Introduction: Weaving on a back strap loom has long been a pillar of Maya culture. From its roots to the pre-colonial era, it has been preserved up to the present in numerous towns and villages, where it’s an integral part of daily life. During the pre-conquest period, weavings besides clothing were also used as a means of exchange, tribute, payment, and gifts. Today, as before, women communicate their social identity as well as their individual artistic creativity expression through their weavings, and especially through their huipil, the traditional “blouse”. The huipil incorporates intricately woven designs that are usually related to culturally significant domains found within the Mayan world. Individual woven motifs may be related to elements of everyday life, ceremonies, mythology or cosmology.

The traditional backstrap loom: the traditional backstrop loom is a simple apparatus, made up of various parallel sticks between which the warp thread are stretched. The loom’s principal sticks include the front and back beam rods which provide the backbone for the weaving; the front rod it attached to a pole and the back rod is attached to the weaver’s waist by means of a leather strap, called a mecapal or backstrap. The other sticks include a shed roll, a string heddle rod and a rigid rod. One of the most important parts of the loom is the batten, which is used to beat the weft threads into the warp and the shuttle, which carries the weft thread through the sheds. The tie cords are used to tie the loom to a pole or tree and for tying the backstrap to the loom. The Mayan weaver always has a basket by her side that holds her scissors and balls of thread.

Identifying colors, designs, and motifs: Maya clothing can, in effect, be referred to as a cultural identity badge. Weavings contain a myriad of design configuration yielding symmetric patterns that are recognizable by those who are educated in Mayan weavings. Although there are constant innovations in types of threads, weaving techniques and designs, many communities are identified by their unique combinations of color, figures and weavings styles. Take Patzun for example, this pueblo located in the heart of the Kakchiquel highlands is know worldwide for exemplary embroidery work, which immediately is recognized by the discerned viewer as originating in this pueblo. Proficient weavers nonetheless, Patzun weaver’s huipils are famous for their red or crimson backgrounds and incredibly intricate embroidered flowers that ring the neck, chest and sleeves. There are many other pueblos that have their distinctive stamp, including San Antonio Aguas Calientes,which is world renown for its extraordinary double supplementary weft technique, better known as “marcador”. (To learn more, join us in Maria’s World to learn the fine techniques of this rich artistic tradition.)

History of Mayan weaving: Mayans have been weaving for over two thousand years and their weavings have served as artistic expressions to the world, both individually and collectively. Examples of ancient weaving are found in statues, carvings, murals and temples which record elaborate textiles used by the ruling class. In the early 1500’s when Spanish conquistadores arrived in the Americas, they encountered incredibly beautiful weavings. The ancient art of backstrap weaving is still thriving today; in fact, an entire industry has developed around weaving and textiles are bought and sold in markets all across Guatemala. Although there have been many changes in types of threads and designs over the centuries, the basic backstrap loom has not changed much. In Guatemala, weaving is a part of a Maya woman’s daily life as much as drinking a morning cup of coffee in North America. For the Mayan women, weaving is an integral part of their daily life and is considered as one of the most important responsibilities as they pass on the art form from generation to generation. Through Maria’s on-line weaving course you can learn basic weaving techniques to create….

Symbolism: Mayan weaving are wrought with symbolism. Designs are usually related to culturally significant domains and are expressed in different parts of a weaving, or panels. Many Mayan concepts are illustrated through metaphors used within a weaving context. For example the horizontal zigzag pattern seen in many weavings from Chichicastenango, portray the mountains where the Maya Quiche grow their corn and perform their rituals and ceremonies. Many of individually woven designs are related to elements of everyday life, ceremonies, nature or cosmology. Even simple geometric designs are latent with motifs whose origin is found in the earth, sky and nature. Some designs, like the figures used in the Ixil Triangle are even related to ancient myths. The symbolism found in Mayan weavings is extraordinarily rich in heritage and culture which provide the weavers with a connection to their ancestors and traditions.

Preparing the newborn girl to weave: After giving birth, the midwife works closely with the mother to heal her womb and prepare her for the next cycle of birth. The midwife prepares the mother for a series of seven (7) baths in the sweat lodge (temascal). The midwife in order to ensure that the womb fully heals, puts four - five dry corn cobs in a woven faja (sash) and wraps it around her waist. The mother has to wear this corn cob sash for 40 days. She has to take a healing bath in the temascal every two days. At the onset of mother’s 7th bath (approximately 3 weeks after giving birth), the midwife takes the 3 week old baby girl into her hands and carefully bathes her in the temascal. The mother then hands the midwife her newborn daughter’s weaving instruments, all miniature in size: strands of thread, a tiny weaving loom, scissors, basket and needle. The midwife opens the newborn’s hands and gently passes each instrument over and across her tiny hands, praying that the young girl will become a proficient weaver and strive to maintain the millenia weaving art traditions just as her mother, grandmother and great-grandmother did.