 3 The Cuzco r e g i o n -12-CHAPTER 2 THE ANDEAN WEAVER: PAST AND PRESENT The s t a n d a r d p i c t u r e o f t h e Andean p e a s a n t woman i s o f a p e r s o n who i s always busy w i t h h e r hands. I f t h e woman i s s i t t i n g anywhere and n o t wo r k i n g , t h e n she has some y a r n and a drop s p i n d l e . She s p i n s c o n s t a n t l y , whether a t home o r i n t h e market, w a t c h i n g o v e r t h e s m a l l p i l e s o f v e g e t a b l e s t h a t she.has come t o b a r t e r o r s e l l . On h e r way t o t h a t same market, l a i d e n down w i t h a baby and goods t i e d on h e r back, she w i l l s p i n as she walks b r i s k l y a l o n g . The i m p l i c a t i o n i n t h i s p i c -t u r e i s t h a t s p i n n i n g and weaving a r e numbered among t h e women's a r t s . I n p r a c t i c e t h i s i s n o t n e c e s s a r i l y so. In p r e - c o n q u e s t t i m e s , under the I n c a r u l e , t h e r e was a c o m p l i c a t e d system o f r e c i p r o c a l d u t i e s . As Murra e x p r e s s es i t (1962: 715) one o f the two main economic o b l i g a t i o n s which each i n d i v i d u a l had t o the s t a t e , was the s u p p l y o f woven c l o t h , b u t i n r e t u r n , the s t a t e g u a r a n t e e d a s u p p l y o f f i b r e s t o each p e a s a n t f a m i l y f o r i t s needs. F i b r e t o weave c l o t h f o r ^ ^ r i g h t t o wool and c o t t o n crown and c h u r c h from community s t o c k s f o r own c l o t h i n g T h i s exchange o f f i b r e s i n r e t u r n f o r making up a c e r t a i n q u o t a o f f a b r i c was i n a d d i t i o n t o any f i b r e s , whether o f a l p a c a o r c o t t o n , t o which the p e a s a n t might have a c c e s s t h r o u g h a y l l u ( c l a n ) c r o p s o r her d s and o c c a s i o n -a l b a r t e r . -13-I t i s i m p l i e d i n t h e c h r o n i c l e s t h a t t h e l a b o u r l e v e l s e t by t h e s t a t e was based on the s i z e o f a man's f a m i l y and t h e r e f o r e t h e goods r e c e i v e d i n r e t u r n were a l s o based on the a s s e s s e d needs o f t h e f a m i l y . There seems t o have been s e v e r a l l e v e l s o f l a b o u r which each f a m i l y was o b l i g e d t o c a r r y o u t . S e r v i c e s were owed t o the c h u r c h and t h e s t a t e , and tbi-the k o r a k a , who h e l d l o c a l r e s p o n s i b i l i t y t o see t h a t a l l was done as r e q u i r e d . S i n c e d u t i e s and a l l o w a n c e s were based on the s i z e o f t h e f a m i l y , i t r e q u i r e d e v e r y member o f the f a m i l y t o be o c c u p i e d w i t h some share o f the l a b o u r . Thus the d i v i s i o n o f l a b o u r was l e s s r i g i d t h a t i t might have been under o t h e r c i r c u m s t a n c e s . Boys and g i r l s l e a r n t t o s p i n and weave. While the women were e x p e c t e d t o weave c l o t h i n g and o t h e r t e x t i l e s f o r t h e f a m i l y use, t h e men who were too o l d o r c r i p p l e d f o r m i t t a l a b o u r (work on c h u r c h and s t a t e l a n d ) , and t h e c h i l d r e n d i d t h e s p i n n i n g and ropemaking. They a l s o wove sacks and o t h e r c o a r s e f a b -r i c s , depending on t h e i r age and a b i l i t y (Murra: 711). Contemporary r e -s e a r c h c o n f i r m s t h i s f a c t , a l t h o u g h t h e s p e c i f i c s v a r y from r e g i o n t o r e g i o n . More w i l l be s a i d l a t e r o f t h i s modern d i f f e r e n t i a t i o n o f t a s k . E a r l y r e f e r e n c e s i n t h e S p a n i s h c h r o n i c l e s d i f f e r as t o e x a c t l y how many woven p i e c e s were r e q u i r e d o f each p e a s a n t f a m i l y , b u t c e r t a i n l y one garment was woven f o r the s t a t e t o a s e t s t a n d a r d o f s i z e and q u a l i t y . Other a r t i c l e s may have been r e q u i r e d by t h e k oraka on the l o c a l a y l l u l e v e l o f r e c i p r o c i t y . T h i s q u a n t i t y o f c l o t h would s t i l l have been s u f f i -c i e n t t o meet o n l y a s m a l l p a r t o f t h e i m p e r i a l and r i t u a l needs. A l t h o u g h a l l the c l o t h was d o u b t l e s s c o m p e t e n t l y wove, no p e a s a n t f a m i l y would have had the t i m e , amongst a l l the o t h e r d u t i e s and n e c e s s a r y l a b o u r i n t h e f i e l d s , t o produce c l o t h o f t h e h i g h q u a l i t y and f i n e n e s s o f d e c o r a t i o n t h a t i s t h e r u l e r a t h e r t h a n the e x c e p t i o n w i t h many o f the a r c h e o l o g i c a l t e x t i l e s . T h i s t y p e o f weaving was c a r r i e d o u t by s p e c i a l i s t s . - 1 4 -P o s t c o n q u e s t r e p o r t s m e n t i o n v a s t w a r e h o u s e s p a c k e d w i t h b u n d l e s o f c l o t h . E v e n a f t e r e x t e n s i v e l o o t i n g , l i t t l e i m p r e s s i o n w a s m a d e o n t h e o v e r a l l q u a n t i t y t h a t h a d b e e n s t o r e d . T h i s c l o t h w a s u s e d a s p a y -m e n t f o r t h e s o l d i e r s , a s a n a w a r d i n d i c a t i n g i n c r e a s e d s t a t u s f o r a n o b l e ( c e r t a i n t y p e s o f t e x t i l e s w e r e e x c l u s i v e t o c e r t a i n r a n k s ) , a s a s i g n o f f a v o u r o n t h e p a r t o f t h e I n c a , a n d a s s . a . r r e w a r d j - f o r r n e r i t i o u s s e r v i c e . T e x t i l e s a l s o p l a y e d a n i m p o r t a n t p a r t i n r i t u a l s , b e i n g u s e d t o c l o t h e i d o l s , d e c o r a t e s h r i n e s , a n d f o r d e s t r u c t i o n b y b u r n i n g a s a s a c r i f i c e . I n o r d e r t o p r o d u c e s u c h a q u a n t i t y o f f i n e c l o t h g r o u p s h a d t o e v o l v e . J . Rowe m e n t i o n s q o m p i - k a m a y o c , o r t a p e s t r y w e a v e r s ( 1 9 4 6 : 2 6 8 ) . T h e s e c r a f t s m e n w o u l d w o r k f u l l t i m e f o r t h e e m p e r o r w h o d i s t r i b u t e d t h e i r s u r p l u s w o r k a s g i f t s a n d r e w a r d s t o t h e n o b i l i t y . T h e w e a v e r s w e r e s u p p l i e d w i t h f o o d a n d c l o t h i n g f r o m t h e e m p i r e ' s w a r e h o u s e s . T h e c o n -t r o l o f t h e women s u b j e c t s w a s a s a r b i t r a r y a s t h a t o f t h e m e n . G i r l s a b o u t t e n y e a r s o f a g e , w h o w e r e s e l e c t e d b u g o v e r n m e n t o f f i c i a l s f o r o u t s t a n d i n g b e a u t y a n d p h y s i c a l p e r f e c t i o n , w e r e p l a c e d i n c o n v e n t s c a l l e d a k l l a - k o n a , w h e r e t h e y w e r e e d u c a t e d . T h e g i r l s s p e n t f o u r y e a r s l e a r n i n g t o s p i n a n d w e a v e , a s w e l l a s o h t e r h o u s e h o l d o c c u p a t i o n s . Some o f t h e w o m e n w e r e g i v e n a s w i v e s t o n o b l e s a n d s u c c e s s f u l w a r r i o r s ; o t h e r s w e r e d e d i c a t e d t o t h e g o d s a n d s e r v e d a t t e m p l e s a n d s h r i n e s ; s t i l l o t h e r s w e r e : s e l e c t e d a s c o n c u b i n e s f o r t h e I n c a , t o w e a v e h i s c l o t h i n g a n d p r e -p a r e h i s f o o d . O n e r o y a l g a r m e n t d e s c r i b e d b y M o r u a w a s s o f i n e t h a t i t c o u l d b e f i t t e d i n t o t h e h o l l o w o f o n e h a n d ( M u r r a 1 9 6 2 : 7 1 9 ) . A l l o f t h e s e w o m e n w e r e e x p e c t e d t o b u s y t h e m s e l v e s w i t h t h e p r o d u c t i o n o f t e x t i l e s , w h e t h e r f o r c h u r c h o r s t a t e . -15-The p r i n c i p a l f i b r e s a v a i l a b l e t o t h e P e r u v i a n s were c o t t o n , and t h e wool o f the c a m e l i d s : l l a m a , a l p a c a , huanaco and v i c u n a . The c o t -t o n grew i n a wide v a r i e t y o f shades from cream t o brown. U s i n g y a r n s from t h e s e f i b r e s t h e P e r u v i a n s made f i n e , complex t e x t i l e s , d e v e l o p i n g t e c h n i q u e s t h a t have n o t been found anywhere e l s e i n t h e w o r l d . Some o f the f i n e s t have a t h r e a d count o f o v e r t h r e e hundred w e f t t h r e a d s p e r i n c h . B i r d s t a t e s t h a t \"some o f them rank among the f i n e s t f a b r i c s e v e r p roduced.\" (1949: 256). Cobo (Murra 1962: 711) l i s t s two c l a s s e s o f f a b r i c s . The warp-faced c l o t h p r o d u c e d by the p e a s a n t s f o r t h e i r own use, b o t h as b l a n k e t s and c l o t h i n g , was c a l l e d awasqa. I t was r a t h e r rough, t h i c k and i n d i f f e r e n t -l y c o l o u r e d i n comparison w i t h t h e work o f the a k l a women. The o t h e r c l o t h was kumpi, a much f i n e r and s o f t e r f a b r i c woven on a d i f f e r e n t loom. The weave was smooth and c o n t i n u o u s , so f i n e t h a t no t h r e a d r i d g e s c o u l d be seen. Kumpi f a b r i c s were so f i n e t h a t European t e x t i l e s s u f f e r e d by comparison. Y e t e i g h t e e n y e a r s l a t e r , i n 1550, C i e z a de Leon speaks o f t h e a r t o f kumpi weaving as b e i n g l o s t (Murra 1962: 711). W i t h the overthrow o f th e I n c a empire and t h e complete d i s i n t e g r a t i o n o f t h e system o f government, t h e r e was no one t o o v e r s e e t h e p r o d u c t i o n o f c l o t h by t h e qompi-kamayoc and th e a k l l a - k o n a . As a n a t u r a l consequen-ce the s p e c i a l i z e d t y p e s o f weaving, which r e q u i r e d g r e a t s k i l l , d i e d o u t and a l l t h a t remained o f th e n a t i v e t r a d i t i o n was t h e p e a s a n t weaving. A l t h o u g h t h e r e must s t i l l have been many weavers , even among t h e p e a s a n t s , who were c a p a b l e o f r e a l v i r t u o s i t y i n t h e p r a c t i c e o f t h e i r c r a f t , t h e r e was no demand f o r f i n e c l o t h . I n s t e a d , a l l weaving was t o produce c l o t h -i n g f o r the f a m i l y , w i t h perhaps a l i t t l e e x t r a t h a t c o u l d be t r a d e d f o r y a r n and f o o d s t u f f s t h a t c o u l d n o t be grown l o c a l l y . -16-A f t e r t h e c o n q u e s t a l p a c a y a r n s c o n t i n u e d t o be p r i z e d f o r woven narrow s c a r v e s , k n i t t e d caps and sweaters, and as a w e f t i n some o f t h e ponchos, b u t sheep wool, i n t r o d u c e d by t h e S p a n i s h , became most common. U n t i l r e c e n t l y much o f the handwoven garments produced i n t h e h i g h l a n d s were made o f sheep's wool. The o l d , n a t u r a l dyes t h a t were f i r s t used on the c a m e l i d f i b r e s and t h e n on wool, have been r e p l a c e d by commercial, a n i l i n e dyes, bought i n powdered form a t a l l t h e n a t i v e markets. The warp-faced weaves t h a t a r e s t i l l t o be found i n t h e h i g h l a n d v i l l a g e s , a r e woven from a v e r y t i g h t l y t w i s t e d y a r n . T h i s makes them v e r y hardwearing, and v i r t u a l l y r a i n p r o o f . Whereas i n t h e p a s t a l p a c a would have been used f o r t h e ponchos and mantas t h a t some o f the campe- sinos^\" s t i l l wear, nowadays wool i s th e predominant f i b r e , w i t h t h e syn-t h e t i c y a r n s which have become more p o p u l a r . Where l l a m a f l e e c e i s spun i t i s used t o weave the l a r g e sacks t h a t a r e used t o s t o r e t h e l o c a l produce and t o t r a n s p o r t i t t o market, e i t h e r by b u r r o o r t r u c k . In a d d i t i o n , s y n t h e t i c \" o r l o n \" y a r n s a r e used, a l o n e o r i n combi-n a t i o n w i t h wool, f o r mantas, ponchos and c a r r y i n g c l o t h s . The y a r n i s bought i n t h e market i n c o m m e r c i a l l y spun s k e i n s . These s k e i n s a r e t h e n overspun, u s i n g t h e drop s p i n d l e , t o g i v e t h e ,f e a r . l i e s t w a r p - f a c e d f a b r i c s w e r e e x c a v a t e d f r o m a m i d d e n n e a r H u a c a P r i e t a o n t h e c o a s t o f P e r u . A t t h i s p o i n t i n t i m e t h e m o r e p o p u l a r t e c h n i q u e s c o n t i n u e d t o b e t w i n i n g , u n t i l t h e h y p o t h e s i z e d d e v e l o p m e n t o f h e d d l e s t o c o n t r o l a n d s p e e d w a r p m a n i p u l a t i o n , s o m e -t i m e l a t e i n t h e I n i t i a l p e r i o d , o r e a r l y i n t h e E a r l y H o r i z o n , p e r i o d ( B i r d 1 9 5 2 : 4 5 ) . D u r i n g t h e E a r l y H O r i z o n p e r i o d t h e r e w a s a f l o r e s c e n c e o f t e x t i l e t e c h n i q u e s w i t h m a n y e x a m p l e s o f w a r p - p a t t e r n e d w e a v e s b e i n g f o u n d a t P l a c e s l i k e A n c o n , n e a r L i m a ( O ' N e a l e 1 9 4 6 : 2 6 9 ) , O c u c a j e a n d P a r a c a s o n t h e s o u t h c o a s t , a n d f r o m S u p e , o n t h e c e n t r a l c o a s t o f P e r u ( B e n n e t t 1 9 4 8 : 2 7 1 - 7 2 ) . New d e v e l o p m e n t s i n c l u d e d c o m p l e m e n t a r y - w a r p w e a v e s i n t h r e e c o l o u r s i n s t e a d o f t w o , a n d s u p p l e m e n t a r y w a r p w e a v e s i n s e v e r a l c o l o u r s ( s e e g l o s s a r y f o r d e f i n i t i o n ) . E x a m p l e s o f w a r p - p a t t e r n e d t e x t i l e s f r o m t h e E a r l y I n t e r m e d i a t e p e r i o d h a v e come m a i n l y f o r m t h e s o u t h c o a s t f r o m a r o u n d t h e N a z c a d r a i n a g e a r e a . M a h l e r : . \" r e c o r d s s e v e r a l h e a d b a n d s f r o m l a t e N a z c a b u r i a l s w h i c h w e r e e x c a v a t e d a t C h a v i n a ( 1 9 5 7 : p l a t e s X l l l a n d X l V ) , a n d r a d i o - c a r b o n d a t e d t o A . D . 5 7 6 t o 6 9 6 ( 1 9 5 7 : 5 7 ) . T h i s c o n t i n u a t i o n f r o m t h e E a r l y H o r i z o n p e r i o d b r o u g h t l i t t l e t e c h n i c a l a d v a n c e m e n t . B y t h e t i m e o f t h e M i d d l e H o r i z o n c o m p l e t e a n d c o m p l e x g a r m e n t s w e r e b e i n g m a d e i n w a r p - p a t t e r n e d w e a v e s o n t h e c o a s t l a n d a n d i n t h e h i g h l a n d s o f P e r u . F o r e x a m p l e , o n e t u n i c w h i c h i s m a d e o f t w o s e p a r a t e l o o m p i e c e s j o i n e d t o g e t h e r , l e a v i n g a s l i t f o r t h e n e c k , i s - 4 6 -i n c o m p l e m e n t a r y - w a r p w e a v e ( A . Rowe 1 9 7 7 : 7 0 ) . A n o t h e r t u n i c c o n s i s t s o f s t r i p e s o f w a r p - f a c e d p l a i n w e a v e a n d m u l t i p l e b a n d s u s i n g a v a r i e t y o f t e c h n i q u e s a n d m o t i f s : c o m p l e m e n t a r y - w a r p w e a v e p a t t e r n i n g a n d 2 / 1 t w i l l d e r i v e d s t r u c t u r e s ( A . Rowe 1 9 7 7 : 6 1 ) . F r o m t h e L a t e I n t e r m e d i a t e p e r i o d , t h r o u g h t h e L a t e H o r i z o n t o t h e S p a n i s h c o n q u e s t m o r e e x a m p l e s o f t e x t i l e s h a v e s u r v i v e d f r o m t h e h i g h l a n d s o f P e r u t h a n f r o m a n y o t h e r P r e v i o u s p e r i o d s . T h e t e x t i l e s f r o m t h e h i g h l a n d s s h o w v a r i e t i e s o f w a r p - f a c e d w e a v e s , w h e t h e r w i t h s u p p l e m e n t a r y w a r p s i n a c o n t r a s t i n g c o l o u r o r c o m p l e m e n t a r y - w a r p s t r u c t u r e s . O n m a n y o f t h e t e x t i l e s s e v e r a l t e c h n i q u e s a r e c o m b i n e d , s o t h a t w h i l e t h e b o d y o f a p i e c e may u s e s u p p l e m e n t a r y w a r p s a n d w e f t s , t h e b o r d e r s m i g h t b e i n c o m p l e m e n t a r y - w a r p w e a v e ( A . Rowe 1 9 7 7 : 48) . Why d i d t h e s e w a r p - f a c e d t e c h n i q u e s s u r v i v e i n t o c o n t e m p o r a r y t i m e s w h e n o t h e r s , s u c h a s t h e s p e c t a c u l a r t a p e s t r i e s , t h e g a u z e s a n d t h e b r o c a d e s , h a v e d i s a p p e a r e d ? T h e o t h e r t e x t i l e s w e r e p a r t o f t h e o f f i c i a l a r t o f t h e I n c a e m p i r e a n d g r e a t s t a t u s w a s - a t t a c h e d t o t h e i r b e s t o w a l a n d p o s s e s s i o n ( M u r r a 1 9 6 2 : 7 2 0 ) . T h i s e m p h a s i s o n c l o t h a s a m e a s u r e o f p o s i t i o n , a n d t h e h i g h e r t h e s t a t u s t h e f i n e r t h e c l o t h , m u s t h a v e r e q u i r e d a s p e c i a l i z e d c l a s s o f women ( a n d . . p o s s i b l y m e n ) , t h e a k l l a , t o w e a v e a s a f u l l t i m e o c c u p a t i o n f o r t h e I n c a s t a t e , a n d t h e l o c a l o f f i c i a l s a n d r u l e r s ( M u r r a 1 9 6 2 : 7 2 2 ) . W i t h t h e f a l l o f t h e I n c a e m p i r e t h e w h o l e I m p e r i a l s t r u c t u r e c o l l a p s e d . W h a t w a s l e f t w e r e t h e p e a s a n t f a m i l i e s w h o c o n t i n u e d t o p r o d u c e t h e i r o w n c l o t h i n g a s t h e y h a d d o n e p r e v i o u s l y . S p a n i s h -47-i n f l u e n c e s changed the type and s t y l e o f the c l o t h i n g , b u t t h e t r a d i t i o n a l weaving c o n t i n u e d , m a i n l y i n the h i g h l a n d s and the more i s o l a t e d c o a s t a l r e g i o n s , where the e f f e c t s o f c o n t a c t were l e s s d r a s t i c , and d i d n o t l e a d t o a complete e r a d i c a t i o n . Today, i n r e g i o n s where w a r p - p a t t e r n e d t e x t i l e s a r e s t i l l b e i n g woven, the weavers have d e v e l o p e d q u i t e complex d e s i g n s w i t h which t o d e c o r a t e the bags, b e l t s , bands, ponchos and mantas t h a t t h e y s t i l l u se. A l t h o u g h some o f the s m a l l e r p i e c e s have si m p l e m o t i f s f o r which p a r a l l e l s can be found i n p r e h i s t o r i c times many o f the l a r g e r d e s i g n s show the i n f l u e n c e o f S p a n i s h c o n t a c t , such as the f e s t i v a l poncho o f T i n t a . T h i s has a d e s i g n o f f l o w e r shapes and i s c a l l e d \" r o s a s \" ( r o s e s ) , which i s a S p a n i s h word, n o t Ouechua. By comparing photographs t a k e n i n 1910 w i t h what I saw i n 1978 i n P eru, i t i s o b v i o u s t h a t handmade c l o t h i n g has become more o r n a t e . The p a t t e r n bands on the mantas and some o f the ponchos a r e w i d e r and more complex than t h e y were when the Bingham e x p e d i t i o n r e c o r d e d t h e i r appearance ( F e r r i s 1916). T h i s shows c l e a r l y the d i s r u p t i o n i n d e s i g n r e p e r t o i r e t h a t began w i t h the S p a n i s h conquest and c o n t i n u e s t h r o u g h the p r e s e n t t i m e . In.summary, the w a r p - p a t t e r n e d weaves which d a t e from the e a r l i e s t days o f the t e x t i l e t r a d i t i o n were a l r e a d y a t an advanced s t a t e o f development by the E a r l y H o r i z o n . The subsequent p e r i o d s saw a c o n t i n u a t i o n o f t h e t e c h n i q u e s w i t h l i t t l e major t e c h n i c a l advance -48-u n t i l the L a t e I n t e r m e d i a t e p e r i o d . From then t h r o u g h t o the time o f the conquest t h e r e seems t o be an abundance o f p i e c e s , more than i n p r e v i o u s t i m e s . These a r e more complex, o c c u r i n complete garments r a t h e r than m a i n l y i n s m a l l bags and bands, as i n p r e v i o u s p e r i o d s , and i n v o l v e m u l t i p l e t e c h n i q u e s i n the one p i e c e . The stea d y e l a b o r a t i o n and development o f the w a r p - p a t t e r n weave t e c h -n i q u e s c o n t i n u e d u n t i l the conquest, when th e y became more l i m i t e d . W i t h the coming o f the S p a n i s h t h e r e was a d i s r u p t i o n i n the d e s i g n r e p e r t o i r e . Where p r e v i o u s l y the d e s i g n s had shown s m a l l a n i m a l s and b i r d s , f r e q u e n t l y i n t e r l o c k i n g i n s t y l i z e d , g e o m e t r i c m o t i f s , as w e l l as s m a l l g e o m e t r i c r e p e a t s , a f t e r the conquest European i n f l u e n c e s began t o show i n the form o f f l o r a l m o t i f s . More r e c e n t l y , d e s p i t e the g r a d u a l d e c l i n e o f the t r a d i t i o n and l o s s o f many t e c h n i q u e s t h e r e has been an e l a b o r a t i o n o f the d e s i g n s i n t o w i d e r p a t t e r n bands, by the weavers who c o n t i n u e t o p r a c t i c e t h e i r c r a f t . PREHISTORIC CULTURE PERIODS IN PERU P e r i o d C u l t u r a l Development t e x t i l e Development , P r e c e r a m i c V 4200 - 2500 B.C. P r e c e r a m i c VI 1800 2500 1500 B.C. I n i t i a l P e r i o d 1800 1500 900 B.C. E a r l y H o r i z o n P e r i o d 900 - 200 B.C. E a r l y I n t e r m e d i a t e P e r i o d 200 B.C. - A.D. 600 M i d d l e H o r i z o n A.D. 600 - 1000 L a t e I n t e r m e d i a t e P e r i o d A.D. 1000 - 1476 S e a s o n a l o c c u p a t i o n s , t r i b a l communities, o f f i s h e r s , h u n t e r s and g a t h e r e r s . Development o f permanent s e t t l e m e n t s , f i r s t p u b l i c s t r u c t u r e s \u00E2\u0080\u0094 t e m p l e s , p y r a -mids and a l t a r s . B e g i n n i n g s o f f o r m a l a r t . B u r i a l s i n c o n c e n t r a t e d c e m e t a r i e s . I n t r o d u c t i o n o f p o t t e r y . P u b l i c s t r u c -t u r e s become b i g g e r and more numerous. A g r i c u l t u r e d e v e l o p s . Large c e r e m o n i a l s t r u c t u r e s b u i l t o f s tone and d e c o r a t e d w i t h c a r v i n g . Development and s p r e a d o f C h a v i n c u l t . P a r a c a s Cavernas b u r i a l s . Large c i t i e s b u i l t , i r r i g a t i o n systems d e v e l o p e d . I n t e n s i v e w a r f a r e . Moche c u l t u r e i n Chicama V a l l e y . H u a r i i n the h i g h l a n d s , and Nazca i n the R i o Grande a r e a . R i s e and f a l l o f H u a r i and Tiahuanaco empires. S m a l l r e g i o n a l s t a t e s such as the Chimu o f Moche V a l l e y . T e x t i l e s as s t a t u s a r t i n Chancay V a l l e y , h i g h l a n d s , e t c . C i t i e s f l o u r i s h e d . T w ining and n e t t i n g t e c h n i q u e s , i n mats, bags, n e t s . Twining c o n t i n u e s as dominant t e c h -n i q u e , but f i r s t woven t e x t i l e s appear, i n c l u d i n g warp f l o a t p a t t e r n i n g a t Huaca P i r e t a ( B i r d 1948). I n v e n t i o n o f heddie loom f o l l o w e d by development o f some o f the most complex t e x t i l e t e c h n i q u e s , i n c l u d i n g warp p a t t e r n e d weaves. F l o r e s c e n c e o f t e x t i l e t e c h n i q u e s w i t h t a p e s t r y , gauze, p a i n t e d c l o t h , double c l o t h , embroidery and p a t t e r n weaves. T e x t i l e t e c h n i q u e s r e a c h peak o f deve-lopment i n Paracas n e c r o p o l i s t e x t i l e s from e a r l y i n the p e r i o d . T a p e s t r y becomes s t a t u s t e c h n i q u e . Warp p a t t e r n weaves c o n t i n u e . Development o f f u r t h e r t e x t i l e t e c h n i q u e s ; gauze, k n o t t e d l a c e , warp s t r i p e s , g i n g -ham, brocade, embroidery, i k a t , double and t r i p l e c l o t h , t w i l l w a r p - p a t t e r n i n g , p a i n t i n g , e t c . Weaving as a p r e s t i g e s k i l l . L ate H o r i z o n I n c a e m p i r e \u00E2\u0080\u0094 u n i f i c a t i o n o f a l l o f Peru, T a p e s t r y as o f f i c i a l a r t . Warp 1476 - 1534 Ecuador and p a r t s o f B o l i v i a and C h i l e . p a t t e r n weaves f l o u r i s h . g a n i s h i Conquest Complete d i s r u p t i o n o f I n c a empire. Warp p a t t e r n weaves c o n t i n u e d . More i n f o r m a t i o n on c u l t u r e p e r i o d s may be found i n Lanning (1967) and Lumbreras (1976). -51-CHAPTER 5 FIELD RESEARCH: SPINNING AND WEAVING TECHNIQUES IN THE CUZCO REGION The c h a r a c t e r i s t i c s o f t h e y a r n spun by t h e Andean p e a s a n t s p l a y an i m p o r t a n t p a r t i n t h e q u a l i t y o f the f i n i s h e d weaving. Fo r t h i s r e a s o n a d e t a i l e d d e s c r i p t i o n o f t h e s p i n n i n g i s g i v e n , b e f o r e a t t e n t i o n i s f o c u s e d on t h e weaving p r o c e s s i t s e l f . The f o u r weavers who were o b s e r v e d a t work, wove a v a r i e t y o f a r t i c l e s , from narrow bands t o f u l l s i z e d garment w i d t h s . There i s a n a t u r a l breakdown o f t e c h n i c a l p r o c e s s e s i n t o t h o s e used on bands and t h o s e used on w i d e r loom p i e c e s . T h i s d i v i s i o n , a l t h o u g h i n some ways a r t i f i c i a l , has been kept i n t h e e n s u i n g s e c t i o n s , f o r t h e p u r p o s e s of c o mparative d e s c r i p t i o n . The weaves used a r e s t r u c t u r a l l y i d e n -t i c a l and do n o t change t h e methods used t o produce them. In t h e s e c t i o n d e v o t e d t o t h e f i n g e r weaving o f bands, d e t a i l s are g i v e n o f t h e making o f a warp, t y i n g the h e d d l e s t r i n g s and t h e a c t u a l s t a r t i n g o f t h e band, a l l s t e p s which seem t o be i g n o r e d i n the l i t e r a t u r e . Two d i f f e r e n t m a n i p u l a t i o n s o f t h e band weaving p r o c e s s a r e d e s c r i b e d , one by a weaver w i t h o u t any equipment, t h e o t h e r by a weaver w i t h some t o o l s , showing t h e v e r s a t i l i t y o f t h e p r o c e s s . F i n g e r weaving t e c h n i q u e s have n o t p r e v i o u s l y been d e s -c r i b e d , and even t h e p r e s e n c e o f q u a n t i t i e s o f b e l t s and bands i n p r e h i s t o r i c b u r i a l s , has n o t s t i r r e d any i n t e r e s t i n t h i s a s p e c t o f Andean weaving. -52-The next s e c t i o n r e c o r d s d i f f e r e n t weaving s e t ups u s i n g a f u l l s i z e loom and f i n i s h e s w i t h a comparison o f weaving t e c h n i q u e s . The weavers were o b s e r v e d i n a c t i o n f o r v a r y i n g p e r i o d s o f time. D e t a i l e d n o t e s and drawing made a t the t i m e , i n c o n j u n c t i o n w i t h p h o t o g r a p h s t a k e n a t each s t a g e , has r e s u l t e d i n t h i s c a r e f u l d e s c r i p t i o n o f t h e v a r i o u s p r o c e s s e s used by t h e weavers. By a n a l y s i n g and comparing the methods used by each weaver i t i s p o s s i b l e t o show wh i c h v a r i a -t i o n s r e s u l t from the loom s e t up and which from p e r s o n a l p r e f e r e n c e . A. The Weavers Four weavers o b s e r v e d d u r i n g my s t a y i n Peru i n 1978 One weaver was o b s e r v e d f o r about an hour working o u t s i d e a few houses c l u s t e r e d t o g e t h e r b e s i d e t h e r o a d l e a d i n g from the I n c a f o r t r e s s o f Sacsahuamen towards Q'enco (Kenco), a s a c r e d I n c a s i t e . No name was found on'any o f th e l o c a l maps t o c o v e r t h e s e s m a l l houses, u n l e s s i t i s named l i k e t h e a r c h e o l o g i c a l s i t e , Sacsahuaman. The name of t h e weaver i s a l s o unknown. The woman spoke no S p a n i s h . C o n v e r s a -t i o n was c a r r i e d on w i t h the a i d o f a young man, one of t h e s t u d e n t s of Dr. Chavez B a l l o n , from t h e N a t i o n a l U n i v e r s i t y o f San A n t o n i o Abad i n Cuzco. With h i s a i d the Quechua names f o r th e loom p a r t s were o b t a i n e d . The woman was from t h e town o f P i s a c b u t Dr. Chavez B a l l o n s a i d t h a t t h e costume was n o t from t h e r e . The costume was f o r t h e t o u r i s t s . Indeed two o f the s m a l l houses a l s o f u n c t i o n e d as shops. They were f u l l o f a r t e s t i p i c o s , l o c a l a r t i c l e s made t o s e l l t o t o u r i s t s , i n the t r a d i t i o n a l h a n d i c r a f t s t y l e o f the r e g i o n . The second weaver was o b s e r v e d i n t h e I n d i a n town o f O l l a n t a y -tambo, over a two day p e r i o d . T h i s woman, O c t a v i a S i n c h i , was from a nearby v i l l a g e which was o n l y r e a c h a b l e a l o n g a f o o t t r a i l . The v i l -l a g e i s c a l l e d Q u i l l y o (or K w i l l y o ) . The s e n o r a had walked i n t o O l l a n t a y t a m b o c a r r y i n g her s m a l l son and a l a r g e poncho t h a t she was i n t h e p r o c e s s o f weaving on a back s t r a p loom. While i n O l l a n t a y -tambo she demonstrated weaving on t h e poncho, and then made the warps f o r s e v e r a l narrow bands. She wove a v a r i e t y o f d i f f e r e n t p a t t e r n s , u s i n g two r e l a t e d s t r u c t u r e s , complementary-warp weave and supplemen-t a r y - w a r p weave (see a p p e n d i x ) . The narrow bands were woven w i t h f i n g e r - w e a v i n g t e c h n i q u e s . T h i s means t h a t e s s e n t i a l l y no equipment was used i n t h e i r manufacture, and a l l the work was donelby t h e manipu-l a t i o n o f t h e f i n g e r s . However, s t r i n g h e d d l e s were made o f some s c r a p s o f s t r o n g y a r n t o speed t h e weaving p r o c e s s . The s m a l l bands p a r t i a l l y woven by O c t a v i a S i n c h i , a r e now i n t h e p o s s e s s i o n o f t h e r e s e a r c h e r , t o whom t h e y were g i v e n a t t h e end o f the two days. The t h i r d weaver, a male p r o f e s s i o n a l , was o b s e r v e d a t work i n s i d e h i s house a t T i n t a . T i n t a i s s e v e r a l hours from Cuzco by v e r y rough roads and can be r e a c h e d by h i r e d c a r o r by t r a i n , s i n c e t h e v i l l a g e i s on the Cuzco-Puno l i n e . He worked on a v e r y low loom which had been s t a k e d out on t h e f l o o r i n t h e a r e a where l i g h t came i n t h r o u g h t h e open door. There were no windows i n the room. He worked, k n e e l i n g on the f l o o r on some o l d , handwoven r a g s , w i t h h i s knees t u c k e d i n under the f r o n t loom b a r . Only p a r t o f a weaving sequence was o b s e r v e d . T h i s weaver as a p r o f e s s i o n a l , g e n e r a l l y o n l y weaves when he has a s p e c i a l o r d e r , o r he may weave and s e l l t o one o f the Cuzco d e a l e r s , who make -54-r e g u l a r v i s i t s t o the o u t o f t h e way v i l l a g e s i n o r d e r t o buy up the l o c a l weaving and s e l l i t t o the t o u r i s t s i n the Cuzco and P i s a c markets. W h i l e i n T i n t a o t h e r weavers were v i s i t e d and t h e i r work viewed, but none o f the o t h e r s were o b s e r v e d a t work. The f o u r t h weaver was o b s e r v e d o v e r a t h r e e day p e r i o d when the r e s e a r c h e r s t a y e d w i t h a c a m p e s i n o 1 f a m i l y i n t h e I n d i a n town o f C h i n c h e r o . A l t h o u g h t h i s woman does weave l a r g e r p i e c e s , a t t h e t i m e t h a t t h e r e s e a r c h was c a r r i e d o u t she was weaving a s e r i e s o f bands w i t h th e h e l p o f her e l d e s t daughter, a c h i l d o f about tw e l v e y e a r s . These she l e f t p a r t i a l l y woven w i t h the h e d d l e s t r i n g s s t i l l a t t a c h e d and s p e c i a l l y made loom s t i c k s i n s e r t e d i n t h e warp, and t h e n s o l d them t o the v i s i t o r s who came t o the Sunday morning market a t C h i n c h e r o , d u r i n g t h e t o u r i s t season. The weaver and h e r daughter were working on a v a r i e t y o f p a t t e r n s , many o f which were s i m i l a r t o the bands o f p a t -t e r n weave t h a t d e c o r a t e d t h e c a r r y i n g c l o t h e s t h a t were used around :.the y y a r d as s e a t c o v e r s , when s i t t i n g on c o l d s t o n e s . The stone w a l l which e n c l o s e d one s i d e o f the y a r d i n which the house s a t , was p a r t o f the o r i g i n a l I n c a w a l l s o f one o f the t e r r a c e s around the I n c a market-p l a c e . H a l f t h e modern town i s b u i l t o v e r the e a r l i e r I n c a town and i n c o r p o r a t e s p a r t s o f e a r l i e r w a l l s i n t o the l a t e r s t r u c t u r e s . The weaver i n C h i n c h e r o warped up s e v e r a l new p i e c e s t o show how L o c a l name f o r the I n d i a n o r p a r t - I n d i a n p e o p l e who s t i l l make t h e i r l i v e l i h o o d by f a r m i n g / -55-t h e warping was done. She a l s o t a u g h t t h e r e s e a r c h e r t o weave, u s i n g the same method t h a t she had-used t o t e a c h her daughter, and t h e method i n which she a l s o had been t a u g h t t o weave when she was a c h i l d . Dur-i n g t h e v i s i t t h e senora a l s o demonstrated s p i n n i n g t e c h n i q u e u s i n g a drop s p i n d l e . B. S p i n n i n g S p i n n i n g o f t h e y a r n i s an a c t i v i t y t h a t i s a s s o c i a t e d w i t h weav-i n g t h e w o r l d o v e r . A d e s c r i p t i o n o f Andean s p i n n i n g w i t h a drop s p i n d l e i s i n c l u d e d here because o f a p a r t i c u l a r q u a l i t y o f Andean weaving. The t e x t i l e s p r o d u c e d on the c o n t i n u o u s warp loom a r e v e r y hardwearing, p a r t l y because o f how h a r d each w e f t s h o t i s b e a t e n i n , a f t e r i t s i n s e r t i o n i n t h e shed, b u t p a r t l y a l s o b e cause o f t h e q u a l i t y and c h a r a c t e r i s t i c s o f the y a r n i t s e l f . The Andean handspun y a r n i s g i v e n an e x t r a t i g h t t w i s t , which makes i t more r e s i s t a n t t o the f r i c t i o n t h a t m ight a f f e c t i t d u r i n g t h e weaving p r o c e s s as t h e shed changes a r e made. But a l s o , t h i s t i g h t and h a r d t w i s t g i v e s i t b e t t e r wearing p r o p -e r t i e s . The Andean s p i n n e r s have d e v e l o p e d a s p e c i f i c t e c h n i q u e t o s p i n t h i s k i n d o f y a r n . Even s y n t h e t i c y a r n s , t h a t have been c o m m e r c i a l l y spun as k n i t t i n g y a r n s , a r e f r e q u e n t l y r e s p u n o r over-spun, on t o p o f the p r e v i o u s s p i n n i n g t o g i v e a t i g h t e r t w i s t t o t h e y a r n . T h i s makes i t more d u r a b l e and hardwearing. Such q u a l i t i e s a r e p r i z e d i n the h i g h -l a n d s , where the l a b o u r i n v o l v e d i n making one poncho may be s p r e a d o v e r an e n t i r e y e a r . The over-spun, b r i g h t l y c o l o u r e d , s y n t h e t i c y a r n s may be seen i n many o f t h e more r e c e n t weavings. S p i n n e r s can be seen w a l k i n g a l o n g w i t h a s k e i n o f commercial y a r n s l u n g o v e r one arm and a -56-s p i n d l e d a n g l i n g from the o t h e r hand. The way i n which the y a r n i s spun w i l l d e c i d e t o a g r e a t e x t e n t , n o t o n l y what the f i n a l f a b r i c w i l l be b u t a l s o o f what q u a l i t y . I f the s p i n n i n g i s p o o r , unevenly spun and lumpy i n p l a c e s , t h i s w i l l a f f e c t the d u r a b i l i t y o f the f i n i s h e d f a b r i c , o f c o n c e r n t o Andean weavers, who e x p e c t a garment t o l a s t a l i f e t i m e . I t may take a weaver up t o a y e a r t o make a poncho, w i t h the l a b o u r o f s p i n n i n g , d y e i n g , weaving and f i n i s h i n g the p i e c e s s p r e a d between a l l the o t h e r n e c e s s a r y d a i l y c h ores and work i n the f i e l d s t o r a i s e f o o d . The y a r n w i l l be spun more t i g h t l y and f i n e l y i f i t i s t o be used f o r a poncho o r manta, r a t h e r t h a n f o r a b l a n k e t . I t w i l l be a t h i c k e r t h r e a d , o f c o a r s e f i b r e s i f i t i s t o be used f o r s t o r a g e s a c k s . While a p r o f e s s i o n a l weaver, w o r k i n g f o r e i g h t o r more hours a day, w i l l take from one t o one and a h a l f months t o weave a poncho, another weaver c o p i n g w i t h a l l the d a i l y c h o r e s , may take s e v e r a l months a t t h i s s t a g e . With an e n t i r e f a m i l y t o clothe:,\",, no weaver wants the c l o t h e s t o wear o u t i n a few y e a r s . 2 S p i n n i n g i s done w i t h a drop s p i n d l e which i s c a l l e d pushka i n the Quechua language. I t c o n s i s t s o f a s p i n d l e w h o r l and a s h a f t , which i s narrow a t one end and widens somewhat towards the o t h e r end, which i s sharpened i n t o a p o i n t . The s p i n n e r s o b s e r v e d a l l used a c a r v e d o r T h i s term was a l s o found by G o o d e l l i n 1968 ( 5 ) , b u t S t e v e n s o n (1974: 5) g i v e s the S p a n i s h term p a l o ( s t i c k ) . -57-t u r n e d wooden wh o r l and a m o r e v r o u g h l y shaped s h a f t , b u t S t e v e n s o n r e c o r d s the use o f a s o f t stone w h o r l (1974: 6 ) . S e v e r a l o f t h e s h a f t s l o o k e d as i f t h e y had been c u t from a b r a n c h and shaped w i t h a k n i f e . The s h a f t i s g e n e r a l l y about t e n t o t h i r t e e n i n c h e s l o n g , as i s t h e one shown i n f i g u r e 9. A c h i l d ' s s p i n d l e which was examined i n C h i n c h e r o , had a s h a f t seven and a h a l f i n c h e s l o n g and a r o u g h l y t u r n e d w h o r l t h a t was one and a h a l f i n c h e s i n d i a m e t e r and j u s t o v e r h a l f an i n c h t h i c k . T h i s s p i n d l e had been made f o r t h e g i r l by h e r f a t h e r . When she grew b i g g e r , h e r f a t h e r would make h e r a b i g g e r one. In response t o q u e s t i o n s i t seems t h a t the g i r l s b e g i n t o l e a r n t o s p i n a t about f i v e y e a r s o f age. T h i s i n f o r m a t i o n matches w i t h t h a t found by G o o d e l l i n 1967 and d i s c u s s e d by B i r d i n an a r t i c l e o f y a r n p r o d u c t i o n r a t e s (1968: 11). He mentions a s i x y e a r o l d g i r l , w h o s e s p i n n i n g was competent enough t o h o l d i t s own w i t h t h a t o f t h e a d u l t s p i n n e r s . However, c o n t r a r y t o what G o o d e l l found (1968: 6) I saw o n l y women s p i n n i n g , n o t men, and most o f th e s e tended t o be o l d e r women. I t may be t h a t i n the more o u t l y i n g d i s t r i c t s .the men s t i l l s p i n , b u t i n T i n t a , a male p r o f e s s i o n a l weaver i n d i c a t e d t h a t h i s w i f e d i d the s p i n n i n g w h i l e he d i d t h e weaving. S t e v e n s o n (1974: 6) r e p o r t s t h a t i n Chorcovos de S a n t i a g o the g i r l s are s i x t e e n o r sev e n t e e n b e f o r e t h e y b e g i n t o s p i n r e g u l a r l y , and t h a t young g i r l s do n o t s p i n . I n s u f f i -c i e n t i n f o r m a t i o n i s a v a i l a b l e t o i n d i c a t e whether t h i s i s ; a r e g i o n a l d i f f e r e n c e . O c c a s i o n a l l y one may see women w a l k i n g a l o n g the roadway, s p i n -n i n g as th e y go. The f a c t t h a t t h e y a r e s p i n n i n g does not slow t h e i r -58-w a l k i n g pace. On one o c c a s i o n I had' t o h u r r y t o keep up w i t h a woman who was s p i n n i n g as she walked. She had ch o r e s t o do els e w h e r e , and so, w i t h h e r baby on her back she walked a l o n g a t h e r normal pace, t a k i n g advantage o f an i d e a l o p p o r t u n i t y f o r some u n i n t e r r u p t e d s p i n n i n g . Another woman s p i n n e r was o b s e r v e d i n Cuzco i n d o o r market. She was c r o u c h e d b e s i d e a s m a l l heap o f v e g e t a b l e s t h a t she had bro u g h t i n t o s e l l o r b a r t e r . T h i s woman spun a v e r y s h o r t y a r n l e n g t h , s i n c e h e r s i t t i n g p o s i t i o n d i d n ot a l l o w f o r the a c c u m u l a t i o n o f l o n g t w i s t e d t h r e a d s b e f o r e t h e y were wound onto t h e s p i n d l e . She k e p t t h e t i p o f t h e x s p i n d l e o v e r , and sometimes i n a bowl which s a t b e s i d e h e r . Ac-c o r d i n g t o O'Neale (1949: 115) t h i s i s an Aymara t e c h n i q u e r a t h e r than a Quechua one. The i n f l u e n c e may have t r a v e l l e d up t h e V i l c a n o t a from Puno on Lake T i t i c a c a , which i s the f r i n g e o f the Aymara s p e a k i n g a r e a . S p i n n i n g : U s i n g a Drop S p i n d l e The unspun f l e e c e i s c a r r i e d t u c k e d under the l e f t arm. The s p i n d l e hangs suspended by the a l r e a d y spun y a r n from the r i g h t hand. A few f i b r e s are p u l l e d g e n t l y from the f l e e c e i n a c o n t i n u o u s r o v i n g . T h i s i s g i v e n a s m a l l amount o f t w i s t by the r i g h t hand. T h i s t w i s t h e l p s t o h o l d the f i b r e s t o g e t h e r and makes i t p o s s i b l e t o keep p u l l -i n g t h e f l e e c e i n t o a r o v i n g . When about tw e l v e t o e i g h t e e n i n c h e s has been p u l l e d o u t , t h e r o v i n g i s a t t a c h e d t o near t h e t o p o f t h e s p i n d l e s h a f t by a h a l f - h i t c h k n o t . The s p i n d l e i s t h e n a l l o w e d t o s p i n i n the a i r , r a p i d l y t w i s t i n g the t h r e a d . Once t h i s t h r e a d has taken enough t w i s t , and t h i s the s p i n n e r must judge by e x p e r i e n c e , the y a r n i s once more p u l l e d o ut from t h e unspun f l e e c e . The t w i s t i s a l l o w e d t o t r a v e l -59-a l o n g these f i b r e s t h r o u g h the r i g h t hand f i n g e r s , w hich c o n t r o l the amount o f t w i s t p a s s e d a l o n g . I f t h e y a r n becomes t h i c k e r n e a r e r t h e s p i n d l e r a t h e r t h a n t h e f l e e c e , the t w i s t e d f i b r e s are wrapped around the l e f t hand t o p r e v e n t them t a n g l i n g . Then the s h o r t e r , t h i c k e r p i e c e i s p u l l e d o u t t o the same t h i n n e s s as t h e r e s t o f the y a r n . The s p i n d l e i s dropped and s p i n n i n g c o n t i n u e s , u n t i l the s p i n d l e i s a l m o s t t o u c h i n g t h e ground ( f i g . 10). Once t h i s i n i t i a l s p i n n i n g has been done, the s p i n n e r s t o p s the t w i s t and t a k e s h o l d o f t h e s p i n d l e w i t h h e r r i g h t hand, w h i l e w i n d i n g t h e spun t h r e a d around h e r l e f t hand ( f i g . 1 1 ) . The s p i n d l e i s dropped a g a i n and t h e s p i n n i n g a c t i o n c o n t i n u e s . T h i s time i t i s n o t f r e s h l y p u l l e d out f i b r e s t h a t a r e b e i n g spun, b u t the t h r e a d which has a l r e a d y been t w i s t e d . The r i g h t hand c o n t r o l s t h e amount o f t w i s t which i s p a s s e d up the t h r e a d . E x t r a t h r e a d i s s l i p p e d o f f the l e f t hand as r e q u i r e d . Once a l l the t h r e a d t h a t was on the l e f t hand has been over-spun, i t i s wound back onto the l e f t hand. The h a l f - h i t c h knot i s removed from the s p i n d l e shank and the t h r e a d i s wound onto the s p i n d l e i n a downward and upward s p i r a l ( f i g . 12), f i n i s h i n g w i t h a h a l f - h i t c h k n o t t o s e c u r e the t h r e a d and p r e v e n t i t unwinding o f f t h e s p i n d l e . About tw e l v e i n c h e s o f y a r n i s l e f t f r e e , ready f o r t h e next s t a g e o f s p i n n i n g . The s p i n d l e i s swung t o s t a r t i t s p i n n i n g a g a i n . The r i g h t hand h o l d s the t h r e a d f i r m l y so t h a t t h e t w i s t cannot p a s s u n t i l enough F i g u r e 10 S p i n n i n g : p u l l i n g o u t t h i c k e r l e n g t h o f p a r t i a l l y spun y a r n w h i l e s p i n d l e s p i n s t o ground F i g u r e 11 H o l d i n g s p i n d l e w h i l e wind-i n g y a r n around hand. -62-f i b r e s have been p u l l e d o u t . T h i s i s done by e x e r t i n g g e n t l e p r e s s u r e t o draw the f i b r e s from the b u n d l e o f f l e e c e ( f i g . 1 3 ) . Once t h e f i b r e s have been p u l l e d out t o an even t h i c k n e s s , and no more t h a n a c o m f o r t a b l e arm's l e n g t h , the t w i s t i s a l l o w e d t o t r a v e l a l o n g and t i g h t e n the f i b r e s up i n t o a t h r e a d . T h i s t h r e a d i s t h e n wrapped around the l e f t hand and o v e r - s p u n . C. F i n g e r Weaving o f Bands: Ol l a n t a y t a m b o and C h i n c h e r o 1. Warping T h i s method was o b s e r v e d i n two d i f f e r e n t v i l l a g e s , O l l antaytambo and C h i n c h e r o . I n O l l a n t a y t a m b o , Senora O c t a v i a S i n c h a used l i t t l e p i e c e s o f s t i c k b r o k e n o f f t h e b r a n c h o f a t r e e . I n C h i n c h e r o , S e n o r a S t e f a n i a Quispe Huaman had f o u r l a r g e i r o n n a i l s o r s t a k e s which she used f o r w a r p i n g and t o h o l d t h e o t h e r end o f t h e work when she was weaving. B o t h weavers s e t up a warp f o r a warp-faced, complementary-warp, patternweave, b u t t h e method o f warping i s e q u a l l y a p p l i c a b l e f o r o t h e r warp-faced p a t t e r n weaves on b e l t s and bands. Senbra O c t a v i a b e g i n s by d r i v i n g the f o u r s t i c k s i n t o the ground o f the c o u r t y a r d , u s i n g a stone t o hammer them. She s e t s the f o u r s t i c k s o u t i n a row, w i t h the o u t e r two a t t h e d i s t a n c e r e q u i r e d f o r the band t h a t she i s g o i n g t o weave. The o t h e r two s t i c k s are spaced between t h e s e . Senora S t e f a n i a i n C h i n c h e r o makes a l a r g e l o o p o f wool by s p r e a d i n g o u t h e r arms. She t i e s a k n o t t o s e c u r e the l o o p . She then hammers i n one o f the l a r g e r i r o n s t a k e s a t a s l i g h t a n g l e , u s i n g a c o n v e n i e n t stone as a hammer. She n e x t s e t s the l o o p around the s t a k e and extends i t as f a r as i t w i l l r e a c h , g i v e s i t a t w i s t and hammers i n -63-t h e second l a r g e stake t o h o l d i t t h e r e . The two s m a l l e r s t a k e s are s e t i n the ground between t h e f i r s t p a i r . The l o o p o f wool i s s e t i n a f i g u r e o f e i g h t w i t h the t w i s t coming between the c e n t r e s t a k e s . Sei?ora O c t a v i a b e g i n s warping by t y i n g the c o l o u r t o be used f o r t h e o u t e r s t r i p e t o the s t i c k . Then she b r i n g s the y a r n between c e n t r e s t i c k s B and C, and around t h e o u t e r s t i c k D. I t i s then b r o u g h t back between t h e c e n t r e s t i c k s b u t i n t h e o p p o s i t e d i r e c t i o n from the p r e v i o u s passage so t h a t i t c r o s s e s the f i r s t t h r e a d ( f i g . 14). The t h r e a d i s t a k e n around A, as shown i n t h e f i g u r e 15. T h i s i s r e p e a t e d , by b o t h women, u n t i l enough t h r e a d s have been wrapped f o r t h e f i r s t warp s t r i p e . Senora S t e f a n i a b r e a k s the t h r e a d and t i e s on a new c o l o u r a t A, b u t Senora O c t a v i a wraps the y a r n s e v e r a l t i m e s around A, p u l l i n g i t i n a s p i r a l up the s t i c k , and t h e n s e t s the b a l l o f wool t o one s i d e , t o be used a g a i n l a t e r i n the warp i n g . She. t i e s a new c o l o u r t o A. Both weavers c o n t i n u e i n t h i s way, making sure t h a t t h e t h r e a d s a l t e r n a t e d t h r o u g h B and C i n a c r o s s , from l e f t t o r i g h t and from r i g h t t o l e f t . When the o u t e r warp s t r i p e s have been completed, g e n e r a l l y u s i n g two o r t h r e e c o l o u r s , the weaver i s ready t o b e g i n warping t h e p a t t e r n a r e a o f t h e warp. F o r t h i s two c o l o u r s a r e t i e d on, e i t h e r t o A o r t o the p r e v i o u s c o l o u r . A t t h i s p o i n t , i f l a t e r rearrangement o f the warps i s t o be a v o i d e d , c a r e must be t a k e n t o -64-I F i g u r e 14 Warping: f o r m i n g t h r e a d c r o s s between c e n t r e s t i c k s . -65-F i g u r e 15 Warp wrapped i n a f i g u r e o f e i g h t around f o u r s t a k e s , f o r m i n g t h e c r o s s between t h e c e n t r e p a i r , shown i n s i d e view and from above. -66-i n s u r e t h a t t h e t h r e a d s a l t e r n a t e i n d i r e c t i o n i n t h e l a y e r s ' o f t h r e a d which make up the c r o s s \"between B and C. F o r ease o f d e s c r i p -t i o n t h e two c o l o u r s w i l l be r e f e r r e d t o as R f o r r e d and G f o r g r e e n . K e e p i n g the two t h r e a d s s e p a r a t e d by a f i n g e r , they a r e t a k e n towards B. While R remains on the near s i d e o f B, G i s t a k e n around the f a r or l e f t s i d e so t h a t the s t i c k s e p a r a t e s the two c o l o u r s , as i n diagram 16. I t i s i m p o r t a n t t o note t h a t i n the p r e v i o u s row o f s i n g l e c o l o u r warping, t h e t h r e a d was r e t u r n e d around D and between C and B from t h e l e f t t o the r i g h t , as shown i n diagram 15. T h e r e f o r e G must c r o s s t o the r i g h t o f C b e f o r e R c r o s s e s t o the l e f t o f C, so t h a t G l i e s below R t o keep t h e a l t e r n a t i n g o r d e r o f t h e t h r e a d s i n t h e c r o s s - o v e r between B and C. F a i l u r e t o keep t h e t h r e a d s i n t h i s o r d e r a t t h e c r o s s w i l l n e c e s s i t a t e t h e rearrangement o f most o f the t h r e a d s b e f o r e t h e h e d d l e s t r i n g s can be t i e d and weaving can b e g i n . Both t h r e a d s are t h e n t a k e n around D and back towards C. R i s t a k e n around the l e f t s i d e o f C, the same s i d e as p r e v i o u s l y , w h i l e G p a s s e s on the n e a r s i d e . G i s t h e n c r o s s e d o v e r t o the l e f t o f B and R i s c r o s s e d on top o f G, t o the r i g h t o f B ( f i g . 17). Both t h r e a d s a r e t h e n taken around A. The e n t i r e sequence i s r e p e a t e d from the b e g i n n i n g , u n t i l enough t h r e a d s have been warped f o r th e p a t t e r n s e c t i o n . These two t h r e a d s a r e then t i e d o f f by Seftbra O c t a v i a and the p r e v i o u s t h r e a d s which have been wrapped around A are unwrapped and the o u t e r s t r i p e s a r e warped up i n r e v e r s e o r d e r t o the b e g i n n i n g . -67-F i g u r e 16 Warping: Showing d i r e c t i o n o f warping w i t h two c o l o u r s , ( i ) from A t o D, ( l i ) around D and back t o A. - 6 8 -Warping: Octavia laying the double thread cross between the centre s t i c k s -69-Senora S t e f a n i a \" b r e a k s the two t h r e a d s and t i e s on the n e x t c o l o u r , a l s o i n r e v e r s e o r d e r f o r the o u t e r s t r i p e s . Once the warping o f the band i s complete, the t h r e a d i s broken o f f and about f i f t e e n t o twenty i n c h e s i s l e f t , which i s t e m p o r a r i l y wrapped around A. The warp i s now ready f o r the t y i n g o f the h e d d l e s t r i n g s . 2. T y i n g the Heddle Strings-. Senora O c t a v i a p u l l s the two c e n t r e s t i c k s out o f t h e ground b u t l e a v e s them i n the warp t o s e p a r a t e the t h r e a d s o f t h e c r o s s . A t h r e a d o f smooth, h a r d t w i s t , about twenty i n c h e s l o n g i s p a s s e d t h r o u g h t h e shed formed by s t i c k B. A l o o p about t h r e e q u a r t e r s o f an i n c h i n s i z e i s made a t one end. The l o o p i s p l a c e d on the f i r s t f i n g e r o f t h e l e f t hand which i s h e l d c l o s e t o the t h r e a d s . The thumb and f i r s t f i n g e r o f the r i g h t hand a r e used t o p i c k up a l o o p o f the l o n g t h r e a d from between t h e f i r s t and second warp t h r e a d s , under which the l o o p p a s s e s . T h i s l o o p i s g i v e n a h a l f t w i s t and p l a c e d on the f i r s t f i n g e r o f t h e l e f t hand b e s i d e the f i r s t l o o p . T h i s i s then r e p e a t e d w i t h a l o o p p i c k e d up from between the second and t h i r d warp t h r e a d s ( f i g . 18). I n t h i s way each warp t h r e a d i s s e c u r e d by a l o o p , about t h r e e q u a r t e r i n c h e s l o n g , which w i l l keep them s e p a r a t e from e a c h o t h e r . Once a l l the warp t h r e a d s have been caught up, and t h i s o n l y r e f e r s t o the warp t h r e a d s which l i e above the h e d d l e t h r e a d , n o t t h o s e t h a t l i e below, the end o f t h e t h r e a d i s d o u b l e d and the l o o p i s p a s s e d through a l l the h e d d l e l o o p s b e i n g h e l d on the f i r s t f i n g e r o f the l e f t hand and t h e s e a r e t h e n t i e d .securely t o g e t h e r i n a b u n d l e . The e x c e s s l e n g t h -70-F i g u r e 1 8 T y i n g t h e h e d d l e s : O c t a v i a p i c k s u p a l o o p o f h e d d l e t h r e a d f r o m b e t w e e n e a c h w a r p t h r e a d . F i g u r e 19 A t t a c h i n g h e d d l e s t i c k : S t e f a n i a h o l d s s t i c k r e a d y t o l a s h t o h e d d l e l o o p s . -71-o f l o o p i s t h e n p a s s e d t h r o u g h the shed h e l d open by the o t h e r s t i c k , C, and l e a v i n g about t h r e e i n c h e s \u00C2\u00A9f s l a c k the end i s t h e n t i e d o f f t o the h e d d i e s t r i n g s so t h a t the two sheds are h e l d by the same l e n g t h o f y a r n . The s t i c k s are removed a t t h i s p o i n t , h a v i n g s e r v e d t h e i r f u n c t i o n . Seftora S t e f a n i a a l s o b e g i n s by making a t h r e e q u a r t e r i n c h l o o p i n a f i r m , l e s s s t i c k y y a r n . T h i s l o o p i s p a s s e d t h r o u g h the shed i n th e warp c r e a t e d by s t i c k B. The l o o p i s p l a c e d on the f i r s t f i n g e r o f the l e f t hand and i s h e l d j u s t above t h e warp. W i t h the f i r s t f i n g e r and thumb o f the r i g h t hand the weaver p i c k s up a l o o p o f t h r e a d from between the f i r s t and second t h r e a d s o f the warp which l i e s above the y a r n . The l o o p i s g i v e n a h a l f t w i s t and p l a c e d on the f i r s t f i n g e r b e s i d e t h e f i r s t l o o p . T h i s i s c o n t i n u e d a c r o s s the warp u n t i l a l l the t o p t h r e a d s have been caught up i n a l o o p o f y a r n . Once a l l the l o o p s have been made, the excess t h r e a d i s then t i e d t o the end o f a s h o r t s t i c k , t h a t i s a l i t t l e w i d e r than the warp w i d t h ( f i g . 19). The y a r n i s t h e n p a s s e d t h r o u g h the h e d d i e l o o p s and t i e d f i r m l y t o the o t h e r end o f t h e s t i c k . A n o t c h i s c u t i n t o each end o f t h e s t i c k t o h o l d the t h r e a d s e c u r e l y and p r e v e n t s l i p p i n g . The s t r i n g p a s s e d t h r o u g h the h e d d i e l o o p s i s then whipped t o the s t i c k e v e r y t h r e e o r f o u r h e d d i e s t r i n g s . -72-A second l e n g t h o f y a r n i s t i e d b e h i n d t h e heddie s t i c k i n the shed made by C. T h i s i s sometimes c a l l e d the l e a s e c o r d and h o l d s the second shed warps. 3. S t a r t i n g the Band Senora O c t a v i a p i c k s up t h e wrapped t h r e a d s which a r e h e l d by S t i c k A and i n s e r t s h e r f i n g e r i n the l o o p s t o p r e v e n t them s l i p p i n g . T h i s c r e a t e s t h e f i r s t shed t h r o u g h which the e x c e s s warp t h r e a d i s p a s s e d . The s e n o r a p u l l s i t f i r m b u t not t i g h t . She makes sure t h a t a l l the l o o s e ends and k n o t s are p a s s e d t h r o u g h t h i s shed, so t h a t t h e r e w i l l be no p i e c e s h a n g i n g . P l a c i n g her f i n g e r s i n the l o o p between the h e d d i e s t r i n g s and t h e l e a s e c o r d , she p u l l s on the h e d d l e s to b r i n g t h e s e warp t h r e a d s up and away from the o t h e r s . Once enough o f t h e new shed has been opened she i n s e r t s her f i n g e r s i n t h e shed and extends t h e f i n g e r s t o f o r c e the shed open. The shed c r o s s i s b r o u g h t f o r w a r d a g a i n s t the f i r s t i n s e r t i o n o f weft, and b e a t e n i n by the p r e s s u r e o f the f i n g e r s . The second row o f w e f t i s i n s e r t e d , a l o n g w i t h any l o o s e ends. A f t e r one o r two more rows the weaver i s ready t o b e g i n t h e p a t t e r n p i c k - u p . Senora S t e f a n i a b e g i n s the band by p a s s i n g a s t r i n g t h r o u g h the f i r s t shed and t y i n g t h e s t r i n g around h e r w a i s t . She then opens the new shed by r e l a x i n g t h e t e n s i o n on the warp and p u l l i n g up on the h e d d i e s t i c k . She i n s e r t s a s m a l l shed s t i c k i n the newly opened shed -73-and by e x e r t i n g p r e s s u r e on the s t i c k and a t t h e same time i n c r e a s i n g the t e n s i o n on the warp t h r e a d s she g r a d u a l l y drags the warp c r o s s and t h e s t i c k towards h e r . She b e a t s i n t h e c r o s s , u s i n g a s l i g h t r o c k i n g motion. A w e f t , the e x c e s s end o f the l a s t warp t h r e a d , i s i n s e r t e d and p u l l e d f i r m l y i n t o p l a c e . She l i f t s t h e l e a s e c o r d , p u l l i n g up on i t , u n t i l t h e r e i s space t o i n s e r t a shed s t i c k i n the shed i t makes. ..She s t a n d s the shed on i t s edge and works t h e s e t h r e a d s p a s t t h e heddle s t r i n g s . Once t h e y a r e c l e a r o f the h e d d l e s she i n s e r t s the shed s t i c k here and b r i n g s the s t i c k f o r w a r d and a g a i n s t the w e f t . She b e a t s i n the w e f t , so t h a t the warp forms a s l i g h t r i d g e coming o v e r t h e w e f t . She i s now ready t o b e g i n the p a t t e r n p i c k - u p . 4. Weaving a Narrow Band Fo r c onvenience and ease o f working Senora O c t a v i a had t a k e n the warp and wrapped i t around h e r b i g t o e . W i t h her l e g s s t r e t c h e d o u t , she m a i n t a i n s t e n s i o n on the warp. When she b e g i n s weaving t h e band i t i s a t f i r s t h e l d by the f i n g e r s . A f t e r the f i r s t few rows o f weaving have been completed i t i s t h e n p i n n e d t o the s k i r t o f h e r b i b b e d apron. The l a r g e p i n which i s used f o r t h i s i s c a l l e d T'pana. I t i s a l s o used t o p i n on the manta o r s h o u l d e r wrap t h a t many o f the women wear. To open the shed the weaver i n s e r t s h e r f i n g e r s i n t o the l o o p formed by the h e d d l e s t r i n g s and the l e a s e c o r d (which s e p a r a t e s the second shed t h r e a d s , b e h i n d t h e h e d d l e s t r i n g s ) , and p u l l s upwards -74-w i t h the thumb. The o t h e r f i n g e r s a r e extended a g a i n s t t h e t h r e a d s , p u l l i n g them a p a r t ( f i g . 20). Once the t h r e a d s ' o f the r e a r shed a r e f r e e , the f i n g e r s a r e i n s e r t e d i n t o t h e shed and pushed up a g a i n s t the h e d d i e s t r i n g s t o s e p a r a t e t h e t h r e a d s and p u l l t h o s e o f the r e a r shed p a s t the h e d d l e s ( f i g . 2 1 ) . Once t h e shed has been worked p a s t t h e h e d d l e s the thumb i s i n s e r t e d i n t h e shed and a space made f o r the o t h e r f i n g e r s . A l l the f i n g e r s are i n s e r t e d i n the new shed ( f i g . 22) and i t i s b r o u g h t f o r w a r d a g a i n s t the woven s e c t i o n , ready f o r t h e new p a t t e r n p i c k - u p . Where the t h r e a d s a r e s t i c k y and c l i n g t o each o t h e r t h e y a r e s c o r e d w i t h the thumb s e v e r a l times t o l o o s e n them. T h i s has the same e f f e c t as s c o r i n g w i t h the l l a m a bone s t i c k . Once t h e shed has been changed, i t i s h e l d open w h i l e t h e p a t t e r n p i c k - u p i s done. Band A: Complementary-warp Weave The weaver h o l d s the end o f the warp i n the l e f t hand w i t h the thumb and second and t h i r d f i n g e r s . The f i r s t f i n g e r i s i n s e r t e d i n the shed. She uses the.thumb and f i r s t f i n g e r o f h e r r i g h t hand t o p i c k up o r drop the warp t h r e a d s f o r t h e p a t t e r n . P i c k e d up t h r e a d s are h e l d by the second and t h i r d f i n g e r s o f t h a t hand. Once a l l the p a t t e r n has been p i c k e d up t h e shed i s opened enough t o p a s s t h r o u g h the w e f t , which i s p u l l e d through a l m o s t t o the end. The f i n g e r i s removed from t h e shed and t h e n the s e l v e d g e i s h e l d w h i l e the w e f t i s p u l l e d up f i r m l y , b u t n o t so much t h a t i t p u l l s i n on the s e l v e d g e . - 7 5 -Opening r e a r shed on narrow band: O c t a v i a Pushes warp t h r e a d s a p a r t t o f o r c e r e a r warp shed p a s t h eddle s t r i n g s . -76-F i g u r e 22 Opening r e a r shed on narrow band: O c t a v i a b r i n g s t h e shed c r o s s forward. I F i g u r e 23 P a t t e r n p i c k up on narrow band: O c t a v i a p i c k s up t h r e a d s from below -77-Band B: Supplementary-warp Weave The weaver i n s e r t s her f i n g e r s i n the shed, ready t o b e g i n t h e p a t t e r n p i c k - u p . Three f i n g e r s o f the r i g h t hand a r e i n s e r t e d i n the shed, b e h i n d t h e m i d d l e f i n g e r o f t h e l e f t hand. The f i n g e r s and thumb o f the r i g h t hand h o l d t h e warp t h r e a d s a l r e a d y s e l e c t e d . As the warp t h r e a d s a r e p a s s e d a c r o s s from'.the l e f t hand t h e y a r e caught up by the f i r s t f i n g e r and thumb o f the r i g h t \" hand. The f i r s t r f i n g e r o f t h e l e f t hand l i e s i n the shed w i t h the second f i n g e r l y i n g below the l o w er t h r e a d s as i n f i g u r e 23, so t h a t i t can be used t o p i c k up t h r e a d s from below. F i g u r e 24 shows the second f i n g e r p u s h i n g up two t h r e a d s . The t h r e a d s a r e h e l d between the f i r s t and second f i n g e r s o f the l e f t hand and t h e n p a s s e d a c r o s s t o the r i g h t hand. T h i s i s c o n t i n u e d a c r o s s t h e w i d t h o f t h e band. The w e f t i s p a s s e d t h r o u g h the p a t t e r n shed, as a l r e a d y d e s c r i b e d f o r Band A. The weaver i n s e r t s her bunched f i n g e r s between the h e d d l e s t r i n g s and the l e a s e c o r d . She p u l l s up w i t h the thumb a g a i n s t the c o r d s , w h i l e p r e s s i n g down w i t h the o t h e r f i n g e r s a g a i n s t the warp. To s e p a r a t e s t i c k y t h r e a d s , t h e weaver p u l l s backwards and forwards i n a sawing m o t i o n . T h i s s e p a r a t e s the h e d d l e s t r i n g warps from t h e o t h e r s , p u l l i n g them up and t h r o u g h t h e o t h e r warp t h r e a d s o f t h e p r e v i o u s shed. Once t h e y a r e s e p a r a t e d the f i n g e r s a r e f o r c e d i n t o the space and p r e s s u r e a p p l i e d t o p u l l the s t i c k y warp t h r e a d s a p a r t ( f i g . 25). W i t h t e n s i o n on the warp t h r e a d s t h e shed c r o s s i s b r o u g h t forwards towards the weaver, and i s b e a t e n a g a i n s t t h e w e f t t o h e l p pack i t down. The -78-F i g u r e 24 P a t t e r n p i c k u p o n n a r r o w b a n d : O c t a v i a p i c k s t w o t h r e a d s t o t r a n -s f e r t o r i g h t h a n d . F i g u r e 25 O p e n i n g h e d d l e s h e d o n n a r r o w b a n d : O c t a v i a p u l l s u p o n h e d d l e s s t r i n g s t o s e p a r a t e h e d d l e s h e d t h r e a d s . -79-p a t t e r n p i c k up i s then c a r r i e d out and the w e f t p a s s e d t h r o u g h the p a t t e r n shed, as p r e v i o u s l y d e s c r i b e d . Where a more complex p a t t e r n i s b e i n g woven s e v e r a l h e d d l e s may be used. F i g u r e 26 shows the s t i c k s p l a c e d t e m p o r a r i l y i n the warp t o h o l d t h e t h r e a d s w h i l e the new h e d d i e s t r i n g s a r e made. F i g u r e 27 shows a band b e i n g woven u s i n g s e v e r a l h e d d l e s . The shed i s changed as p r e v i o u s l y d e s c r i b e d , e x c e p t t h a t where the h e d d l e s are n o t a t t a c h e d t o a l e a s e c o r d t h e weaver p u l l s s t r a i g h t up on the h e d d i e s t r i n g s t o s e p a r a t e o u t the new shed t h r e a d s . A l s o , the new shed may have t o be t a k e n p a s t s e v e r a l sets'\"of h e d d l e s i n o r d e r t o open the shed f o r t h e p a t t e r n p i c k - u p . 5. Weaving a wide band: S t e f a n i a Weaving on a wide band i s c a r r i e d o u t w i t h the h e d d i e s t r i n g s a t t a c h e d t o a s t i c k , as d e s c r i b e d on page i n the s e c t i o n on t y i n g the h e d d i e s t r i n g s . The p r o c e s s o f weaving i s made e a s i e r , and more even by u s i n g up t o s i x narrow shed/sword s t i c k s . I n some ways t h i s resembles the weaving o f the wide garment w i d t h s d e s c r i b e d e a r l i e r . The weaver b e g i n s by o p e n i n g t h e h e d d i e shed. She r e l a x e s t e n s i o n on the warp t h r e a d s and p u l l s upwards on the h e d d i e s t i c k , a t the same time sawing back and f o r t h t o s e p a r a t e any t h r e a d s which may have a tendency t o s t i c k t o g e t h e r . Once the warp t h r e a d s have been s e p a r a t e d and t h e r e i s a space underneath the h e d d i e s t r i n g s , one o f F i g u r e 26. O c t a v i a uses s e v e r a l s t i c k s t o h o l d a d d i t i o n a l p a t -t e r n sheds. F i g u r e 26 O c t a v i a uses m u l t i p l e h e d d l e s -81-the s h o r t s t i c k s i s i n s e r t e d i n t o t h i s new shed. I t i s p l a c e d f l a t , and as t e n s i o n i s once more a p p l i e d t o the warp the s t i c k i s b r o u g h t f o r w a r d s towards the weaver. I f t h e t h r e a d s do n o t s e p a r a t e e a s i l y , t hey can be l o o s e n e d by the s c r a p i n g o f t h e thumbs a c r o s s the w i d t h o f t h e warp. W h i l e m a i n t a i n i n g p r e s s u r e on t h e s t i c k , t h e weaver s c r a p e s w i t h b o t h thumbs from the c e n t r e o f the warp a c r o s s t o the o u t s i d e edges. T h i s a c t i o n i s c o n t i n u e d as o f t e n as i s n e c e s s a r y t o b r i n g the b e a t e r s t i c k up a g a i n s t the woven edge. The weaver next opens the r e a r shed by p u l l i n g up on the l e a s e c o r d which i s t i e d b e h i n d the h e d d i e s t i c k . A nother b e a t e r s t i c k i s i n s e r t e d i n t o the space. I t i s t u r n e d on edge and b r o u g h t up c l o s e b e h i n d t h e h e d d i e s t i c k . The warp i s s c o r e d w i t h b o t h thumbs, i n f r o n t o f the h e d d i e s t r i n g s and the warp t h r e a d s a r e g r a d u a l l y s e p a r a t e d . The t h r e a d s r a i s e d by t h e b e a t e r s t i c k b e h i n d the h e d d l e s a r e b r o u g h t p a s t t h e h e d d i e s t r i n g s and c l e a r e d from them. W h i l e one hand h o l d s them s e p a r a t e from the o t h e r warp t h r e a d s , the s t i c k b e h i n d the h e d d i e s t r i n g s i s removed and i n s e r t e d i n the shed space i n f r o n t o f the h e d d i e s t r i n g s . I t i s p l a c e d f l a t and then, w i t h t e n s i o n a p p l i e d t o : t h e warp i t i s br o u g h t f o r w a r d towards the weaver, as was the p r e v i o u s s t i c k . I t i s p l a c e d c l o s e t o t h e f i r s t s t i c k . T h i s e n t i r e p r o c e s s o f o p e n i n g the h e d d i e shed and i n s e r t i n g a s t i c k , i s r e p e a t e d , f o l l o w e d by the i n s e r t i o n o f a s t i c k i n t o t h e l e a s e c o r d shed. The weaver may work w i t h up t o s i x s t i c k s . Sometimes, one o f them i s l e f t p e r m a n e n t l y i n the l e a s e c o r d shed, b u t b e h i n d the h e d d i e s t i c k . -82-Once a l l the s t i c k s have been p l a c e d t h e weaver has a c h o i c e o f two ways o f p r o c e e d i n g . She may do t h e p i c k - u p o f p a t t e r n t h r e a d s i n the f i r s t shed, f o l l o w e d by the i n s e r t i o n o f the w e f t i n t h a t shed, o r she may do the p a t t e r n p i c k - u p i n each o f the sheds h e l d by one o f t h e s t i c k s , and o n l y t h e n p a s s the w e f t t h r o u g h each p a t t e r n shed i n t u r n . B o t h methods were o b s e r v e d b e i n g used by one weaver, so i t i s a m a t t e r o f p e r s o n a l p r e f e r e n c e . T h i s may be i n f l u e n c e d by how f a m i l i a r t h e weaver i s w i t h t h e p a t t e r n t h a t she i s weaving, f o r i t i s h a r d e r t o see the p a t t e r n development when i t i s h e l d by t h e s t i c k s b e f o r e the w e f t s have been i n s e r t e d . To b e g i n p a t t e r n p i c k - u p , the shed s t i c k s a r e pushed back two o r t h r e e i n c h e s , t o give- a s m a l l working a r e a . T h i s a r e a does n o t need t o be l a r g e , f o r t h e weaver o n l y needs enough space t o i n s e r t her f i n g e r s and i n t e r c h a n g e the t h r e a d s f o r t h e p a t t e r n . The f i r s t f i n g e r o f each hand i s i n s e r t e d i n t o the shed and t h r e a d s a r e h e l d s e c u r e by the thumbs which s i t on top o f the warp t h r e a d s . Threads a r e s e l e c t e d and p a s s e d t o t h e l e f t hand. The t o p t h r e a d s which a r e n o t wanted are dropped from t h e r i g h t hand w h i l e t h e a p p r o p r i a t e t h r e a d i s p i c k e d up from below by the second f i n g e r and f i r s t f i n g e r o f the l e f t hand. They a r e t h e n h e l d by the f i r s t f i n g e r and thumb o f the l e f t hand ( f i g . 2 8). In f i g u r e 29 t h e weaver i s shown s e l e c t i n g two t h r e a d s o f the t o p shed and p a s s i n g them a c r o s s t o the l e f t hand. Once p a t t e r n p i c k - u p i s completed the weaver removes the shed s t i c k from the shed and i n s e r t s i t i n t o the p a t t e r n shed. A t t h i s p o i n t she e i t h e r (1) p l a c e s i t on edge and p a s s e s the w e f t t h r o u g h ( f i g . 30), and t h e n F i g u r e 28 P a t t e r n p i c k up on a wide band: S t e f a n i a r e a c h e s f o r upper warp p a t t e r n t h r e a d . F i g u r e 29 P a t t e r n p i c k up on wide band: S t a f a n i a p a s s e s lower warp p a t t e r n t h r e a d t o l e f t hand. -84-h o l d s the l o o p w h i l e she p u l l s the w e f t t h r e a d up. T h i s i s then f o l l o w e d by t h e removal o f t h e shed s t i c k and the b e a t i n g i n o f t h e w e f t by the next shed s t i c k b e f o r e c o n t i n u i n g w i t h the p a t t e r n p i c k -up, o r (2) she s l i d e s the shed s t i c k f o rward, and b r i n g s t h e n e x t shed s t i c k f o r w a r d a l s o . She then b e g i n s the p a t t e r n p i c k - u p f o r the n e x t row o f weaving, b u t w i t h o u t . h a v i n g p a s s e d t h e w e f t t h r o u g h the p r e v i o u s shed. F i g u r e 34 shows where t h i s has been done f o r s e v e r a l p a t t e r n p i c k - u p s . Once a l l b u t one o f the s t i c k s have been i n s e r t e d i n t o a p a t t e r n shed, t h e weaver t h e n pushes each o f them i n t u r n back towards the h e d d i e s t i c k so t h a t she a g a i n has a narrow working space c l o s e t o h e r , a t the f i r s t s t i c k . The l a s t shed s t i c k h o l d s no p a t t e r n p i c k - u p , f o r i t w i l l be used as the b e a t e r o f the l a s t p a t t e r n row. I t w i l l t h e n be the f i r s t shed s t i c k i n the new sequence. She then t u r n s the f i r s t s t i c k on i t s s i d e and i n s e r t s t h e w e f t t h r o u g h the shed. She p u l l s the w e f t through, t a k i n g c a r e n o t t o p u l l up t o o t i g h t l y on the s e l v e d g e edge. The shed s t i c k i s removed and the next shed s t i c k i s used as a sword b e a t e r t o pack i n the weft. The s t i c k i s g r a s p e d w i t h b o t h hands, t e n s i o n on the warp i s t i g h t e n e d up, and t h e weaver b r i n g s the s t i c k f o r w a r d \"against t h e warp c r o s s w i t h a f o r c e f u l r o c k i n g m o t i o n . T h i s r o c k i n g motion i s a s l i g h t up and down s c r a p i n g o r sawing a t t h e warp c r o s s . A t f i r s t i t was u n c l e a r why t h i s was b e i n g done, b u t l a t e r when the o b s e r v e r was weaving under the d i r e c -t i o n s o f t h i s weaver, i t became c l e a r t h a t t h i s up and down p i v o t i n g o f t h e s t i c k h e l p e d pack i n t h e w e f t more f i r m l y , so t h a t t h e warp a l m o s t formed a r i d g e where i t p a s s e d o v e r t h e w e f t . -85-F i g u r e 30 S t a f a n i a p a s s e s weft t h r o u g h shed formed by shed s t i c k . F i g u r e 31 B e l t w i t h s e v e r a l p a t t e r n s t i c k s i n p l a c e . -86-The ne'xt shed s t i c k i s p l a c e d on edge i n th e shed and the w e f t i s t h e n p a s s e d t h r o u g h . The e n t i r e p r o c e s s i s t h e n r e p e a t e d u n t i l a l l but one o f t h e shed s t i c k s have been removed. T h i s s t i c k i s b r o u g h t f o r -ward and the opening o f t h e sheds i s then c o n t i n u e d and a shed s t i c k i n s e r t e d i n each shed i n t u r n . Once s e v e r a l i n c h e s o f weaving have been done t h e weaver p u l l s the weaving o f f t h e s t r i n g which she has been u s i n g t o h o l d i t around her w a i s t . She r e t i e s the s t r i n g around her w a i s t and t h e n s e c u r e s the work w i t h t h e weaving a r e a c l o s e t o h e r . T h i s i s done by f o l d i n g the woven s e c t i o n under the s t r i n g and s e c u r i n g i t w i t h a l a r g e p i n . T h i s can be seen c l e a r l y i n f i g u r e 3?2, showing the band on which t h e l i t t l e g i r l i s w o r k i n g . The l i t t l e g i r l , who i s j u s t l e a r n i n g a new p a t t e r n , i s u s i n g o n l y two shed s t i c k s . By h a v i n g a second shed s t i c k i n s e r t e d i n the warp, the p a t t e r n p i c k - u p i s made e a s i e r . The second s t i c k p u t s e x t r a t e n s i o n on the t h r e a d s t o h o l d them i n t h e i r p l a c e , b e s i d e t h e i r n e i g h -b o u r s . Threads a r e l e s s l i k e l y t o be p i c k e d up out o f t u r n , and t h e r e f o r e m i s t a k e s p r e v e n t e d . D. Loom Weaving o f Wide C l o t h 1. O c t a v i a O c t a v i a S i n c h i walked from K w i l l y o t o O l l a n t a y t a m b o e a r l y one morning. She b r o u g h t w i t h h e r a s m a l l son and the poncho which she - 8 7 -S o n i a weaving, w i t h band p i n n e d t o her sweater. -88-was i n the p r o c e s s o f weaving. About h a l f o f the warp had been woven. O c t a v i a was weaving t h e poneho.-in o n e p p i e c e . Once the weaving was f i n i s h e d she would c u t the c l o t h i n h a l f and j o i n the two p i e c e s t o g e t h e r , l e a v i n g a s l i t f o r t h e head o p e n i n g . The edges, i n c l u d i n g , t h e c u t ones, would be bound t o p r o t e c t them and make the poncho l o n g e r w e a r ing. U n l i k e the o t h e r weavers a t work on a l a r g e p r o j e c t , O c t a v i a worked w i t h the loom t i e d t o a b a c k s t r a p . T h i s i s a wide b e l t t h a t goes around t h e back. The o t h e r end o f the loom was suspended from a p o s t a t about s h o u l d e r h e i g h t . ^Octavia s a t on a low s t o o l . Working w i t h the b a c k s t r a p o r b e l t , a l t h o u g h ..more t i r i n g f o r the weaver, does g i v e g r e a t e r c o n t r o l i n weaving. The t e n s i o n on the warp t h r e a d s i s a d j u s t e d w i t h s l i g h t changes i n the weaver's body p o s i t i o n . The weaver must keep h e r body v e r y s t i l l when she does n o t want t o a l t e r t h e t e n s i o n on the warp. She t h e r e f o r e works from the s h o u l d e r s , w i t h any t u r n i n g o r l e a n i n g f o r w a r d coming from the w a i s t . When she wishes t o ease the t e n s i o n she l e a n s h e r whole body forward, t a k i n g some o f h e r w e i g h t o f f the s t r a p t h a t s i t s around h e r b u t t o c k s . I f she needs a t i g h t e r warp, as when b e a t i n g i n t h e weft, she pushes back a g a i n s t t h e b e l t . To change the shed t h e shed r o d i s pushed away from t h e weaver. The weaver t h e n punches down w i t h her l e f t f i s t a t t h e warp t h r e a d s t h a t come ov e r t h e shed r o d . T h i s h e l p s push down the warp t h r e a d s o f the p r e v i o u s shed. I t a l s o s e p a r a t e s the shed-rod warp t h r e a d s and l e t s -89-the h e d d l e shed t h r e a d s p a s s upward between them. The weaver p u l l s upwards on the end o f the h e d d l e s t i c k w i t h h e r r i g h t hand ( f i g . 33). She c o n t i n u e s t o push downwards a g a i n s t t h e warp t h r e a d s u n t i l some o f the h e d d l e warp t h r e a d s a r e p u l l e d c l e a r . While d o i n g a l l t h i s the weaver h o l d s h e r body w e i g h t f o r w a r d , e a s i n g the t e n s i o n on a l l the warp t h r e a d s , so t h a t she can p u l l the h e d d l e - s h e d t h r e a d s up more e a s i l y . Once the f i r s t h e d d l e - s h e d t h r e a d s a r e p u l l e d c l e a r a t the edge the weaver i n s e r t s t h e sword b e a t e r g r a d u a l l y i n t o the shed. The sword b e a t e r i s i n s e r t e d b e h i n d the h e d d l e s t i c k . She c o n t i n u e s p u l l i n g up on the h e d d l e s t i c k , p u l l i n g c l e a r the t h r e a d s o f t h e h e d d l e shed, u n t i l the sword b e a t e r has been i n s e r t e d c o m p l e t e l y ( f i g . 34). She t h e n l e a n s h e r weight back a g a i n s t the b e l t , and, u s i n g b o t h hands, p u l l s the sword b e a t e r under and p a s t the h e d d l e s . The shed r o d i s t h e n brought f o r w a r d a g a i n s t the h e d d l e s t i c k . The sword b e a t e r i s moved f u r t h e r f o r w a r d towards the weaver and th e shed s t i c k which i s s i t t i n g i n the p r e v i o u s shed, h o l d i n g the t h r e a d s ready f o r the p a t t e r n p i c k - u p t o be done. By i n s e r t i n g b o t h a shed s t i c k and a sword b e a t e r i n a l t e r n a t e sheds, the warp t h r e a d s are h e l d i n a c r o s s p o s i t i o n , s i d e by s i d e . T h i s makes the p i c k up o f t h r e a d s f o r the p a t t e r n weave a r e a much e a s i e r , and m i s t a k e s are l e s s l i k e l y t o o c c u r through t h r e a d s b e i n g m i s p l a c e d . The o u t s i d e warp s t r i p e a r e a i s p i c k e d up as f a r as the p a t t e r n s t r i p e and a p a t t e r n s t i c k i n s e r t e d i n t h a t same shed. The weaver s c r a p e s the l l a m a bone p i c k a c r o s s the warp t h r e a d s i n f r o n t o f the woven a r e a . T h i s s e p a r a t e s any s t i c k y t h r e a d s . The weaver uses h e r -90-F i g u r e 33 Shed changing on a back t e n s i o n loom: O c t a v i a p u l l s up on t h e heddie s t i c k . F i g u r e 34 Shed s t i c k i n s e r t e d i n shed b e h i n d h e d d i e s t i c k , w h i l e shed r o d i s b rought f o r w a r d . -91-l e f t hand t o h o l d the warp t h r e a d s o f the p a t t e r n a r e a . The m i d d l e f i n g e r i s i n s e r t e d i n t o the shed and the t h r e a d s are h e l d f i r m l y . Her r i g h t hand h o l d s the bone p i c k , which she uses t o p i c k up the r e q u i r e d t h r e a d s . As the t h r e a d s are p i c k e d up on the bone, t h e i r p a r t n e r s are dropped from the m i d d l e f i n g e r o f the l e f t hand t o s i t below the p i c k ( f i g . 35). These t h r e a d s w i l l appear on the r e v e r s e s i d e o f the c l o t h . Once a l l o f the p a t t e r n a r e a has been p i c k e d up the weaver s e t s the shed s t i c k on edge and reaches i n t o the shed u n t i l she can g r a s p the p o i n t o f the bone p i c k which s i t s i n the p a t t e r n shed. The p a t t e r n s t i c k i s b r o u g h t f o r w a r d u n t i l i t s t i p s e t t l e s i n t o a n o t c h i n the h e e l o f the l l a m a bone. The p a t t e r n s t i c k i s used t o push the bone p i c k a l o n g and o u t o f the shed. T h i s c a r r i e s the p a t t e r n s t i c k smoothly under the p i c k e d - u p t h r e a d s , c r e a t i n g a new shed f o r the n e x t s h u t t l e i n s e r t i o n . The shed s t i c k i s removed, l e a v i n g the p a t t e r n s t i c k i n the p a t t e r n shed. The p a t t e r n s t i c k i s t u r n e d on edge, s e p a r a t i n g the t h r e a d s , and the s h u t t l e s t i c k i s p a s s e d through t h i s s h e d o p e n i n g ( f i g . 36). When p u l l i n g the w e f t through the shed the weaver h o l d s about one and a h a l f i n c h e s o f w e f t i n s i d e the shed a t the s e l v e d g e , t o p r e v e n t the s e l v e d g e from b e i n g p u l l e d i n and d i s t o r t e d . The p a t t e r n s t i c k i s removed and the sword b e a t e r i s brought f o r -ward a g a i n s t the w e f t . A t t h i s p o i n t t h e weaver i n c r e a s e s t e n s i o n on the warp t h r e a d s . The weaver h o l d s the sword b e a t e r up a g a i n s t the w e f t , w h i l e she b e a t s i n downwards sweeps a g a i n s t the w e f t , between the warp t h r e a d s , u s i n g the bone p i c k . Halfway a c r o s s the warp she changes the p i c k t o the o t h e r hand, and c o n t i n u e s b e a t i n g the w e f t i n ( f i g . 37). -92-P i c k i n g up p a t t e r n t h r e a d s : O c t a v i a p i c k s up t h e p a t t e r n t h r e a d s w i t h a bone p i c k . F i g u r e 36 I n s e r t i n g w eft: shed h e l d open f o r the i n s e r t i o n o f t h e weft. B e a t i n g i n the w e f t : h o l d i n g sword b e a t e r f i r m l y , O c t a v i a b e a t s i n the weft w i t h t h e bone p i c k , between each warp t h r e a d . F i g u r e 38 B e a t i n g i n t h e w e f t : O c t a v i a b e a t s i n t h e weft, p l u c k i n g bone p i c k up a g a i n s t warp t h r e a d s . -94-Once t h i s f i r s t row o f b e a t i n g has been completed, the weaver t i g h t e n s up any s l a c k warp t h r e a d s and p u l l s up on them. Then she h o l d s the b e a t e r s l i g h t l y on edge, and i n s e r t s the bone p i c k i n t o the shed, under about two i n c h e s o f warp t h r e a d s . She p l u c k s t h e p i c k h a r d a g a i n s t the warp t h r e a d s ( f i g . 38). I f n e c e s s a r y the weaver may s p r e a d o u t the warp t h r e a d s s l i g h t l y , where they come ov e r the shed r o d . T h i s i s t o c o u n t e r a c t any tendency o f the w e f t t o p u l l i n on the w i d t h o f the c l o t h . The sword b e a t e r i s now r e p l a c e d by a shed s t i c k . The l l a m a bone p i c k i s s c r a p e d a c r o s s the t h r e a d s i n f r o n t o f t h e h e d d l e s t i c k . A few t h r e a d s a t a time a r e l i f t e d from the top o f the shed r o d and p u l l e d up and p a s t t h e h e d d l e s t i c k s t h r e a d s . I f n e c e s s a r y the weaver s c o r e s a g a i n , a c r o s s the t h r e a d s t o l e s s e n any s t i c k y ones. The sword b e a t e r i s s l i d under each group o f t h r e a d s as they a r e b r o u g h t p a s t the h e d d l e s t r i n g s . T h i s i s c o n t i n u e d u n t i l a l l the t h r e a d s have been p i c k e d up on the sword b e a t e r f o r the new shed, the s h e d - r o d shed. F o r t h i s e n t i r e p r o c e s s the warp i s k e p t under t e n s i o n . As p r e v i o u s l y d e s c r i b e d , the p a t t e r n s t i c k i s g r a d u a l l y i n s e r t e d i n t o the f i r s t shed which i s h e l d open by a shed s t i c k . P a t t e r n t h r e a d s are p i c k e d up and the p a t t e r n s t i c k i s s l i d under t h e s e , p u s h i n g the l l a m a bone t h r o u g h . Once the p a t t e r n s t i c k has been c o m p l e t e l y i n s e r t e d the shed s t i c k i s removed. The p a t t e r n s t i c k i s s e t on i t s edge and the s h u t t l e s t i c k i s i n s e r t e d i n t o the shed. The w e f t i s the n p u l l e d i n t o p o s i t i o n . The p a t t e r n s t i c k i s removed. While the warp i s under t e n s i o n the sword b e a t e r i s b r o u g h t f o r w a r d a g a i n s t the w e f t . The w e f t i s then p a cked down i n i t s shed. Any l o o s e t h r e a d s are p u l l e d up and then w i t h -95-the sword b e a t e r s e t on i t s s i d e , the weaver p u l l s upwards on the warp t h r e a d s w i t h the p i c k . The sword b e a t e r i s r e p l a c e d w i t h a shed s t i c k and the weaver c o n t i n u e s w i t h a n o t h e r shed change. T h i s p a r t i c u l a r weaving has v e r y l i t t l e i n the way o f p a t t e r n . I t has o n l y two bands o f p a t t e r n , u n l i k e t h a t o f the P i s a c woman. The main p a r t o f the d e c o r a t i o n i s from g a i l y c o l o u r e d bands o f warp s t r i p e s . The y a r n used f o r the poncho i s a c o m m e r c i a l l y spun s y n t h e t i c y a r n , which i s e a s i l y o b t a i n e d i n any o f the l o c a l markets. The y a r n i s over-spun by the weaver b e f o r e b e g i n n i n g warping. I t makes i t a l i t t l e e a s i e r t o work w i t h . I t s t i l l tends t o s t i c k b u t n o t as b a d l y as i f i t had n o t been ov e r - s p u n . However i t i s the q u a l i t i e s o f i n c r e a s e d d u r a b i l i t y t h a t a r e most p r i z e d , w i t h over-spun y a r n s . 2. Sacsahuaman Weaver T h i s , the f i r s t o f the weavers obse r v e d , was found i n a s m a l l hamlet c o n s i s t i n g o f s e v e r a l houses, l i n e d up t o g e t h e r on one s i d e o f the h i g h -way near Sacsahuaman, the I n c a f o r t r e s s above Cuzco. I t was m i d - a f t e r -noon on a g l o r i o u s , h o t , c l e a r w i n t e r day. The woman was d r e s s e d v e r y c o l o u r f u l l y i n one o f the l o c a l costumes. D e s p i t e the h e a t , she wore a heavy woolen s k i r t and emb r o i d e r e d j a c k e t . Over t h e j a c k e t , and around h e r s h o u l d e r s , she wore a complexly p a t t e r n e d manta. A manta i s a s h o r t shawl w i t h wide p a t t e r n s t r i p e s , g e n e r a l l y f o l d e d double i n t o a r e c t a n g l e , wrapped around the s h o u l d e r s and p i n n e d i n f r o n t , u s u a l l y w i t h a l a r g e b l a n k e t p i n . The v e r y g a i l y d e c o r a t e d costume was not the one u s u a l l y worn e v e r y day, b u t r a t h e r the one b e s t f o r f i e s t a s -96-and dancing-, ( f i g . 39). . \" The woman had s e t up h e r loom on a h i g h bank i n f r o n t o f the houses and ne a r the roadway. The loom was t i e d by f o u r t w i s t e d and p l i e d c o r d s t o s t a k e s t h a t had been d r i v e n i n t o the ground. The r e a r two s t a k e s were l o n g e r than the f r o n t p a i r s o t h a t the work was sup-p o r t e d a t an a n g l e , s l a n t i n g towards the weaver. T h i s i n c l i n e d s u r f a c e made i t e a s i e r f o r the weaver t o work c o m f o r t a b l y . The loom was t i e d a t s u c h a h e i g h t from the ground, t h a t a weaver s i t t i n g on h e r h e e l s c o u l d r e s t h e r forearms on the loom b a r w h i l e p i c k i n g up the p a t t e r n . The weaver was making a manta, w i t h v e r y s i m i l a r p a t t e r n t o the one t h a t she h e r s e l f was we a r i n g . The manta was b e i n g made i n two p i e c e s o f r e c t a n g u l a r f a b r i c which would be j o i n e d t o g e t h e r onto a square. The p i e c e s would be woven s e p a r a t e l y by the weaver as f o u r - s e l v e d g e d c l o t h , r a t h e r t h a n as one l o n g p i e c e and the n c u t i n the mi d d l e and j o i n e d . Weaving the manta i n two p i e c e s means t h a t two warps must be made and the n t h r e a d e d up on the loom, one a f t e r the o t h e r , a t r a d i -t i o n a l method t h a t has c o n t i n u e d from p r e h i s t o r i c t i m e s . The h a l f manta on h e r loom c o n s i s t e d o f a s e r i e s o f complex p a t t e r n bands. In the t r a d i t i o n o f the a r e a each band i s q u i t e wide and c o n s i s t s o f a s e r i e s o f g e o m e t r i c m o t i f s which have been b u i l t up i n t o a complex g e o m e t r i c r e p e a t . The p a t t e r n i s r e n d e r e d v i s u a l l y more complex, and a l s o l e s s r e p e t i t i v e by the i n s e r t i o n o f bands o f d i f f e r e n t c o l o u r w i t h i n the main m o t i f s . T h i s a l s o i s a common p r a c t i c e and was o b s e r v e d a t C h i n -c h e r o , and i n a v a r i e t y o f f i n i s h e d a r t i c l e s w h i l e i n P e r u . The p a r t o f -97-the c l o t h a l r e a d y woven was wrapped around the f r o n t warp beam and a s e c o n d o r c l o t h beam. T h i s k e p t the work a r e a , t h a t i s , the s e c t i o n b e i n g woven, c l o s e t o the weaver, so t h a t s t r e t c h i n g u n n e c e s s a r i l y f o r w a r d by the weaver was k e p t t o a minimum. The p r o c e s s d e s c r i p t i o n g i v e n below c o n s i s t s o f two i n s e r t i o n s o f w e f t , s t a r t i n g w i t h the shed change t o the heddle shed. I t was r e c o r d e d d u r i n g a h a l f hour o b s e r v a t i o n p e r i o d . B e f o r e b e g i n n i n g t o change the shed, the weaver s e p a r a t e s the t h r e a d s from each o t h e r by s c o r i n g a c r o s s the warp i n f r o n t o f the h e d d l e s t r i n g s w i t h a c u r v e d l l a m a bone. T h i s l o o s e n s the t h r e a d s which te n d t o s t i c k t o each o t h e r . The weaver's l e f t hand then g r a s p s the end o f the h e d d l e s t i c k and she b e g i n s t o p u l l the warp t h r e a d s h e l d by the h e d d l e s t r i n g s away from the o t h e r warps. The weaver g r a d u a l l y i n s e r t s the sword b e a t e r b e h i n d the h e d d l e s i n t o the space t h a t r e s u l t s between the warp t h r e a d s . T h i s i s the heddle shed. The weaver then s h i f t s h e r hand a l o n g the h e d d l e s t i c k and b e g i n s t o p u l l up on the warp t h r e a d s f u r t h e r o v e r , so t h a t the sword b e a t e r can be i n s e r t e d deeper i n t o the shed. T h i s i s c o n t i n u e d u n t i l the e n t i r e h e d d l e shed has been opened and the sword b e a t e r i n s e r t e d . The sword b e a t e r i s t h e n g r a s p e d w i t h b o t h hands and p u l l e d f o r -ward towards the weaver, and the p a t t e r n s t i c k t h a t i s a l r e a d y i n the o t h e r shed c l o s e t o the w o r k i n g edge. By h a v i n g two s t i c k s c l o s e t o -g e t h e r i n a l t e r n a t e sheds the t h r e a d s are f o r c e d t o l i e s i d e by s i d e -98-i n p o s i t i o n . T h i s makes the p a t t e r n p i c k - u p much e a s i e r . I f the t h r e a d s s t i c k t o g e t h e r w h i l e the sword b e a t e r i s b e i n g p u l l e d f o r w a r d the weaver can s c o r e a c r o s s the warp t h r e a d s w i t h the bone p i c k t o f r e e the t h r e a d s i n f r o n t o f the b e a t e r . D u r i n g p a t t e r n p i c k - u p , f o r each t h r e a d t h a t i s dropped from the s h e d - r o d shed i t s p a r t n e r must be p i c k e d up from the u n d e r l y i n g heddie shed b e l o w the'sword b e a t e r . P a t t e r n m a n i p u l a t i o n i n t h i s weave (com-plementary) o c c u r s i n p a i r s , w i t h one t h r e a d o f each p a i r a p p e a r i n g on the f a c e w h i l e the o t h e r appears on the r e v e r s e . As each s e c t i o n o f the p a t t e r n i s p i c k e d up the weaver s l i d e s a p a t t e r n s t i c k through the shed and under the warp p a t t e r n t h r e a d s t h a t she has j u s t p i c k e d . The weaver uses the thumb and f i r s t two f i n g e r s o f each hand. The second f i n g e r i s i n s e r t e d i n the shed, under the top warp t h r e a d s , w h i l e the f i r s t f i n g e r s i t s on top o f the t h r e a d s , w i t h the thumb, t o s e c u r e the t h r e a d s . When a t h r e a d i s r e q u i r e d from the l e f t hand i t i s p a s s e d a l o n g by the second f i n g e r s t o the r i g h t o r h o l d i n g hand. I n the same way a t h r e a d from below would be p i c k e d up and p a s s e d t o the r i g h t hand. With the p a t t e r n p i c k - u p completed the p a t t e r n s t i c k now h o l d s the complete p a t t e r n shed. The p a t t e r n s t i c k i s t u r n e d on edge t o h o l d the shed open. The s h u t t l e s t i c k i s p a s s e d through the shed and the w e f t a d j u s t e d i n the shed so t h a t the s e l v e d g e i s even. The p a t t e r n s t i c k i s f l a t t e n e d and b r o u g h t f o r w a r d a g a i n s t the w e f t , t h e n removed. The sword b e a t e r , which has been s i t t i n g i n the shed b e h i n d , i s b r o u g h t f o r w a r d a g a i n s t the warp c r o s s t o pack the w e f t i n p l a c e . With the sword b e a t e r h e l d f l a t i n the shed, and u s i n g the bone p i c k , the weaver -99-F i g u r e 39 A s t a k e d o u t loom, the weaver wears t r a d i t i o n a l d r e s s . F i g u r e 40 Weaver b e a t s i n w e f t , u s i n g bone p i c k . -100-packs the w e f t i h t i g h t l y , p r o d u c i n g a s m a l l r i d g e i n the warp ( f i g . 40). She p u l l s down h a r d w i t h t h e p i c k a g a i n s t the w e f t between each warp t h r e a d . Then she i n s e r t s the p i c k i n f r o n t o f the sworda b e a t e r and p l u c k s a t the warp t h r e a d s , p u l l i n g them t a u t . A p a t t e r n s t i c k then r e p l a c e s the sword b e a t e r i n t h i s shed. T h i s l e a v e s the swor.di b e a t e r f r e e t o be i n s e r t e d i n the n e x t shed. The weaver s c o r e s a c r o s s the warp, i n f r o n t o f the h e d d l e s t o l o o s e n the t h r e a d s , p r e p a r a t o r y t o changing the shed. The shed r o d i s p l a c e d as c l o s e as p o s s i b l e b e h i n d the he d d l e s t i c k , and the warp t h r e a d s p a s s i n g over the shed r o d a r e p u l l e d up and p a s t the heddle s t r i n g s and the o t h e r warps. The sword., b e a t e r i s c a r e f u l l y i n s e r t e d , i n f r o n t o f the h e d d l e s , i n t o t h i s new shed. The weaver b e g i n s the p i c k - u p f o r the n e x t row o f p a t t e r n i n the shed h e l d by the p a t t e r n s t i c k . As each s e c t i o n o f warp p a t t e r n i s p i c k e d up the second p a t t e r n s t i c k i s i n s e r t e d i n t o t h i s new p a t t e r n shed. Once the whole row has been p i c k e d up the o r i g i n a l p a t t e r n s t i c k i s removed, l e a v i n g the second p a t t e r n s t i c k i n the shed, ready f o r the passage o f the w e f t . When the w e f t has been i n s e r t e d and p o s i t i o n e d , the second p a t t e r n s t i c k i s removed and the sword b e a t e r b r o u g h t f o r w a r d a g a i n s t the warp c r o s s . I f the warp t h r e a d s s h o u l d s t i c k , p r e v e n t i n g the sword b e a t e r from moving, s c o r i n g ' w i t h the bone p i c k would h e l p s e p a r a t e them. With the sword b e a t e r h a r d up a g a i n s t the warp c r o s s the w e f t i s b e a t e n down w i t h the bone p i c k , as p r e v i o u s l y d e s c r i b e d . The sword b e a t e r i s t h e n r e p l a c e d w i t h a p a t t e r n s t i c k . The weaver pushes the - W i -shed r o d away from the heddie s t i c k . P u l l i n g up on the h e d d i e s t i c k she g r a d u a l l y c l e a r s a space and b e g i n s t o i n s e r t the sword b e a t e r b e h i n d the h e d d l e s . 3. G e r a r d o Gusman Ramos T i n t a i s a d e l i g h t f u l town n e a r S i c u a n i , a c r o s s the V i l c a n o t a r i v e r from the Cuzco-Puno highway, about t h r e e hours d r i v e from Cuzco. I t i s an I n d i a n town, and a l t h o u g h on the Cuzco-Puno r o a d and r a i l r o u t e i t i s l i t t l e v i s i t e d by t o u r i s t s , because o f i t s d i s t a n c e from Cuzco. T h i s p a r t i a l s e c l u s i o n from t o u r i s t i n f l u e n c e has r e s u l t e d i n the c o n t i n u a n c e o f much o f the t r a d i t i o n a l c r a f t s . As w e l l as s e v e r a l f a m i l i e s o f p r o f e s s i o n a l weavers t h e r e i s an a r t i s a n a t a workshop where the t r a d i t i o n a l campesino costume i s made, b o t h f o r e v e r y d a y and f o r f i e s t a w e a r i n g . S e v e r a l weavers were v i s i t e d i n T i n t a , b u t o n l y one was o b s e r v e d weaving. The o t h e r s b r o u g h t o u t t h e i r work and u n r o l l e d the looms t o show what they were d o i n g . The one weaver who was o b s e r v e d a t work was a man, Gerardo Gusman Ramos. He works i n s i d e h i s house. The door i s l e f t wide open t o l e t i n enough l i g h t f o r him t o see what he i s d o i n g . The loom i s t i e d t o f o u r s h o r t s t a k e s which have been d r i v e n i n t o the packed e a r t h f l o o r . The p a i r s o f s t a k e s a r e s p a c e d w i d e l y a p a r t , which suggests t h a t they may a l s o be used i n the p r e p a r a t i o n o f the warp. Both the warp on the back warp beam, and the c l o t h on the f r o n t warp beam are r o l l e d up, t o make a v e r y narrow w o r k i n g a r e a ( f i g . 4 1 ) . The back warp beam i s l a s h e d - 1 0 2 -I F i g u r e 4 1 H o r i z o n t a l s t a k e d o u t l o o m : i t s h o w s t h e t i e c o r d s a t t a c h e d t o c l o t h b e a m . F i g u r e 42 P a t t e r n p i c k u p : t h e w e a v e r h o l d s b o n e p i c k i n o v e r h a n d g r i p . -10 3-t o two s t a k e s , b u t the f r o n t b'eam i s h e l d by two p l i e d c o r d s t o the o t h e r two s t a k e s which are some d i s t a n c e away b e h i n d the weaver. The weaver keeps a c l o t h on the f r o n t edge o f the weaving t o p r o t e c t i t from c o n t a c t w i t h h i s c l o t h i n g , s i n c e the background c o l o u r i s w h i t e . The weaver works, s i t t i n g on h i s h e e l s w i t h h i s knees t u c k e d i n under the loom. The shed change p a t t e r n p i c k - u p and one i n s e r t i o n o f w e f t was o b s e r v e d . The shed r o d i s i n p l a c e c l o s e b e h i n d the heddle s t i c k and the sword b e a t e r i s i n the h e d d l e shed j u s t i n f r o n t o f the h e d d l e s . The weaver used a bone p i c k t o do the p a t t e r n p i c k - u p . He h o l d s the p i c k , overhand, i n h i s l e f t hand ( f i g . 42). As he completes a s e c t i o n o f p a t t e r n p i c k - u p he i n s e r t s the s h u t t l e s t i c k i n t o the p a t t e r n shed c r e a t e d on the bone p i c k . T h i s h o l d s t h e s e warp t h r e a d s s e p a r a t e . He c o n t i n u e s p i c k i n g up the p a t t e r n i n t h i s way, working a c r o s s the w i d t h , u n t i l the s h u t t l e s t i c k r e a ches from one s i d e t o the o t h e r . Where t h e r e i s no p a t t e r n a r e a , the s t i c k p a s s e s through the w e f t shed h e l d by the p a t t e r n s t i c k . The w e f t i s p a s s e d through the p a t t e r n shed and p u l l e d even a t the s e l v e d g e s . The warp t h r e a d s p a s s i n g o v e r the shed r o d a r e b r o u g h t up and p a s t the h e d d l e s and the b e a t e r i s i n s e r t e d i n t h i s shed. I t i s t h e n b r o u g h t f o r w a r d a g a i n s t the warp c r o s s and the w e f t b e h i n d t h a t . The weaver uses the bone p i c k t o pack the w e f t f i r m l y . T h i s weaver was w o r k i n g a \" r o s a s \" p a t t e r n , which i s t r a d i t i o n a l t o T i n t a . The p a t t e r n i s worked i n a supplementary-warp p a t t e r n weave. There are t h r e e main p a t t e r n bands. Another p i e c e , by the same weaver, -104-i n the Museum o f A n t h r o p o l o g y , U.B.C., shows s m a l l e r bands o f these r o s e s , a l s o i n supplementary-warp weave. E. Comparison o f Weaving Techniques Each weaver had a s l i g h t l y d i f f e r e n t approach i n p a t t e r n p i c k - u p . The weaver a t Sacsahuaman used h e r f i n g e r s o n l y , g r a d u a l l y i n s e r t i n g a p a t t e r n s t i c k i n t o the p a t t e r n shed about two i n c h e s a t a time. These were a l l the t h r e a d s a t h a t she c o u l d c o m f o r t a b l y h a n d l e a t each t i m e . O c t a v i a S i n c h i , the weaver a t Ol l a n t a y t a m b o , i n s e r t e d the middle f i n g e r o f h e r l e f t hand i n t o the shed t o h o l d the t h r e a d s , w h i l e she p i c k e d up the p a t t e r n w i t h a bone p i c k . She p i c k e d up the e n t i r e p a t t e r n band b e f o r e i n s e r t i n g the p a t t e r n s t i c k i n t o the p a t t e r n shed. Her manoevre was more complex than t h a t c a r r i e d o u t by the o t h e r weavers. She i n -s e r t e d h e r arm i n t o the shed and g r a s p e d the p o i n t o f the bone which she h e l d . The p a t t e r n s t i c k was pushed i n t o a n o t c h i n the o t h e r end o f the p i c k . By p u s h i n g the bone a l o n g the p a t t e r n s t i c k was e a s e d i n t o the p a t t e r n shed. As the weaver a t T i n t a p i c k e d up the t h r e a d s on the bone p i c k , he s l i d the s h u t t l e s t i c k i n t o the p a t t e r n shed, o m i t t i n g one s t e p and sp e e d i n g the p r o c e s s . A. Howe r e p o r t s the same p r o c e d u r e f o r one shed sequence i n Lauramarka (1975: 4 0 ) . A f t e r t h i s s t e p the o t h e r two weavers then i n s e r t e d the s h u t t l e s t i c k i n t o the shed h e l d open by the p a t t e r n s t i c k . Whereas O c t a v i a used a wide p a t t e r n s t i c k t u r n e d on i t s s i d e , making a wide shed, the P i s a c woman a t Sacsahuaman c o u l d n o t do -105-t h i s , s i n c e the t e n s i o n on h e r loom was not a d j u s t a b l e . She p a s s e d the s h u t t l e s t i c k through a shed made by a narrow d i a m e t e r p a t t e r n s t i c k . A l t h o u g h t h e r e are s p e c i f i c d i f f e r e n c e s i n the t e c h n i q u e used on the loom woven p i e c e s and the f i n g e r woven p i e c e s , these a r e due more t o a d i f f e r e n c e i n s c a l e t h a n t o a d i f f e r e n t approach i n weaving. D i f f e r e n c e s o f s c a l e a r e more obvious i n the weavings o f Ollantaytambo than those o f C h i n c h e r o . A t O l l a n t a y t a m b o the h e d d l e s t r i n g s were n o t a t t a c h e d t o a h e d d l e s t i c k , a l t h o u g h t h i s was done a t C h i n c h e r o . The bands woven a t Ollantaytambo were narrower and d i d n o t need a h e d d l e s t i c k . Changing o f the shed was a c c o m p l i s h e d q u i t e s a t i s f a c -t o r i l y w i t h o u t t h i s a d d i t i o n , a l t h o u g h i t seemed t o make the t a s k e a s i e r a t C h i n c h e r o . T h i s l a t t e r f a c t may be due t o the k i n d o f y a r n used as much as the w i d t h o f the band, f o r I have woven s e v e r a l o f the p a t t e r n s o b s e r v e d a t C h i n c h e r o and f i n d the s t r i n g h e d d l e s e n t i r e l y s a t i s f a c t o r y . I n t h e C h i n c h e r o weavings the h e d d l e s t i c k seemed t o be a t t a c h e d i n the same way as f o r the l a r g e r weavings on the looms. The p a t t e r n p i c k - u p was done by hand as a t Sacsahuaman,without a bone p i c k , b u t whereas S t e f a n i a Quispe used shed s t i c k s O c t a v i a S i n c h i d i d n o t . Here the d i f f e r e n c e may l i e i n the f a c t t h a t one weaver was a t home w i t h h e r equipment a t hand, w h i l e the o t h e r weaver was away from home and had b r o u g h t no s m a l l weaving t o o l s w i t h h e r . I t s h o u l d be n o t e d t h a t w h i l e the m a j o r i t y o f weavers worked w i t h two sheds s t i c k s i n the warp, S t e f a n i a Quispe used f i v e shed s t i c k s which doubled as -106-p a t t e r n s t i c k s . Once a l l o f these were p l a c e d as p a t t e r n s t i c k s i n s u c c e e d i n g sheds S t e f a n i a then began t o i n s e r t the w e f t i n each shed, p a c k i n g i n the w e f t w i t h the n e x t p a t t e r n s t i c k . Her daughter, S o n i a , worked w i t h two shed s t i c k s . A l t h o u g h t h i s s t u d y i s concerned w i t h one t e c h n i q u e \u00E2\u0080\u0094 c o m p l e m e n t a r y -warp w e a v e \u00E2\u0080\u0094 i t s h o u l d be n o t e d t h a t any o f the weaving methods p r e v i o u s l y d e s c r i b e d would a p p l y a l s o t o o t h e r r e l a t e d w a r p - p a t t e r n e d weaves. I t i s i n the m a n i p u l a t i o n o f the warps d u r i n g p a t t e r n p i c k - u p t h a t the d i f f e r e n c e s would o c c u r , as w e l l as i n the p r e p a r a t i o n o f the warp and the arrangement o f the c o l o u r s . I n summary t h e r e are d i f f e r e n c e s i n the weaving t e c h n i q u e o f each o f the weavers o b s e r v e d . While the s e p a r a t i o n o f the shed f o r the passage o f the w e f t depends on the loom s e t - u p , o t h e r d i f f e r e n c e s are due more t o p e r s o n a l p r e f e r e n c e on the p a r t o f the weaver. S t e f a n i a Quispe used s e v e r a l shed s t i c k s , b u t she d i d not always do so. She s a i d t h a t i t made the work go more q u i c k l y i n t h i s manner b u t no r e a l d i f f e r e n c e i n speed was o b s e r v e d when she took o v e r h e r daughter's weaving. The T i n t a weaver was more concerned w i t h speed: Gusman e s t i m a t e d t h a t i t took him about twenty days t o weave a p a t t e r n e d poncho, i n comparison w i t h G o o d e l l ' s r e p o r t s o f from t h r e e t o s i x months ( B i r d , 1968: 15). Weaving s t e p s had o b v i o u s l y been r e d u c e d t o a minimum. O c t a v i a S i n c h i worked w i t h o u t equipment such as shed s t i c k s and b e a t e r i n the narrow weavings, b u t t h i s was no doubt due t o l a c k o f 3 a v a i l a b l e equipment.. -107-These are the comparisons made p o s s i b l e by a few weeks o f f i e l d r e s e a r c h . They p o i n t o u t the v a l u e o f the comparative approach f o r u n d e r s t a n d i n g a weaving t r a d i t i o n . However, u n t i l more weavers a r e o b s e r v e d , the p a r t i c u l a r s o f p e r s o n a l c h o i c e i n weaving cannot be p r o p e r l y e v a l u a t e d . I found i n my own weavings t h a t i t was i m p o s s i b l e t o pack the w e f t as f i r m l y by hand a c t i o n w i t h o u t the a i d o f a wooden b e a t e r . The f i n i s h e d p i e c e d e f i n i t e l y l o o k e d l o o s e r and l e s s compact. -108-CHAPTER 6 LEARNING AND INSTRUCTION The c h i l d r e n o f the Andean h i g h l a n d s o f P e r u l e a r n weaving i n a d i f f e r e n t c u l t u r a l t r a d i t i o n from t h a t o f North America. As both an a r t e d u c a t o r and a weaver I must a p p r e c i a t e these d i f f e r e n c e s i n t h e i r i m p l i c a t i o n s f o r l e a r n i n g and a l s o i n the way i n which t r a d i t i o n s a r e p a s s e d on from one g e n e r a t i o n t o the n e x t . T h i s c h a p t e r d e a l s f i r s t w i t h how P e r u v i a n c h i l d r e n l e a r n t o weave, bas e d on o b s e r v a t i o n s made i n the f i e l d . Then a d e s c r i p t i o n i s g i v e n o f my e x p e r i e n c e s as an a p p r e n t i c e weaver, l e a r n i n g i n the same way as any P e r u v i a n c h i l d and f i n a l l y I d e a l w i t h the p r o c e s s o f a d a p t i n g these t e c h n i q u e s to the weaving t r a d t i o n o f my own c u l t u r e . C h i l d r e n l e a r n t o weave i n P e r u by watching t h e i r e l d e r s . E v e n t u a l l y they a r e a l l o w e d t o h e l p , b u t t h e r e are c e r t a i n r e q u i r e -ments t o be met b e f o r e a c h i l d i s a l l o w e d t o do a n y t h i n g . While i n o l l a n t a y t a m b o i t was n o t e d t h a t a l t h o u g h a l l the c h i l d r e n and a d u l t s crowded around t o watch the weaver a t work, none o f the v e r y young c h i l d r e n were a l l o w e d t o touch the work i n p r o g r e s s . T h e i r c u r i o u s f i n g e r s were pushed away. Even O c t a v i a ' s own c h i l d , a l i t t l e boy, was d i s c o u r a g e d from i n v o l v i n g h i m s e l f i n the work. He was e x p e c t e d to s i t q u i e t l y by and watch, which he d i d most o f the t i m e . The one c h i l d who was a l l o w e d to h e l p w i t h the r e p l a c e m e n t o f the shed r o d which had dropped out, was about e l e v e n o r twelve y e a r s o l d . -109-She was the e l d e s t o f the g i r l s t h e r e . I t was i n d i c a t e d t o h e r what she was t o do, h o l d i n g on t o the shed s t i c k w h i l e the shed r o d shed was p i c k e d up. She was e x p e c t e d t o s t a n d by f o r a c o n s i d e r a b l e p e r i o d o f t i m e , ready t o s l i d e the shed s t i c k g r a d u a l l y f u r t h e r i n t o the shed, underneath the warp t h r e a d s t h a t had been s l o w l y and p a i n s t a k i n g l y s o r t e d o u t and p i c k e d up a g a i n . From t h i s p o i n t on the l i t t l e g i r l , Tomasina, was a c c e p t e d as an a s s i s t a n t . However, t h i s d i d n o t mean t h a t she was g o i n g t o s t a r t weaving. I n s t e a d she s a t by the weaver, w a t c h i n g e v e r y t h i n g t h a t was b e i n g done. Once o r t w i c e she was p e r m i t t e d t o h e l p s p r e a d the warp a l o n g the shed r o d t o space i t more w i d e l y and compensate f o r the p u l l - i n by the w e f t . L a t e r i n the day when Senora O c t a v i a p r e p a r e d a s m a l l warp t o demonstrate a v a r i e t y o f p a t t e r n s and t e c h n i q u e s , Tomasina was once more a l l o w e d t o s e r v e as a s s i s t a n t and h e l p w i t h the p r e p a r a t i o n . Most o f T o m a s i n a 1 s t a s k s c o n s i s t e d o f h e l p i n g t o pass the warp t h r e a d around the end s t i c k s , o r o f h o l d i n g o f f t o one s i d e a l e n g t h o f y a r n t h a t was n o t r e q u i r e d f o r the c u r r e n t s e c t i o n . D e s p i t e t t h e ' a s s i s t a n c e t h a t Tomasina gave she was n o t i n v o l v e d i n thei a c t u a l w a r p i n g o f the y a r n . She was o n l y a s s i s t i n g i n much the same way t h a t a young a p p r e n t i c e would have a s s i s t e d i n a m e d i e v a l g u i l d workshop. While n o t e s s e n t i a l t o the p r o c e s s , Tomasina's a s s i s t a n c e made the weaving a l i t t l e e a s i e r . O c t a v i a d i d n o t e x p l a i n n o r d e s c r i b e what she was d o i n g t o e i t h e r Tomasina o r h e r i n t e r e s t e d a u d i e n c e . I f q u e s t i o n s were asked she -110-would answer, b u t she d i d n o t f e e l i t was n e c e s s a r y t o o f f e r any v e r b a l e x p l a n a t i o n to the g i r l h e l p i n g . I f the c h i l d d i d n o t u n d e r s t a n d what was b e i n g done i t d i d n o t m a t t e r . She would l e a r n l a t e r i f she watched and a s s i s t e d . To a c e r t a i n e x t e n t Tomasina was e x p e c t e d t o f i g u r e o u t f o r h e r s e l f how b e s t t o h e l p . Some o f the time she was t o l d what t o do. Any l e a r n i n g t h a t took p l a c e was as a r e s u l t o f the c h i l d ' s own o b s e r v a t i o n s . In f a c t Tomasina s t a y e d w a t c h i n g l o n g a f t e r the o t h e r c h i l d r e n had l o s t i n t e r e s t and moved away to p l a y . She s a t q u i e t l y , o n l y h e l p i n g when i t . was i n d i c a t e d t h a t h e l p was r e q u i r e d . U l t i m a t e l y Tomasina a l s o l e f t , b u t i t was n o t because she had l o s t i n t e r e s t . She was c a l l e d away by h e r f a m i l y to c o n t i n u e w i t h h e r c h o r e s . In Peru, c h i l d r e n are l i t t l e i n d u l g e d . They a r e e x p e c t e d a t a l l times t o p u l l t h e i r w e i g h t w i t h any work t h a t needs t o be done. D e s p i t e h e r i n t e r e s t t h i s p a r t i c u l a r g i r l w i l l have no o p p o r t u n i t y t o l e a r n t o weave. None o f h e r f a m i l y do so, so t h e r e i s no one from whom she can l e a r n . A young g i r l would not be s e n t to someone o u t s i d e the f a m i l y f o r t r a i n i n g . She would l e a r n g r a d u a l l y , f i r s t from w a t c h i n g and then by h e l p i n g a l l t h e t h i n g s t h a t i t was c o n s i d e r e d n e c e s s a r y f o r her to know. In o r d e r f o r her t o l e a r n t o weave, h e r f a t h e r , mother, aunt o r some o t h e r member o f the f a m i l y would have to be a weaver. In C h i n c h e r o , Senora S t e f a n i a Ouispe l e a r n e d t o s p i n when she was about f i v e y e a r s o l d . She has t r e a t e d h e r c h i l d r e n i n the same - I l l -way. The e l d e r two g i r l s have l e a r n e d t o s p i n , w h i l e t h e youngest i s l e a r n i n g on a m i n i a t u r e s p i n d l e . S o n i a , aged about twelve y e a r s o f age (grade 6 i n s c h o o l ) , began l e a r n i n g t o weave a few months p r e v i o u s l y . O r i g i n a l l y she would have watched h e r mother w h i l e she worked, b e i n g a l l o w e d t o h e l p w i t h the s i m p l e t h i n g s , much as Tomasina d i d . S o n i a began h e r weaving on narrow b e l t s and bands t h a t were f o r s a l e t o the t o u r i s t s who came t o C h i n c h e r o f o r the Sundayy morning market. These b e l t s a r e made o f handspun t h i c k wool,, which i s q u i c k t o weave up and s i m p l e t o work w i t h . The p a t t e r n s which S o n i a was l e a r n i n g a r e s i m i l a r t o t h o s e which would be used on a l a r g e r p i e c e such as a poncho o r manta. S o n i a has n o t y e t been a l l o w e d t o weave a n y t h i n g l a r g e r than these narrow b e l t s . The s e v e r a l f i n e ponchos and c a r r y i n g c l o t h s t h a t were around the p l a c e were the work o f S o n i a ' s mother. Time, weather and o t h e r c h o r e s p e r m i t t i n g , S o n i a and h e r mother s p e n t about two hours each day weaving, w h i l e I was_in C h i n c h e r o . In o r d e r t o l e a r n S o n i a s a t on t h e ground near h e r mother ( f i g 43). The youngest c h i l d , a baby, was propped up b e s i d e the mother and l e f t t o h e r own d e v i c e s w h i l e the o t h e r two worked. S o n i a l i s t e n e d t o h e r mother g i v i n g h e r the t h r e a d count, w h i l e she m a n i p u l a t e d the warp t h r e a d s f o r the p a t t e r n p i c k up. The d i r e c t i o n s were s i m p l e : drop one; l i f t one, drop t h r e e ; l i f t one; e t c . A t the same time t h a t she was g i v i n g t h e s e d i r e c t i o n s t o h e r daughter, S t e f a n i a was w o r k i n g away on a n o t h e r d e s i g n . P e r i o d i c a l l y the mother would p u t down he r own work and t a k e o v e r h e r d a u g h t e r ' s weaving t o c o r r e c t a m i s t a k e , -112-F i g u r e 44 S'acas: S o n i a \" s weaving d e s i g n ( a . ) , w h i l e (b.) shows an e l a b o r a t i o n o f t h e d e s i g n i n a b e l t by her mother. -113-o r to f i n d o u t how f a r h e r daughter had come w i t h the p a t t e r n , i f she c o u l d n o t see w i t h a g l a n c e a t what sta g e the weaving was. S o n i a was c o p y i n g h e r mother's weaving a c t i o n s , h o l d i n g h e r t o o l s i n the same way and t r y i n g t o r o c k the b e a t e r i n the same f a s h i o n as h e r mother, b u t she d i d n o t y e t have the c o n t r o l t h a t h e r mother had, so as w e l l as the o c c a s i o n a l m i s t a k e s t h a t h e r mother p i c k e d back and c o r r e c t e d , the t e n s i o n was a l s o n o t as even. There was a s l i g h t d i f f e r e n c e i n the s e t up f o r S o n i a . I n s t e a d o f h a v i n g the work a t t a c h e d t o a s t r i n g t i e d around h e r w a i s t , S o n i a ' s weaving was p i n n e d to the f r o n t o f h e r c a r d i g a n . The o t h e r end o f the warp was h e l d by a m e t a l s t a k e t h a t h e r mother had hammered i n t o the ground. In a d d i t i o n t o o b s e r v i n g the weavers and c h i l d r e n a t work, which I r e c o r d e d i n n o t e s , s l i d e s and photographs, I was a l s o g i v e n the o p p o r t u n i t y t o l e a r n t o weave m y s e l f . A f t e r two days o f o b s e r v a t i o n a t C h i n c h e r o I was asked i f I would l i k e t o l e a r n t o weave. Upon my e n t h u s i a s t i c response. I was then asked what c o l o u r s I would l i k e f o r my band. Here c u l t u r a l d i f f e r e n c e s were immediately o b v i o u s . Whereas most o f the bands woven by the s e n o r a and h e r daughter were v e r y c o l o u r f u l , u s i n g a t l e a s t s i x c o l o u r s , I chose dark brown and w h i t e , t o which the s e n o r a added r e d and green f o r the b o r d e r c o l o u r s . My band a l t h o u g h a t t r a c t i v e i n my eyes, would seem drab t o a P e r u v i a n . T y p i c a l P e r u v i a n c o l o u r schemes can be seen i n the w i d e r weavings o f -114-each o f the weavers o b s e r v e d . My i n s t r u c t i o n began w i t h S t e f a n i a making the warp f o r my band. She p r e p a r e d i t e x a c t l y as d e s c r i b e d e a r l i e r , w h i l e I s a t and watched, a s k i n g t h e o c c a s i o n a l q u e s t i o n . Then w h i l e I c o n t i n u e d t o o b s e r v e , she began the weaving. I was n o t a l l o w e d t o b e g i n weaving u n t i l one complete p a t t e r n r e p e a t had been worked. Then I was g i v e n t h e work t o t i e around my w a i s t . I t took a few moments w r i g g l i n g and a r e t y i n g o f the s t r i n g around my w a i s t b e f o r e I was c o m f o r t a b l y p o s i t i o n e d and ready t o b e g i n the a c t u a l weaving. I d i s c o v e r e d v e r y e a r l y t h a t i t was i m p o r t a n t t o e x e r t a f a i r amount o f t e n s i o n on the warp. T h i s makes even the m a n i p u l a t i o n o f the warp t h r e a d s f o r the p a t t e r n p i c k up e a s i e r . C o p y i n g the a c t i o n s o f my i n s t r u c t o r I opened the shed and s l i p p e d i n the shed s t i c k . W h i l e g r a d u a l l y p u l l i n g the shed s t i c k towards me I t r i e d t o copy the weaver's thumb-scraping a c t i o n a c r o s s the t h r e a d s i n f r o n t o f the s t i c k t o l o o s e n any tendency the t h r e a d s showed t o s t i c k t o g e t h e r . T h i s t e c h n i q u e s was n o t as easy t o do as i t had l o o k e d , b u t when I d i d manage t o master i t somewhat b e t t e r I found t h a t i t made the p r o c e s s much e a s i e r . I a l s o found t h a t I had t o l e a n my body weight backwards t o i n c r e a s e the t e n s i o n on the warp t h r e a d s , o t h e r w i s e I c o u l d n o t b r i n g the shed s t i c k any f u r t h e r . I t h e l p e d i f I h e l d the shed s t i c k a t a v e r y s l i g h t a n g l e , which h e l d the t h r e a d s f u r t h e r a p a r t . -115-A l r e a d y , w i t h i n t h e f i r s t f e w m o m e n t s I h a d l e a r n e d s e v e r a l p o i n t s t h a t w e r e n o t o b v i o u s f r o m o b s e r v a t i o n a l o n e . T h e s e may s e e m l i k e v e r y m i n o r d e t a i l s , b u t i t i s i n s m a l l t h i n g s l i k e t h i s t h a t t h e d i f f e r e n c e l i e s b e t w e e n a m e d i o c r e a n d a c o m p e t e n t w e a v e r . I t i s o n l y b y a c t u a l l y d o i n g s o m e t h i n g t h a t t h e i m p o r t a n c e o f s u c h f a c t s e m e r g e s . T h e r e w e r e o t h e r c u r i o u s a c t i o n s t h a t I h a d r e c o r d e d i n my n o t e s a s I o b s e r v e d t h e w e a v e r d o t h e m . I h a d n o i d e a w h y t h e y w e r e d o n e , a n d i n d e e d o n e o r t w o o f t h e m l o o k e d l i k e b a d h a b i t s . W h e n a s k e d a b o u t some o f t h e s e t h i n g s t h e w e a v e r c o u l d o n l y r e s p o n d t h a t t h a t w a s h o w i t w a s d o n e . B y d o i n g i t m y s e l f I o f t e n c a m e u p w i t h t h e r e a s o n f o r t h e a c t i o n , w h i c h a t t h a t p o i n t s e e m e d o b v i o u s a n d s e n s i b l e . H o w e v e r , i f I h a d n o t w a t c h e d i t b e i n g d o n e I m i g h t n o t h a v e t h o u g h t o f i t f o r m y s e l f . C o n t i n u i n g w i t h my w e a v i n g l e s s o n , I t h e n f o u n d o u t t h e r e a s o n f o r t h e r o c k i n g a n d s c r a p i n g m o t i o n o f t h e s h e d b e a t e r a s t h e p r e v i o u s w e f t w a s p a c k e d d o w n . I c o u l d n o t p a c k i t a s t i g h t l y a s t h e s e n o r a h a d d o n e , n o m a t t e r how m u c h I l e a n e d b a c k w a r d s t o i n c r e a s e t h e t e n s i o n o n t h e w a r p w h i l e I b e a t t h e w e f t i n . T h e n I r e m e m b e r e d t h e r o c k i n g m o t i o n t h a t t h e s e n o r a h a d g i v e n t h e b e a t e r w h e n b e a t i n g d o w n t h e . w e f t . I m m e d i a t e l y t h e w h o l e p r o c e s s w a s e a s i e r . W h e n I r e a c h e d t h e s t a g e o f t h e p a t t e r n p i c k u p I w a s n o t l e f t t o f i g u r e i t o u t o n my own f r o m t h e p a r t a l r e a d y w o v e n . A s w i t h t h e g i r l w h o w a s l e a r n i n g t o w e a v e t h e s e n o r a c a l l e d o u t t h e d i r e c t i o n s , t e l l i n g me t o l i f t , d r o p o r p a s s o v e r e a c h t h r e a d f r o m o n e h a n d t o -116-the o t h e r . W h i l e I was d o i n g t h i s she watched me c l o s e l y t o see t h a t I d i d i n f a c t p i c k up the c o r r e c t t h r e a d s . She d i d n o t c o n t i n u e w i t h h e r own weaving a t the same time as she had done w i t h h e r d a u g h t e r . I wove one p a t t e r n r e p e a t , and then i n d i c a t e d t h a t I had had enough. I e s t i m a t e t h a t I wove f o r about an hour, and by the end o f t h a t time my back was a c h i n g . When I i n d i c a t e d t h i s t o S t e f a n i a she a g r e e d t h a t i t was a common r e s u l t o f weaving f o r any l e n g t h o f t i m e . From t h i s e x p e r i e n c e and from i n f o r m a t i o n g i v e n t o me by t h e s e n o r a , I p i e c e d t o g e t h e r a p i c t u r e o f the t r a d i t i o n a l r o l e o f l e a r n i n g w i t h i n the community. A young weaver l e a r n s from the o l d e r weavers, e x a c t l y as they were t a u g h t themselves by the p r e v i o u s g e n e r a t i o n o f weavers. The forms and p r o p o r t i o n s l e a r n e d by a weaver a r e p a s s e d on v i r t u a l l y unchanged. A young g i r l l e a r n s the d e s i g n s by weaving them, f o l l o w i n g the v e r b a l d i r e c t i o n s o f h e r i n s t r u c t o r . Once the young weaver has r e p e a t e d the d e s i g n many times and i s f a m i l i a r w i t h i t , so t h a t she needs no f u r t h e r a s s i s t a n c e w i t h the p a t t e r n and can s p o t h e r own m i s t a k e s and c o r r e c t them, she b e g i n s on a new d e s i g n . T h i s may sometimes be l a r g e r and more complex. There i s a l o g i c a l p r o g r e s s i o n t o each o f the d e s i g n s , and t h i s g r a d u a l l y becomes app a r e n t t h r o u g h the c o n s t a n t r e p e t i t i o n . P a r t o f the l o g i c i s i n h e r e n t i n the s t r u c t u r e o f the weave. A warp t h r e a d f l o a t s f o r t h r e e t o f i v e rows o f w e f t p i c k s , w i t h o u t s e r i o u s l y weakening the s t r u c t u r e , b u t then i t must be t i e d down a g a i n by t h e w e f t . T h i s -117-s e t s c e r t a i n l i m i t s t o the p a t t e r n . G e n e r a l l y the p a t t e r n s d e v e l o p a l o n g the d i a g o n a l , o r i n the form o f h o r i z o n t a l l i n e s i n t e r s p e r s e d w i t h d i a g o n a l s , as i n s'acas ( f i g 4 5 ) . Here i n o r d e r t o c o n t r o l the l e n g t h o f the warp f l o a t s , the s o l i d o f the r e v e r s e d shapes i s broken up by s m a l l s p l a s h e s o f the second c o l o u r . T h i s c r e a t e s a two c o l o u r , p e b b l e d e f f e c t , which may be used f o r e n t i r e m o t i f s and the c o n t r a s t i n g ground. In d e s i g n s t h a t do n o t have s o l i d a r e a s o f c o l o u r , the d e v e l o p -ment o f the d e s i g n a r i s e s o u t o f the arrangement o f s m a l l elements on the d i a g o n a l , i n t o l a r g e r and more complex d e s i g n forms. A l l o f t h i s i s o c c a s i o n e d by the n a t u r a l l i m i t a t i o n s o f the weave s t r u c t u r e . Examples o f some o f t h e s e d e s i g n s can be seen i n the appendix. The f i r s t s i m p l e d e s i g n s l e a r n e d may r e c u r l a t e r i n the l a r g e r p i e c e s . S o n i a ' s d e s i g n o f s'acas o c c u r s i n a more o r n a t e form i n a b e l t woven by h e r mother. Here the s i m p l e r e p e a t has been i n c o r p o r a t e d i n t o a complex s e r i e s o f diamond shapes, t h a t a t f i r s t s i g h t , do n o t seem t o bear any r e l a t i o n s h i p t o the i n i t i a l d e s i g n ( f i g 4r4) . The s l o w l y d e v e l o p i n g sense o f f a m i l i a r i t y w i t h the weaving p a t t e r n s , w i l l e v e n t u a l l y l e a d S o n i a from h e r s m a l l r e p e a t , t o the c o m p l e x i t i e s o f h e r mother's p a t t e r n . T h i s method o f l e a r n i n g r e s u l t s i n a s p e c i f i c approach t o d e s i g n . Because weavers l e a r n by h e a r t the d e s i g n s i f o t h e r weavers, t h e r e i s a s t r o n g tendency t o s t a n d a r d i z a t i o n o f d e s i g n elements, t o the e x t e n t - 1 1 8 -t h a t e a c h w o v e n a r t i c l e i s c l e a r l y r e c o g n i z a b l e a s t y p i c a l o f t h e v i l l a g e o r c o m m u n i t y t o w h i c h t h e w e a v e r b e l o n g s . E a c h w e a v e r w i t h i n t h e c o m m u n i t y c o m e s w i t h i n t h e s p h e r e o f i n f l u e n c e o f t h e o t h e r s . T h u s a n y c h a n g e s i n p a t t e r n d e v i s e d b y o n e w e a v e r w i l l b e k n o w n t o t h e o t h e r s , e v e n t h o u g h t h e y m a y n o t u s e t h e n e w i d e a s t h e m s e l v e s . H o w e v e r , t h o s e c h a n g e s t h a t d o o c c u r a r e s l i g h t , a n d t e n d t o a f f e c t t h e p r o p o r t i o n s , o r t h e p l a c i n g o f t h e d e s i g n e l e m e n t s w i t h i n t h e w h o l e , r a t h e r t h a n t h e i n v e n t i o n o f a c o m p l e t e l y n e w m o t i f . I n a n i n s t a n c e r e p o r t e d b y G o o d e l l ( B i r d 1 9 6 8 : 1 5 ) t h e w e a v e r o r i g i n a l l y h a d l e a r n e d a d e s i g n b a s e d o n s i x t y w a r p t h r e a d s , w h i c h s h e h a d a d a p t e d t o o n e h u n d r e d a n d t w e n t y t h r e a d s . W h i l e t h i s d o u b l e d t h e w i d t h o f t h e d e s i g n , a n d n e c e s s i t a t e d a r e a r r a n g e m e n t o f t h e i n t e r n a l e l e m e n t s , i t d i d n o t c h a n g e t h e d e s i g n i t s e l f , w h i c h i s s t i l l r e c o g n i s a b l e t o e v e r y o n e a s b e l o n g i n g t o t h a t v i l l a g e . N a t u r a l l y , e a c h c o m m u n i t y i s i n f l u e n c e d b y t h e o t h e r s w h i c h a r e i n c l o s e p r o x i m i t y , a n d t h e i n f l u e n c e s o f o n e v i l l a g e may b e f e l t i n a n o t h e r . T h i s r e s u l t s i n a s i m i l a r i t y o f d e s i g n w i t h i n a l o c a l i z e d r e g i o n , i n e f f e c t t h e r e g i o n a l s t y l e , b u t n o n e t h e l e s s , t h e d e s i g n s a r e s u f f i c i e n t l y d i s t i n c t f o r t h e m t o b e d i f f e r e n t i a t e d f o r m e a c h o t h e r b y t h o s e f a m i l i a r w i t h t h e m . T h u s , w h i l e i n C u z c o s o m e o n e w i l l p o i n t t o a t e x t i l e a n d s a y O l l a n t a y t a m b o , i n O l l a n t a y t a m b o i t w i l l b e p o i n t e d o u t t h a t t h e t e x t i l e i s f r o m K w i l l y o , w h i c h i s w i t h i n w a l k i n g d i s t a n c e o f t h e t o w n . I n K w i l l y o , o n e w e a v e r w i l l b e a b l e t h e w o r k o f o t h e r w e a v e r s . -119-O'Neale (1932), i n a r e p o r t which d e a l s w i t h a n o t h e r non l i t e r a t e a r t t r a d i t i o n , t h a t o f the Yurok-Karok b a s k e t weavers o f n o r t h w e s t e r n C a l i f o r n i a , n o t e s a s m i l i a r l y c o n s e r v a t i v e a t t i t u d e opposed to any k i n d o f change, i n c l u d i n g t h e i n v e n t i o n o f new d e s i g n s . Thus, whatever a l t e r a t i o n o f d e s i g n i s done i s v e r y s l i g h t . The e l a b o r a t i o n o f d e t a i l s , which does n o t change the form o f the d e s i g n , i s a c c e p t e d and a p p r e c i a t e d f o r t h e n o v e l t y t h a t i t g i v e s t o the d e s i g n s , which must s t i l l be c l e a r l y r e c o g n i s a b l e (O'Neale 1932:98). Any i n d i v i d u a l i t y i s e x p r e s s e d i n the c h o i c e o f d e s i g n s and the way i n which they a r e combined. To a p p r e c i a t e t h i s k i n d o f s u b t l e v a r i a t i o n i t i s n e c e s s a r y t o be f a m i l i a r w i t h the d e s i g n s i n t h e i r t r a d i t i o n a l form. In e s s e n c e , o r i g i n a l i t y as we know i t , i s l a c k i n g , f o r the p r e s s u r e w i t h i n the group as to conform t o the s t a n d a r d s s e t and m a i n t a i n e d f o r g e n e r a t i o n s . Indeed, i t i s a c t u a l l y a g a i n s t the I n d i a n law o f the Yurok-Karok p e o p l e s t o change the d e s i g n s (O'Neale 1932:98). Wh i l e t h e P e r u v i a n weavers may n o t have as l i t e r a l a p r o h i b i t i o n a g a i n s t change, the e f f e c t seems t o be the same, w i t h each g e n e r a t i o n c o n f o r m i n g t o the t r a d i t i o n and o n l y s m a l l changes b e i n g made i n the d e s i g n s . Once these changes have been made, they i n t u r n are p a s s e d on as p a r t o f the t r a d i t i o n . Thus, the d e s i g n s e v o l v e c o n t i n u o u s l y r a t h e r than r e m a i n i n g e n t i r e l y s t a t i c . The c u r r e n t t r e n d t h i s c e n t u r y , i s f o r a w i d e n i n g o f p a t t e r n bands and an e l a b o r a t i o n o f the d e s i g n elements w i t h i n each band on the women's mantas. By l e a r n i n g w i t h i n a v e r y s t r u c t u r e d d e s i g n t r a d i t i o n each weaver, -120-whatever h e r a b i l t i e s , g r a d u a l l y develops a d e s i g n v o c a b u l a r y w i t h which sahe i s c o m p l e t e l y f a m i l i a r . Thus t h e r e i s no s t r e s s i n v o l v e d i n the s e l e c t i o n o f a d e s i g n , so t h a t even an u n c r e a t i v e weaver can produce a work o f an a c c e p t a b l e q u a l i t y and r e t a i n h e r r e p u t a t i o n as a weaver. I n t h i s c o n t e x t t h e r e i s no s c h i s m between the a r t i s t and the non a r t i s t as the d e s i g n s are a v a i l a b l e t o a l l . Where the d i f f e r e n c e does show i s i n the way i n which the c r e a t i v e weaver w i l l use the d e s i g n s , s t i l l w o rking i n c o n f o r m i t y w i t h the t r a d i t i o n , t o produce something t h a t by l o c a l s t a n d a r d s i s new and i n n o v a t i v e w i t h i n the a c c e p t e d l i m i t a t i o n s . The weaver p r e v i o u s l y r e f e r e d t o ( B i r d 1968:15), by d o u b l i n g the number o f warp t h r e a d s u sed i n the p a t t e r n band, had . t a c k l e d a d i f f i c u l t d e s i g n problem, which she s o l v e d e v e n t u a l l y by an e l a b o r a t i o n and rearrangement o f the el e m e n t s . Her d e s i g n was new and i n n o v a t i v e , a c c e p t a b l e w i t h i n the l i m i t a t i o n s o f the t r a d i t i o n , and , was the r e s u l t o f much c r e a t i v e t h i n k i n g and problem s o l v i n g o f as o r d e r t h a t i s h a r d t o comprehend, f o r the e n t i r e p r o c e s s o f c r e a t i o n , p l a n n i n g and s o l u t i o n took p l a c e i n h e r head. Weaving p l a y s an i n p o r t a n t r o l e i n Andean v i l l a g e s o c i e t y where, u n t i l r e c e n t l y , i t p r o v i d e d the o n l y c l o t h i n g . D e s p i t e the a v a i l a b i l i t y o f m a n ufactured m a t e r i a l s and c l o t h i n g , t r a d i t i o n a l handweaving s t i l l p l a y s a r o l e i n the campesino's wardrobe, p r o v i d i n g a form o f s e l f i d e n t i f i c a t i o n w i t h one's community. A woman's r e p u t a t i o n , and hence h e r s t a t u s i n the community, s t i l l r e s t s t o a c e r t a i n e x t e n t on how good a s p i n n e r and weaver she i s . However much j o y a woman may take i n h e r weaving i t i s s t i l l numbered among the o t h e r d a i l y and s e a s o n a l -121-c h o r e s f o r which she i s r e s p o n s i b l e . The n a t u r a l way i n which s p i n n i n g and weaving f i t s i n t o the d a i l y c y c l e o f l i f e i s r e i n f o r c e d by the way i n which c h i l d r e n are i n t r o -duced t o i t . While a mother weaves, h e r baby w i l l be propped up nearby, w a t c h i n g a l l t h a t i s happening, much as N a n c i was p l a c e d near h e r mother and e l d e r s i s t e r ( f i g 44). As the c h i l d grows she i s g r a d u a l l y immersed i n the v a r i o u s s t a g e s o f p r o d u c t i o n . Even a v e r y s m a l l c h i l d can h e l p remove the b u r r s and d i r t from the shorn f l e e c e , and t h i s the c h i l d r e n a r e e x p e c t e d t o do, t a k i n g f u l l r e s p o n s i b i l i t y f o r t h e i r share o f the l a b o u r . When s l i g h t l y o l d e r , l i k e S o n i a 1 s two younger s i s t e r s , n e i t h e r o f whom are o f s c h o o l age, they may be s e n t o u t as s h e p h e r d e s s e s , t o guard the sheep, d u r i n g the day. While i n v o l v e d i n t h i s t a s k , t h e younger ones may p l a y , b u t the o l d e r ones may s i t and s p i n o r weave b e l t s and bands\"''. There i s no s e p a r a t i o n o f a r t from the c u l t u r e i n t h i s t r a d i t i o n -a l l y o r i e n t e d s o c i e t y . The t e x t i l e s p r o v i d e a community i d e n t i f i c a t i o n and c o n t i n u i t y among g e n e r a t i o n s , g i v i n g a sense o f s t a b i l i t y and o r d e r . The g r a d u a l immersion on the c h i l d r e n i n the t a s k e s e x p e c t e d o f them as a d u l t s , g i v e s a c o n t i n u i t y o f l e a r n i n g and e x p e r i e n c e t h a t i s n e c e s s a r y f o r the t r a n s m i s s i o n o f the c u l t u r e . I t p a s s e s on the s u r -v i v a l s k i l l s t h a t the n e x t g e n e r a t i o n w i l l need. I t p r o v i d e s a sense Among the Navaho t h e r e i s t h i s same g r a d u a l immersion i n the l e a r n i n g o f s p i n n i n g and weaving ( B e r l a n t and K a h l e n b e r g 1977). -122-o f o r d e r , and by d e f i n i n g r o l e s and f i t t i n g the f u t u r e a d u l t s f o r those r o l e s i t m a i n t a i n s the s t a t u s quo o f t h e s o c i e t y as i t has been f o r g e n e r a t i o n s . The g r a d u a l g i v i n g o f f u l l work r e s p o n s i b i l i t y t o the c h i l d r e n p r o v i d e s a smoother passage i n t o a d u l t h o o d , w i t h the c h i l d a l r e a d y f u n c t i o n i n g as a p r o d u c t i v e member whose c o n t r i b u t i o n i s e c o n o m i c a l l y i m p o r t a n t t o the f a m i l y group. The R e s e a r c h e r as P a r t i c i p a n t The P e r u v i a n weaving t r a d i t i o n i s v e r y much an o r a l and v i s u a l one. I n a sense, by t a k i n g n o t e s o f the p r o c e s s , I am wo r k i n g w i t h i n my own c u l t u r a l t r a d i t i o n , r a t h e r than the P e r u v i a n one which I am t r y i n g t o r e c o r d . T h i s anomaly i s i n s o l u b l e , b u t i t i s i n d i c a t i v e o f some o f the problems t h a t o c c u r when from one c u l t u r a l s t a n d p o i n t I t r y t o e v a l u a t e a n o t h e r c u l t u r e . C o l l i e r (1967:i) r e f e r s t o one a s p e c t o f the pr o b l e m when he s t a t e s t h a t \"our r e c o g n i t i o n o f c u l t u r a l phenomena i s c o n t r o l l e d by our a b i l i t y t o u n d e r s t a n d . \" I needed a d e t a i l e d r e c o r d o f the P e r u v i a n weaving p r o c e s s , b u t d i d n o t have time t o s t a y and s t u d y as a P e r u v i a n weaver would have done, s p e n d i n g s e v e r a l y e a r s a c q u i r i n g the s k i l l s by o b s e r v a t i o n and p r a c t i c e . In o r d e r t o r e t a i n the d e t a i l e d i n f o r m a t i o n I had t o make n o t e s . To p a s s t h i s i n f o r m a t i o n on t o o t h e r s I have t o w r i t e down the d e s c r i p t i o n s and c o n v e r t an o r a l t r a d i t i o n i n t o a l i t e r a r y one. By i n c l u d i n g some photographs I p a r t i a l l y compensate by p r e s e n t i n g some o f the i n f o r m a t i o n v i s u a l l y , t h a t cannot be so w e l l p r e s e n t e d i n words, -12 3-- -b u t d e s c r i p t i o n s a r e s t i l l n e c e s s a r y t o accompany the i l l u s t r a t i o n s . Through my e x p e r i e n c e o f l e a r n i n g t o weave i n P e r u , I have st e p p e d a c r o s s from my own c u l t u r e , i n the r o l e o f o b s e r v e r , t o the P e r u v i a n c u l t u r e , as p a r t i c i p a n t . Through p a r t i c i p a t i o n I have l e a r n e d o f a s p e c t s o f the weaving p r o c e s s t h a t a r e n o t n e c e s s a r i l y o b v i o u s t o an o b s e r v e r . By d o i n g I l e a r n the t e c h n i q u e s needed t o a c c o m p l i s h c e r t a i n e f f e c t s . S m a l l s c a t t e r i n g s o f the second c o l o u r i n a l a r g e s o l i d a r e a o f c o l o u r , break up the c o l o u r a r e a , b u t t h e y a l s o s t r e n g t h e n the s t r u c t u r e by c u t t i n g down the l e n g t h o f the warp f l o a t s . By u s i n g a warp i n many c o l o u r s , l a r g e d e s i g n a r e a s are broken up v i s u a l l y i n t o s m a l l e r a r e a s , t h r o u g h the changes i n c o l o u r . Oddly enough, i t i s h a r d e r t o weave a s i m p l e p a t t e r n i n s e v e r a l c o l o u r bands than i t i s t o weave an a p p a r e n t l y more complex p a t t e r n i n o n l y two c o l o u r s . Sometimes, d e s i g n s t h a t l o o k s i m p l e , a r e n o t . In the same way, because I have woven w i t h the t i g h t l y t w i s t e d , P e r u v i a n spun y a r n , I am aware o f the d i f f e r e n c e t h a t the t i g h t t w i s t makes t o 'the weaving p r o c e s s . I t i s n o t j u s t a m a t t e r o f g e t t i n g a l o n g e r w e a r i n g and more d u r a b l e f i n i s h e d garment. By t w i s t i n g the y a r n v e r y t i g h t l y , the P e r u v i a n s c o u n t e r some o f the wools n a t u r a l tendency t o s t i c k t o the n e i g h b o u r i n g l e n g t h s o f y a r n , which makes the shed changes e a s i e r . By p r a c t i c e I am g r a d u a l l y b e g i n n i n g t o comprehend the v e r s a t i l i t y o f t e c h n i q u e and the i n h e r e n t l i m i t a t i o n s . To date most o f my weaving -124-has been o f narrow bands, f o r i t t a k e s time t o a c q u i r e the k i n d o f s k i l l t h a t my i n s t r u c t o r demonstrated. I am handicapped i n my weaving by n o t h a v i n g a weaver s i t t i n g b e s i d e me c a l l i n g o u t the t h r e a d changes, u n t i l I have t h o r o u g h l y l e a r n t the s t e p s . In o r d e r t o be a b l e t o f r e e l y adapt the p a t t e r n s and u n d e r s t a n d how the P e r u v i a n weavers made t h e i r changes and i n n o v a t i o n s i n the d e s i g n elements, I have t o become s u f f i c i e n t l y f a m i l i a r w i t h the p a t t e r n s to be a b l e t o move around f r e e l y w i t h i n the d e s i g n s m y s e l f . T h i s w i l l t a k e time and p r a c t i c e . U n l i k e the P e r u v i a n weavers I can s i t down w i t h p e n c i l and paper t o d r a f t a d e s i g n on graph paper, and t h i s i s b a s i c a l l y how I now have t o work. But e v e n t u a l l y I hope t o be s u f f i c i e n t l y f a m i l i a r w i t h the d e s i g n s t o b e g i n my own development. There are two d i r e c t i o n s i n which I may go. One i n v o l v e s working w i t h i n the c u l t u r a l t r a d i t i o n o f the P e r u v i a n weavers and a c c e p t i n g t h e i r e s t a b l i s h e d l i m i t a t i o n s i n o r d e r to g a i n a b e t t e r u n d e r s t a n d i n g o f how the m a t e r i a l s a r e p r e p a r e d and the t o o l s used, and a l s o the d e s i g n problems and a e s t h e t i c d e c i s i o n s t h a t a r e i n h e r e n t i n the o r i g i n a l p r o d u c t i o n o f s i m i l a r a r t i c l e s . . By t h i s approach I g a i n a b e t t e r u n d e r s t a n d i n g o f the problems f a c e d by a r t i s t s w o r k i n g i n as o r a l t r a d i t i o n . T h i s p r a c t i c a l , p a r t i c i p a t i o n approach i s becoming i n c r e a s i n g l y i m p o r t a n t i n N o r t h American I n d i a n a r t s t u d i e s , where i t i s r e f e r r e d t o as \" a r t e f a k i n g \" (Holm ,that i s , the i m i t a t i v e making o f a c a r v i n g , b a s k e t , weaving o r o t h e r a r t o b j e c t , i n o r d e r t o b e t t e r u n d e r s t a n d not o n l y how i t -125-was made, and the t e c h n i c a l problems t h a t were i n v o l v e d , b u t a l s o more about the a e s t h e t i c s o f t h e a r t e f a c t i n t h e c o n t e x t o f t h e m a n u f a c t u r i n g c u l t u r e . S i m i l a r l y , i n a d i s c u s s i o n o f Washoe b a s k e t r y , Cohodas (1979) h i m s e l f an \" a r t e f a k e r \" , n o t e s t h a t d e s i g n c o m p o s i t i o n was much more c o n s i s t e n t f o r each a r t i s t than the t e c h n i q u e s they employed. S e c o n d l y , w o r k i n g w i t h elements from P e r u v i a n d e s i g n s , I am u s i n g them i n a way t h a t i s e n t i r e l y p e r s o n a l and w i t h i n my own c u l t u r a l t r a d i t i o n s . The i d e a s are t h e r e t o be used as a s t a r t i n g p o i n t , and p r o v i d e d the a r t i s t makes h e r own a r t i s t i c d e c i s i o n s the f i n i s h e d works w i l l be an unique e x p r e s s i o n o f the a r t i s t i c c u l t u r e w i t h i n which the a r t i s t l i v e s . T h i s must be b o r n i n mind when l o o k i n g t o the works o f o t h e r c u l t u r e s f o r i n s p i r a t i o n . The p a i n t i n g s t h a t P i c a s s o p r o d u c e d as a r e s u l t o f h i s exposure t o A f r i c a n s c u l p t u r e , w h i l e r e t a i n i n g some o f the e s s e n t i a l q u a l i t i e s i n h e r e n t i n the c a r v e d masks, do n o t l o o k l i k e c o p i e s o f A f r i c a n masks. P i c a s s o e x t r a c t e d what he wanted from the p i e c e s and used them i n h i s own o r i g i n a l way. Through p a r t i c i p a t i o n i n t h e weaving t r a d i t i o n o f a n o t h e r c u l t u r e I am more aware o f the n a t u r e o f the d e s i g n s and how t h e y can be d e v e l o p e d w i t h i n t h e s t r i c t l i m i t a t i o n s imposed by the P e r u v i a n s . The n a t u r e o f the weave i t s e l f and the v e r s a t i l i t y o f i t s s t r u c t u r e -126-become more a p p a r e n t as I become more f a m i l i a r w i t h i t , t h r o u g h p r a c t i c e . A complete e x p l o r a t i o n o f the many p o s s i b i l i t e s t h a t the weave and the loom p e r m i t , s t i l l r e q u i r e s more time than I have y e t been a b l e t o g i v e , b u t I f i n d the f u t u r e developments e x c i t i n g . -127-CHAPTER 7 CONCLUSION We have seen t h a t the P e r u v i a n t e x t i l e t r a d i t i o n began f a r back i n p r e h i s t o r i c times w i t h the i n t r o d u c t i o n o f t w i n i n g and n e t t i n g t e c h n i q u e s . With the advent o f loom weaving, p a t t e r n i n g t e c h n i q u e s were d e v e l o p e d by f l o a t i n g warp t h r e a d s a c r o s s the s u r f a c e o f the m a t e r i a l . As o t h e r weaving t e c h n i q u e s were d e v e l o p e d the warp-p a t t e r n weaves o c c u p i e d a more minor p o s i t i o n than t h e i r i n t r i c a c y w a r r a n t s . C l o s e r study o f a r c h e o l o g i c a l t e x t i l e s and r e a d i n g s i n the e a r l y S p a n i s h c h r o n i c l e s s u g g e s t s t h e p r e s e n c e o f two s e p a r a t e t e x t i l e t r a d i t i o n s , one f u n c t i o n i n g as e l i t e a r t , w i t h p a r t i c u l a r l y f i n e e m b r o i d e r i e s and t a p e s t r i e s , the o t h e r o p e r a t i n g on a lower l e v e l as the a r t and c l o t h i n g o f the p e a s a n t s . From an e x a m i n a t i o n o f p r e h i s t o r i c t e x t i l e s i n museum c o l l e c t i o n s and from contemporary p i e c e s seen and c o l l e c t e d i n the f i e l d d u r i n g my v i s i t t o P e r u i n 1978, i t i s obvious t h a t w h i l e the e l i t e a r t changed r a d i c a l l y from c u l t u r e group t o c u l t u r e group, the w a r p - p a t t e r n weaves have endured w i t h a c o n t i n u i t y o f t r a d i t i o n t h a t extends back over almost f o u r thousandn y e a r s . \u00E2\u0080\u00A2The c o n t i n o u s warp loom which appears v i r t u a l l y unchanged s i n c e p r e h i s t o r i c t i m e s , i s a v e r y s i m p l e p i e c e o f equipment which may be s e t up i n a v a r i e t y o f ways, depending upon the p e r s o n a l p r e f e r e n c e and r e q u i r e m e n t s o f the weaver. S e v e r a l d i f f e r e n t s e t ups were o b s e r v e d i n P e r u . The l a r g e p i e c e s o f c l o t h p roduced on t h i s loom -128-f o r mantas and ponchos a r e i d e n t i c a l i n s t r u c t u r e t o t h e s m a l l b l e t s and bands, produced w i t h l i t t l e o r no t o o l s . The loom i s a v e r s a t i l e and a d a p t a b l e p i e c e o f equipment, w i t h the added v a l u e o f b e i n g e n t i r e l y p o r t a b l e , r e q u i r i n g l i t t l e o r n o t h i n g i n t h e way o f m a t e r i a l t o make i t . I n a s t r a t i f i e d s o c i e t y where a r t s e r v e s t h e f u n c t i o n o f i d e n t i f y -i n g t h e e l i t e , i t f u n c t i o n s i n a d i v i s i v e way, emphasizing t h e sch i s m between t h e e l i t e and t h e i r non e l i t e s u p p o r t e r s . I n t h i s c o n t e x t , i n -n o v a t i o n and c r e a t i v i t y a r e encouraged. In any s t r a t i f i e d s o c i e t y , on t h e lower s t r a t u m t h e p e o p l e w i l l s t i l l be d o i n g c o h e s i v e a r t work w i t h i n t h e i r own t r a d i t i o n s . So what happens when t h e i r i s a conquest? The e l i t e a r t i s r e p l a c e d by t h a t o f t h e c o n q u e r o r s , as happened w i t h t h e s t a t u s t a p e s t r y t e c h n i c ques o f t h e I n c a s . The lower c l a s s c o n t i n u e s t o make i t own a r t , s l o w l y showing s i g n s o f t h e i n f l u e n c e o f t h e new e l i t e , a r t , but c o n t i n u i n g w i t h i t s own c o h e s i v e f o r c e s , where t r a d i t i o n i s s t r o n g e r than t h e f o r c e f o r o r i g i n a l i t y . W i t h the coming o f t h e S p a n i a r d s t h e Inca e l i t e a r t was d e s t r o y e d , a l o n g w i t h t h e complex system o f government t h a t sup-p o r t e d i t s manufacture. The pe a s a n t a r t c o n t i n u e d , w i t h S p a n i s h i n s p i r e d i n f l u e n c e s g r a d u a l l y a p p e a r i n g , so t h a t today, w h i l e few o f t h e m o t i f s used d a t e back t o p r e h i s t o r i c t i m e s , t h e t e c h n i q u e s have remained unchanged, as have t h e c o n t i n u o u s warp looms. The slow a b s o r p t i o n o f new m a t e r i a l s and i d e a s seems due t o t h e n a t u r e o f t h e t r a n s m i s s i o n o f knowledge i n a non l i t e r a t e s o c i e t y . -129-Weaving, and a l l o t h e r c u l t u r a l a s p e c t s , a r e t a u g h t b o t h v i s u a l l y and o r a l l y , by example and a r e l e a r n t by h e a r t . The weaver p r a c t i s e s t h e d e s i g n s u n t i l t h o r o u g h l y f a m i l i a r w/th. them, and each weaver i n t h e community p o s s e s s e s t h e same d e s i g n v o c a b u l a r y . T h i s encourages the p r e s -s u r e t o c o n f o r m i t y and t h e s t a n d a r d i z a t i o n o f d e s i g n s . R a d i c a l changes a r e frowned upon. Weavers show t h e i r c r e a t i v i t y by t h e c h o i c e o f d e s i g n , and by v a r y i n g t h e p r o p o r t i o n s and e l a b o r a t i n g t h e i n t e r n a l elements o f the p a t t e r n s . The weaver b u i l d s on a memorized p a t t e r n . Some minor i n n o v a t i o n s w i l l be a c c e p t e d by o t h e r s o f her community, a l l o w i n g the s t y l e t o e v o l v e s l o w l y , w i t h t r a d i t i o n d o m i n a t i n g o v e r i n n o v a t i o n and p r o v i d i n g a much needed sense o f c r e a t i v i t y . A d e t a i l e d comparison o f th e weaving t e c h n i q u e s o f each o f the weavers o b s e r v e d shows a w e a l t h o f v a r i a t i o n i n approach, which i s not a p p a r e n t i n t h e f i n i s h e d f a b r i c , b u t w i t h t h i s r e c o r d t o add t o what has a l r e a d y been done, i t may be p o s s i b l e t o c a r r y o u t a t horough comparison o f a l l t h e weaving v a r i a t i o n s i n t h e Cuzco r e g i o n and e l s e -where i n the Andes. From o b s e r v a t i o n o f t h e weavers i n Peru i t i s app^-a r e n t t h a t a n t h r o p o l o g i s t s have been too ready t o assume an u n i f o r m i t y o f weaving t e c h n i q u e as w e l l as d e s i g n . Too l i t t l e a l l o w a n c e has been made f o r the f a c t t h a t weavers a r e i n d i v i d u a l s , n o t automatums, and as such w i l l e x h i b i t a wide v a r i e t y o f ways o f weaving, even ' u s i n g t h e same loom. I was b e t t e r a b l e t o a p p r e c i a t e t h e i n d i v i d ^ u a l i t y o f t h e weavers a f t e r my own e x p e r i e n c e s o f l e a r n i n g t o weave w h i l e i n P e r u . T h i s c o n c e p t o f t h e r e s e a r c h e r as p a r t i c i p a n t , r e p r e s e n t s an a r t i s t i c and e d u c a t i o n a l a s p e c t o f the stu d y o f p r i m i t i v e and p r e h i s t -o r i c c u l t u r e s t h a t w i l l be o f a s s i s t a n c e t o a r c h e o l o g i s t s , a n t h r o p o l o -g i s t s and a r t h i s t o r i a n s who a working i n the f i e l d . Too o f t e n con-f u s i o n has been caused i n s t u d i e s by f a i l u r e t o t a k e i n t o a c c o u n t t h e n a t u r a l v a r i a t i o n i n t e c h n i q u e t h a t may be the r e s u l t o f p e r s o n a l c h o i c e o r i n c l i n a t i o n on t h e p a r t o f t h e weaver. There has been a tendency t o assume t h a t a r t i c l e s produced w i t h i n one c u l t u r e w i l l be a l l p r o d u c e d i n e x a c t l y t h e same way, u s i n g t h e same t e c h n i q u e . A. Rowe (1975) r e f e r s t o t h i s c o n cept o f u n i f o r m i t y i n her d i s c u s s i o n o f t h e weaving p r o c e s s e s o f t h e Cuzco a r e a . She assumes t h a t t h e v a r i a t i o n s i n t e c h n i q u e a r e based on p r e h i s t o r i c d i f f e r e n c e s i n c u l t u r a l b a c k g r o u n f . I t has been assumed t h a t t h e Quechua t r a d i t i o n -a l l y wove on t h e back t e n s i o n loom, w h i l e t h e Aymara used t h e s t a k e d o u t loom (O'Neale 1949: 115), but s i n c e t h e s e a r e m e r e l y d i f f e r e n t s e t ups o f the same c o n t i n u o u s warp loom, t h i s i s n o t n e c e s s a r i l y the c a s e . Many o f t h e d i f f e r e n c e s may be due t o p e r s o n a l p r e f e r e n c e i n : method o f working, which has s i n c e been e n s h r i n e d i n t r a d i t i o n . Through d i r e c t i n v o l v e m e n t i n t h e l e a r n i n g e x p e r i e n c e , as a weaver as w e l l as an o b s e r v e r , I am a t t e m p t i n g t o b r i d g e t h e gap between two c u l t u r e s where t h e l e a r n i n g t r a d i t i o n s a r e d i f f e r e n t , and come t o some u n d e r s t a n d i n g o f t h e f u n c t i o n o f t h e weaving e x p e r i e n c e i n P e r u v i a n terms. I f a r t i s l o o k e d a t as an i n t e r a c t i o n o f t r a d i t i o n and c r e a -t i v i t y , i n a non s t r a t i f i e d s o c i e t y , such as t h e Andean one, t r a d i t i o n w i l l dominate o v e r o r i g i n a l i t y , as has happened i n t h e Andes, and i n o t h e r non l i t e r a t e s o c i e t i e s . Thus t o ask an I n d i a n c h i l d from t h i s -131-c u l t u r a l b a c k g r o u n d t o p r o d u c e a n o r i g i n a l w o r k o f a r t , i s f i g h t i n g a g a i n s t h i s c u l t u r a l e x p e r i e n c e s . F r o m my s t u d y o f t h e c o n t e m p o r a r y P e r u v i a n w e a v i n g t r a d i t i o n I h a v e t h e i m p r e s s i o n t h a t i t s c o n t i n u e d e x i s t e n c e i s d u e t o t h e c o n s e r -v a t i s m o f t h e w e a v e r s c o n c e r n e d . T h e y s t i l l h a v e a s t r o n g f e e l i n g o f p r i d e i n t h e c o n t i n u i t y o f t h e i r c u l t u r a l t r a d i t i o n , a n d t h i s i s o n e o f t h e i r m a j o r s t r e n g t h s , t h a t h a s p e r m i t t e d t h e t r a d i t i o n t o s u r v i v e f o r s o l o n g . W o r k i n g n a t u r a l l y w i t h i n t h i s t r a d i t i o n , a P e r u v i a n c h i l d c a n m a k e j u d g e m e n t s a s t o t h e q u a l i t y o f t h e w e a v i n g . T h e c r i t e r i a a r e s i m p l e , t h e y i n c l u d e t h e o b v i o u s p o i n t s o f h o w w e l l t h e a r t i c l e i s m a d e , w h e t h e r i t s p a t t e r n f i t s t h e s p a c e , a n d how w e l l i t f i l l s t h e f u n c t i o n f o r w h i c h i t w a s m a d e . W h i l e t h e P e r u v i a n a p p r o a c h t o a r t i s n o t t h a t o f t h e W e s t e r n w o r l d i n t h e t w e n t i e t h c e n t u r y , b y b e i n g a w a r e o f h o w o t h e r c u l t u r e s t r e a t a r t a n d l e a r n i n g , we m a y b e a b l e t o s e e b e t t e r how we h a n d l e a r t e d u c a t i o n i n o u t o w n s o c i e t y . R E g r e t t a b l y , t h e r e may b e o n l y a l i t t l e m o r e t i m e i n w h i c h we c a n s o o b s e r v e t h e P e r u v i a n t r a d i t i o n , :T f o r . u n d e r t h e p r e s s u r e o f a c h a n g i n g l i f e s t y l e a n d c h a n g i n g e c o n o m i c p r e s s u r e s , t h e w e a v i n g i s d y i n g o u t . T h e d i f f e r n c e i n t h e n u m b e r o f w e a v e r s whom G o o d e l l r e p o r t e d a n d t h o s e whom I m a n a g e d t o f i n d , s h o w t h a t t h e d e c l i n e i s a c c e l e r a t i n g . I f m o r e r e s e a r c h i s n o t c a r r i e d o u t s o o n , t h e r e m a y b e n o P e r u v i a n t e x t i l e t r a d i t i o n l e f t t o s t u d y . - 1 3 2 -A P P E N D I X A T H E COMPOUND W E A V E S 1 I n a c o m p o u n d w e a v e t h e r e i s m o r e t h a n o n e s e t o f e i t h e r w a r p o r w e f t e l e m e n t s , t h e u s e o f w h i c h i n o n e f a c e n e e d n o t a f f e c t t h e s t r u c t u r e o f t h e o t h e r f a c e . S u p p l e m e n t a r y w a r p w e a v e s a r e t h o s e i n w h i c h w a r p t h r e a d s a r e s u p p l e m e n t a r y t o t h e g r o u n d w e a v e . T h e s e s u p p l e m e n t a r y w a r p s a r e a d d e d t o p r o d u c e p a t t e r n i n g . I f t h e y w e r e d i s p e n s e d w i t h , t h e f a b r i c w o u l d s t i l l e x i s t ( f i g . 4 5 ) . T h e p a t t e r n w a r p s a r e b r o u g h t t o t h e f a c e o f t h e f a b r i c b e t w e e n r e g u l a r w a r p s , i n t e r w o r k e d b r i e f l y w i t h t h e g r o u n d w e a v e w e f t s a n d r e t u r n e d t o t h e b a c k . C o m p l e m e n t a r y s e t s o f w a r p s W h e n t w o o r m o r e s e t s o f w a r p s a r e c o - e q u a l i n t h e f a b r i c s t r u c -t u r e t h e y c a n b e d e s c r i b e d a s b e i n g c o m p l e m e n t a r y t o e a c h o t h e r . T h e s t r u c t u r e i t s e l f i s c o m p o u n d a n d c a n b e e i t h e r d o u b l e - f a c e d o r t w o - f a c e d . I n c o m p l e m e n t a r y - w a r p w e a v e s t w o s e t s o f c o m p l e m e n t a r y w a r p s c a n i n t e r l a c e w i t h a s i n g l e w e f t t o f o r m a c o h e r e n t w e a v e s t r u c t u r e i n w h i c h t h e r e i s n o g r o u n d w e a v e a s s u c h . T h e t w o w a r p e l e m e n t s p l a y e q u i v a l e n t a n d r e c i p r o c a l p a r t s o n o p p o s i t e s i d e s o f t h e f a b r i c . I n t h e s i m p l e s t f o r m b o t h s e t s o f c o m p l e m e n t a r y w a r p s m a i n t a i n a 3 / 1 o r d e r o f i n t e r l a c i n g , a n d f o r m 3 - s p a n f l o a t s i n a l t e r n a t e a l i g n m e n t , e a c h o n i t s o w n f a c e . I f t h e w a r p s a r e s u f f i c i e n t l y c o m p a c t e d o n l y o n e c o l o u r w i l l s h o w o n e a c h f a c e ( f i g . 4 6 ) . P a r a p h r a s e d f r o m E m e r y ( 1 9 6 6 : 1 4 0 - 5 4 ) . -133-F i g u r e 45 Supplementary-warp weave s t r u c t u r e s a. i n t r o d u c t i o n o f one c o l o u r i n p l a i n weave. b. supplementary warp f l o a t i n g over s e v e r a l w e f t s , between p a i r s o f ground warp. c. supplementary warps f l o a t i n g i n s i m p l e p a t t e r n , between p a i r e d gound warps. \u00E2\u0080\u00A2 ground weave warp supplementary warp w e f t -134-F i g u r e 46 a. s t r u c t u r e o f one f a c e showing warp f l o a t s and the complementary warp t h r e a d s from t h e o t h e r f a c e . b. when compacted the warp f l o a t s h i d e the complementary warps from the o t h e r f a c e . - 1 3 5 -A P P E N D I X B T H E LOOM . i i . T h e c o n t i n u o u s w a r p l o o m c o n s i s t s o f s e v e r a l p a r t s w h i c h a r e l i s t e d b e l o w ( f i g . 4 7 ) . 1 . w a r p b a r 2 . l a s h i n g w h i c h s e c u r e s w a r p t o \u00E2\u0080\u0094 t h e w a r p a n d c l o t h b a r s 3 . s h e d r o d 4 . h e d d l e s t i c k a n d h e d d l e s t r i n g s 5 . s w o r d b e a t e r a n d s h e d o r p a t t e r n s t i c k s ( n o t i l l u s t r a t e d ) 6 . c l o t h b a r 7 . t i e c o r d s 8 . w a r p w e f t s t i c k i s n o t i l l u s t r a t e d F i g u r e 47. -137-The Names o f the Loom P a r t s , In the Quechua language a l t h o u g h t h e r e i s a name f o r each p a r t o f the loom, t h e r e i s no word as such f o r 'loom'. The n e a r e s t t o a name i s t h a t g i v e n by Stevenson (1974: 6) i n h i s S a n t i a g o de Chocorvos s t u d y : awanakuna, which Stevenson t r a n s l a t e s as \"warp thingummyjigs.\" The word i s broken down a s : awa\u00E2\u0080\u0094warp; n a \u00E2\u0080\u0094 i n s t r u m e n t o f a c t i o n , or h e s i t a t i o n form; and k u n a - - p l u r a l i z i n g s u f f i x . A. Rowe i n h e r 1975 s t u d y g i v e s the word awana as a c o l l e c t i v e word f o r the loom p a r t s , b u t s t a t e s t h a t i t does n o t seem t o be e q u i v a l e n t t o the E n g l i s h word loom. A. Rowe a l s o g i v e s the word o f awa o r awana k ' a s p i . A l t h o u g h a l l the weavers who s u p p l i e d names f o r the loom p a r t s spoke Quechua, t h e r e a r e many v a r i a t i o n s o f terms f o r each p a r t . I n c l u d e d i n f i g u r e a r e the names which I c o l l e c t e d a t Sacsahuaman, and i n O l l a n t a y t a m b o , p l u s those o f Stevenson (1874), from S a n t i a g o de Chocorvos, those found by A. Rowe (1975) i n the h i g h l a n d s i n the Cuzco r e g i o n , and by Andrada (1976) a l s o from the Cuzco r e g i o n . I t i s a p p a r e n t t h a t more r e s e a r c h needs t o be c a r r i e d out, weaver by weaver, i n o r d e r t o d i s c o v e r some o f the r e a s o n s f o r t h i s c o n f u s i o n i n t e r m i n o l o g y . I t i s p o s s i b l e t h a t i n the case where a c o m p l e t e l y d i f f e r e n t word i s used, t h a t the r o o t o r o r i g i n o f the word may be i n another language, such as Aymara, o r one t h a t was used l o c a l l y b e f o r e the I nca e n f o r c e d Quechua as the o f f i c i a l language. On the o t h e r hand, some o f the v a r i a t i o n s may s i m p l y be due t o the n a t u r a l d e v e l o p -ment o f any language t o i t s own d i a l e c t terms. QUECHUA NAMES FOR THE LOOM PARTS No. E n g l i s h McRobb A. Rowe Ste v e n s o n Andrada 1 warp a l l w i a l l w i awa 2 we f t luwa m i n i m i n i m i n i 3 loom b a r s c h i c h i awana k 1 a s p i awa p a l l q a 4 c l o t h b a r k'empina k ' a s p i k a k i awa p a r i 5 s h u t t l e s t i c k kjuma (k'uma)) m i n i kumana m i n i q a s p i 6 p a t t e r n s t i c k K j a t a p a l l a m a r a c k h a l l w a k a l l w a q a s p i 7 sword b e a t e r k j a l l w a k h a l l w a o r r u k ' i k a l l w a k a l l w a q a s p i 8 hed d l e kudwa i l l a w a i l l a w a i l l a w a 9 bone p i c k r.uk' i r u k ' i o r wichuna c h u q c h i wichuna o r t u l l u 10 t i e on cords m i n i 11 t e n s i o n cords waskja sogu 12 t i e down stake s t a c a (Sp.) t a k a r p u o r e s t a c a (Sp.) An Ollantaytambo v a r i a t i o n f o r the c l o t h beam i s i l l y a w a k ' a s p i , and a C h i n c h e r o v a r i a t i o n f o r the t i e down sta k e i s t a c a r o . -139-A P P E N D I X C W A R P I N G F R A M E T o h e l p me m a k e t h e w a r p s a s d e m o n s t r a t e d i n P e r u , w h e r e t w o c o l o u r s a r e w a r p e d a t t h e s a m e t i m e , my f a t h e r b u i l t a w a r p i n g f r a m e t o my s p e c i f i c a t i o n s , ( f i g . 4 8 a ) . R a t h e r t h a n b e l i m i t e d t o s h o r t w a r p l e n g t h s f o r w e a v i n g , t w o e x t r a p e g s w e r e p l a c e d b e s i d e p e g s A a n d D ( f i g . 4 8 b ) . T h i s i d e a w a s t a k e n f r o m a w a r p i n g b o a r d s e e n i n t h e c o l l e c t i o n o f t h e M u s e o N a c i o n a l , G u a t e m a l a C i t y . T h e p e g s w e r e m a d e f r o m o n e i n c h d o w e l l i n g a n d f o r g r e a t e r s t r e n g t h , t h e s e w e r e s c r e w e d t o a w o o d e n b a s e , w h i c h i n t u r n w a s s c r e w e d t o t h e u n d e r s i d e o f t h e b o a r d ( f i g . 4 8 c ) . T h e e n t i r e w a r p -i n g f r a m e w a s c o n s t r u c t e d s o t h a t i t c a n b e d i s m a n t l e d b y r e m o v i n g t h e r e t a i n i n g s c r e w s . T h e b o a r d i t s e l f i s m a d e o f t w o t w e n t y i n c h p i e c e s , j o i n e d o n e i t h e r s i d e b y a T s h a p e d c o n n e c t i n g b a r ( f i g . 4 8 d ) . F i g u r e 48. Warping frame -141-A P P E N D I X D W E A V I N G D E S I G N S T h e w e a v i n g . ' d e s i g n s f o r w h i c h g r a p h e d p a t t e r n s h a v e b e e n i n c l u d e d a r e t a k e n f r o m c o n t e m p o r a r y a n d p r e h i s t o r i c b e l t s a n d b a n d s . T h e y a r e a l l i n c o m p l e m e n t a r y - w a r p w e a v e i n t w o c o l o u r s . A v a r i e t y o f s i m p l e d i a m o n d d e s i g n s h a v e b e e n i n c l u d e d t o s h o w h o w a w e a v i n g d e s i g n c o u l d b e v a r i e d , w i t h o u t c h a n g i n g t h e o v e r a l l a p p e a r a n c e o f i t , i n c o n f o r m i t y w i t h t h e P e r u v i a n d e s i g n r e q u i r e m e n t s . -142--143-Dor \u00E2\u0080\u00A2o F i g u r e :50 D e s i g n o f a s m a l l f e l i n e from a p r e h i s t o r i c band from the Ocucaje s i t e i n the l e a V a l l e y ( K i n g 1965: f i g . 2 2 ) . -144-F i g u r e 51 One o f the d e s i g n s woven a t O l l a n t a y t a m b o . -145-n \u00E2\u0080\u00A2LXOLXJDD0D \u00E2\u0080\u00A2 \u00E2\u0080\u00A2 DO m n \u00E2\u0080\u00A2 \u00E2\u0080\u00A2 \u00E2\u0080\u00A2d \u00E2\u0080\u00A2 0 PCOO \u00E2\u0080\u00A2CD TDD U 4] \u00E2\u0080\u00A2 \u00E2\u0080\u00A2 UJ DDD DDOD D mac DO On I D U F i g u r e 52 S'acas, S o n i a ' s d e s i g n form C h i n c h e r o -146-\u00E2\u0080\u00A2147-\u00E2\u0080\u00A2 \u00E2\u0080\u00A2 D O n n w c ? n \u00C2\u00B0 R D D D~L_ ^ \u00E2\u0080\u00A2 \u00E2\u0080\u00A2 _ \u00E2\u0080\u00A2 _Q O - C D C \u00E2\u0080\u00A2 JZL C D ] 7V \u00E2\u0080\u00A2 CD c \u00E2\u0080\u00A2 LZD G F i g u r e 54 D e t a i l o f a complex diamond r e p e a t from C h i n c h e r o M u l t i p l e diamond d e s i g n from a b e l t woven i n T i n t a (In the c o l l e c t i o n o f the Museum o f A n t h r o p o l o g y , U.B.C., Va n c o u v e r ) . -149-F i g u r e 56 Two d e s i g n s form narrow bands woven i n T i n t a . -150-u \u00E2\u0080\u00A2 \u00E2\u0080\u00A2 u 0 \u00E2\u0080\u00A2 rL u \u00E2\u0080\u00A2 \u00E2\u0080\u00A2 \u00E2\u0080\u00A2 o \u00E2\u0080\u00A2 uu CD e. F i g u r e 5 7 s m a l l diamond m o t i f s , a-d from T i n t a , e. i n the c o l l e c t i o n o f the R o y a l O n t a r i o Museum, T o r o n t o . F i g u r e 58 Bands o f p a t t e r n s from a bag i n the R o y a l S c o t t i s h Museum, E d i n b u r g h . -152-GLOSSARY A p p r e v i a t i o n s : Que. - Quechua Sp. - S p a n i s h AWASQA (awaska) the c l o t h p r o d u c e d by the p e a s a n t weavers f o r t h e i r own AKLLA-KONA house o f the \"chosen women\" o f the I n c a , young g i r l s who were k e p t i n c o n v e n t - l i k e s e c l u s i o n and t r a i n e d as weavers, g u a r d i a n s o f the temples and s h r i n e s , and as the wives o f n o b l e s . ARTES TIPICOS Sp. f o r the l o c a l f o l k a r t . AYLLU the l o c a l c l a n g r o u p i n g o f the I n c a n and Quechua p e o p l e , a l o c a l u n i t o f p o l i t i c a l and economic o r g a n i z a t i o n . AYMARA the descendents o f the C o l l a , one o f the s u b j e c t p e o p l e s o f the I n c a , l i v i n g i n S o u t h e r n P e r u and B o l i v i a , s p e a k i n g the Aymara language. BROCADE d i s c o n t i n u o u s supplementary w e f t t e c h n i q u e s , used t o c r e a t e s m a l l a r e a s o f p a t t e r n . CAMELID FIBRES f l e e c e o f the i n d i g e n o u s animals o f P e r u , the a l p a c a , l l a m a , v i c u n a , and huanaco o r guanaco. CAMPESINOS Sp. term f o r the p e a s a n t I n d i a n s . COLLA s u b j e c t t r i b e o f the I n c a s , who l i v e d i n the s o u t h e r n q u a r t e r o f the I n c a Empire, and were o n l y p a r t i a l l y subdued a t the time o f the a r r i v a l o f the S p a n i s h . COMPLEMENTARY-WARP WEAVE s t r u c t u r e i n which two s e t s o f warp elements i n t e r w o r k e q u a l l y . CUZQUENOS the men o f Cuzco BAYATA Sp. t r e a d l e loom woven c l o t h i n p l a i n weave. BAYETILLA c o m m e r c i a l l y woven c l o t h , g e n e r a l l y i n t w i l l weave. DOUBLE CLOTH f a b r i c s t r u c t u r e i n which t h r e e o r more s e t s o f elements i n t e r a c t t o produce s e p a r a t e f a c e s . FINGER WEAVING weaving, g e n e r a l l y o f narrow bands, i n which f i n g e r s a r e used f o r the warp m a n i p u l a t i o n w i t h g e n e r a l l y no t o o l s . GUAZE WEAVE s t r u c t u r e w i t h temporary d i s p l a c e m e n t o f warps p r o d u c i n g a l a c e \u00E2\u0080\u0094 l i k e e f f e c t . HACIENDADO p e r t a i n i n g t o the h a c i e n d o o r r a n c h . I n t h i s i n s t a n c e r e f e r s t o a s t y l e o f d r e s s which c a r r i e s h i g h e r s t a t u s . HEDDLES, HEDDLESTRINGS d e v i c e s used t o a f f e c t opening o f the shed i n weaving. KORAKA Que. I n c a o f f i c i a l on l o c a l l e v e l , r e s p o n s i b l e f o r o v e r s e e i n g community 01 KUMPI (Qompi) Que. I n c a s t a t u s t a p e s t r y weaving. MESTIZO Sp. N a t i v e o f p a r t I n d i a n , p a r t S p a n i s h b l o o d . -153-MITTA Que. I n c a system o f f e u d a l l a b o u r , p e r f o r m e d i n r e t u r n f o r r i g h t and p r i v i l e g e s o f goods and l a n d . PALO Sp. s t i c k , r e f e r s h e r e t o the s h a f t o f a s p i n d l e . PLAIN WEAVE w e f t p a s s e s a l t e r n a t e l y o v e r and under each s u c c e s s i v e warp. PUSHKA Que. s p i n d l e . PUNA Que. h i g h p l a i n a r e a up t o 15,000 f e e t a l t i t u d e QUECHA Quechua s p e a k e r s who are descendents o f the I n c a p e o p l e , l i v i n g i n P e r u . QOMPI-KAMAYOC Que. weaving s p e c i a l i s t i n I n c a t i m e s , who wove f i n e t a p e s t r y . ( a l s o Kumpi-camayoc) ROSAS Sp. r o s e s SHED temporary o p e n i n g between two p l a i n s o f warp, f o r i n s e r t i o n o f w e f t . SHED ROD s t i c k used t o s e p a r a t e one shed o f warp. SPRANG wor k i n g w i t h a s e t o f elements s t r e t c h e d between two c o r d s , so i n t e r l o c k i n g o f t h r e a d s t a k e s p l a c e a t b o t h ends s i m u l t a -n e o u s l y . SUPPLEMENTARY-WARP WEAVES\" where an e x t r a s e t o f warp t h r e a d s i n t e r -a c t s i n ground weave t o produce p a t t e r n . TAPESTRY p a t t e r n p r o d u c e d by d i s c o n t i n u o u s w e f t - f a c e d weave. T'PANA Que. l a r g e b l a n k e t p i n , used t o f a s t e n manta. TWILL WEAVE f l o a t weave c h a r a c t e r i z e d by d i a g o n a l a l i g n m e n t o f f l o a t s f o r which a minimum g r o u p i n g o f t h r e e warps i s needed. 2/2 TWILL i n t e r l a c i n g on the d i a g o n a l , under two and o v e r two, b u t where warp count i s h i g h e r than w e f t count, f a b r i c w i l l be wa r p - f a c e d . TWINING two t w i n i n g elements a c t t o g e t h e r , e n c l o s i n g s u c c e s s i v e elements o f the o t h e r s e t . WARP l o n g i t u d i n a l elements i n a f a b r i c o r loom, i n t e r l a c e d by the w e f t . WARP-FACED where the warp count i s h i g h e r than the w e f t , and the w e f t i s c o n c e a l e d . WARPFLOAT any p o r t i o n o f warp element t h a t extends o v e r two o r more w e f t t h r e a d s . WEFT t r a n s v e r s e e l e m e n t . i n t e r l a c e d t h r o u g h the warp. WEFT-FACED w e f t c o u n t outnumbers warp count, warp i s c o n c e a l e d by w e f t . UNCUNA 4unkhuna) Que. c a r r y i n g c l o t h . -154-BIBLIOGRAPHY Andrada, Marogt Palomino. \" C o n t i n u i d a d y D i s c o n t i n u i d a d de l a T e c n o l o g -i a T e x t i l Precolumbino en C h i n c h e r o y P i s a q . \" D i s s . Cuzco, Peru 197.6. A d o v a s i o , James M. and Thomas F. 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"Thesis/Dissertation"@en . "10.14288/1.0094823"@en . "eng"@en . "Art Education"@en . "Vancouver : University of British Columbia Library"@en . "University of British Columbia"@en . "For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use."@en . "Graduate"@en . "A contemporary Peruvian weaving technique on the continuous warp loom : learning and instruction in a non literate society"@en . "Text"@en . "http://hdl.handle.net/2429/21972"@en .