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Art Activity: Mesoamerican and Andean Art

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Art Activity: Mesoamerican and Andean Art

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Download in English here!

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Feel free to share the information in this handout with fellow teachers, students, and chaperones before your field trip.

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The activity below is an option for your self-guided visit to the museum. 

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The activity below is an option for your self-guided visit to the museum. 

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You can print them at school, or email SchoolTours@seattleartmuseum.org to arrange for copies to be made available during your field trip.

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School Programs & Tours
schooltours@seattleartmuseum.org

Educator Programs & Resources educatorprograms@seattleartmuseum.org

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SAM offers free family passes (up to 8 people per pass) for all Highline Public Schools students and staff to the Seattle Art Museum and Seattle Asian Art Museum. At the beginning of the school year, we mail 18,000+ passes to elementary, middle, and high schools in the district. We are happy to send more passes to schools; if more are needed, please contact us at SchoolTours@seattleartmuseum.org to request more.

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The activity below is an option for your self-guided visit to the museum. 

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The activity below is an option for your self-guided visit to the museum. 

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You can print them at school, or email SchoolTours@seattleartmuseum.org to arrange for copies to be made available during your field trip.

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https://www.seattleartmuseum.org/whats-on/audiences/for-teens

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Hey artists, thinkers, and innovators: are you searching for your scene? Well, look no further! SAM is full of like-minded creatives itching to make art. Get involved and make new friends, create art, plan events, and ask questions about the world we live in. Get a little loud, a little messy. Let your voice be heard.

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Art Programs for Teens | Seattle Art Museum

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There are so many ways to get involved and make new friends at SAM. Create art, join Teen Arts Group, find out about internships for teens, and more.

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https://www1.seattleartmuseum.org/tours/downtown

Please note: this resources is optimized for smartphone use.

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Explore Art at SAM - Tours @ Seattle Art Museum

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https://linktr.ee/sameducators

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June 24-26 | Exploring Asian Art: Storytelling, Identity, and Spirituality

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Free First Thursdays at Participating Museums

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Free First Thursdays at Participating Museums

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Editor's Note: On holidays, please call your museum of choice before heading out!

The following museums offer free admission the first Thursday of each month, or some, every day. Times vary per location. This list had been updated as of March 2022.

Burke Museum
Free - first Thursday of every month.

Center for Wooden Boats
Free - always.

Center on Contemporary Art
Free - always.

Duwamish Longhouse & Cultural Center
Free - always.

Frye Art Museum
Free - always.

Henry Art Gallery
Free - every Sunday, first Thursday of every month, always students and children.

Klondike Gold Rush Museum
Free - always.

Living Computers: Museum + Labs
Free - first Thursday of every month 5-8pm, EBT card holders $1. Please note: the Living Computers Museum + Labs is currently closed. Check back for more updates!

Loghouse Museum
Pay What You Wish - always. Please note: the Loghouse Museum is currently closed. Check back for more updates!

Museum of Flight
Free - first Thursday of every month 5-9pm.

Museum of History and Industry
Free - first Thursday of every month, 5-8pm (charge for special exhibitions)

Nordic Museum
Free - first Thursday of every month.

Northwest African American Museum
Free - first Thursday of every month. Please note: the Northwest African American Museum is currently closed. Check back for more updates!

Snoqualmie Depot at the Northwest Railway Museum
Free - always.

Northwest Seaport Maritime Heritage Center
Free - by appointment or when volunteers are available (usually Sunday).

Olympic Sculpture Park
Free - always. Please note: the PACCAR Pavilion at Olympic Structure Park is currently closed to the public for fall/winter. Check back for more updates!

Seattle Art Museum Downtown
Free - first Thursday of every month, first Friday ages 62 and over. (charge for special exhibitions)

Seattle Children's Museum
$5 admission every weekday 4-5 p.m., EBT card holders $2. Please note: we are currently unsure whether or not Seattle Children's Museum still plans to have this discount. Please check back for more updates!

Seattle Public Library Museum Pass
Free - always, Seattle Public Library card holders reserve and print free admission tickets to Seattle museums.

King County Library System Museum Pass
Free - always, KCLS card holders reserve and print free admission tickets to participating local museums.

Pierce County Library System Museum Pass
Free - always, Pierce County card holders reserve and print free admission tickets to participating South Sound museums.

Washington Park Arboretum
Free - always.

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Free First Thursday at Participating Museums

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Editor's Note: On holidays, please call your museum of choice before heading out! The following museums offer free admission the first Thursday of each month, or some, every day. Times vary per location. This list had been updated as of March 2022. Burke Museum Free - first Thursday of every month.

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Self-Guided Activity: Find, Sketch, Share!

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Self-Guided Activity: Find, Sketch, Share!

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Download in English here!

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Seattle Art Museum General Visitor Information

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Seattle Art Museum General Visitor Information

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https://www.seattleartmuseum.org/visit/seattle-art-museum

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COVID-19 Update

Masks are no longer required to enter the museum, but visitors are encouraged to wear them for their personal safety and comfort. Additionally, the vaccine verification requirement to enter the museum is no longer in effect per Public Health-Seattle & King County. Safety protocols can change and evolve rapidly. Join our email list to stay up-to-date with the latest information.

Located downtown, one block from Pike Place Market, global art collections, temporary installations, and exhibitions from around the world bridge cultures and centuries.

Seattle Art Museum respectfully acknowledges that we are on Indigenous land, the traditional territories of the Coast Salish people. We honor our ongoing connection to these communities past, present, and future.

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Prepare for your visit to the Seattle Art Museum located in downtown Seattle. Find information on hours, parking, directions, tickets, memberships, and more!

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Actividad Artística: Arte Mesoamericano y Andino

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Actividad Artística: Arte Mesoamericano y Andino

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Download in Spanish here!

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Visit for FREE

Fill out an Educator Pass Request to request free admission for your preferred visit date and location with one to two weeks' advance notice.

https://form.asana.com/?k=kv5RgUv5wtbQv6Zsk4U9uw&d=16948530586553

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https://www.seattleartmuseum.org/whats-on/audiences/for-families

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Download in Spanish here!

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Hoạt động Nghệ thuật: Nghệ thuật Trung Bộ châu Mỹ và xứ Andes

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Hoạt động Nghệ thuật: Nghệ thuật Trung Bộ châu Mỹ và xứ Andes

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Download in Vietnamese here!

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Hoạt động Tự Hướng dẫn: Tìm kiếm, Phác thảo, Chia sẻ!

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Hoạt động Tự Hướng dẫn: Tìm kiếm, Phác thảo, Chia sẻ!

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Download in Vietnamese here!

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Tejedora del arcoíris (Read-aloud in Spanish)

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Tejedora del arcoíris (Read-aloud in Spanish)

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Cuenta cuentos con Lee & Low: Tejedora del arcoíris (Rainbow Weaver) | Spanish Read Aloud Books

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This stop motion animation video from the Metropolitan Museum of Art illustrates the process of weaving on a mini loom. Take a look if you would like to familiarize yourself with the activity before trying it out with your students at SAM!

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https://seattleartmuseum.org/learn/learning-resources

Browse lesson plans, videos, and more for K-12 students.

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https://seattleartmuseum.org/whats-on/audiences/for-schools-and-educators

Information on school tours, educator programs, school partnerships, and more!

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https://art.seattleartmuseum.org/search/huipil

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https://www.atlasobscura.com/articles/huipils-in-guatemala

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It is a rainy afternoon in the midst of Guatemala's mild winter, in the small mountain town of Zunil. Sofia Ixcot Xivir walks quickly under the heavy clouds, on a side street leading away from the main road. She wears a hand-woven skirt and, tucked into it, a blouse known as a huipil with radiant floral patterns. This garment, worn by descendants of the ancient Maya, has come to represent indigenous solidarity and defiance amid oppression.

The basic shape of the huipil is simple, and identical all across Guatemala: two lengths of hand-woven fabric, stitched together to form a square blouse. Huipils are worn in neighboring Mexico as well; in fact, the word huipil comes from Nauatl, the language of the Aztecs, which is still spoken in parts of Mexico.

Weavers like Xivir make each huipil with a backstrap loom, the tool used to weave fabrics since the height of the Maya civilization. Ixchel, the moon goddess and patron of weaving, is often depicted with it tied around her waist.

Huipil designs and decorations vary according to local indigenous traditions. In Zunil, it is traditionally white and decorated with simple purple stripes. Weavers from San Antonio Aguas Calientes near the old capital Antigua use strong colors to make floral and geometrical patterns; in Nebaj in the northern highlands, tiny imaginary horses and birds are stitched.

"The huipil is important because it represents our shared history as Maya people," says Alejandra Micaela Ujpán, a weaver from San Juan La Laguna, a town on the shores of the volcanic Lake Atitlan known for its textile traditions.

Guatemala is among Latin America's smallest countries, but has one of its largest indigenous populations: 40 percent according to official numbers, or up to 60 percent as per informal sources. During the conflicto armada, the civil war from 1960-1996, indigenous Guatemalans were targeted in the brutal state-led repression. There were massacres in many towns and villages, and a large majority of the 200,000 people who died during the war were Maya.

"My husband was one of the victims of the war. He was captured by the military, he still has traces of those wounds around his arms and legs," says Ujpán.

During the years of conflict, wearing traditional clothes came to be a dangerous act.

"If you wore the huipil it showed that you were an indigenous person, and people could identify where you came from. So many people stopped wearing them at that time," says Ujpán.

She holds a thick huipil in her hands, with finely embroidered details around the collar.

"The green color represents the mountains, the blue symbolizes the lake. And the pattern around the neck is a rainbow, all huipils here have it," says Ujpán.

Other towns around the lake decorate their huipils differently. Santiago Atitlan, just a short boat ride away, is known for its elaborate flowers and birds; Santa Cruz La Laguna, on the northern shores, for a pattern symbolizing the sun reflected in the water.

This kind of symbolism has always been used by Maya weavers in their work. They have imitated the shapes of rivers and mountains, or animals like the snake and eagle-often conveying sacred or spiritual meanings. Objects like combs and scissors have been used to signify the mundane and the everyday. Different variations of the zigzag patterns have been woven all across the country-in some places to represent mountaintops, in others the ups and downs of life-as have the tree of life, a symbol used by nearly all the world's civilizations.

In Mexico, weavers of the mountainous Chiapas region also incorporate spiritual symbols and patterns from nature. Frida Kahlo often wore clothes from her mother's native region of Tehuantepec in coastal Oaxaca, and painted many portraits of herself in the dress.

Ujpán takes out examples of older huipils, belonging to her late mother and grandmother. They are heavy but soft from years of use, and have less radiant colors.

"The villages at that time didn't have access to different colors. My mother used to go with kayak to the market to buy material," says Ujpán.

The road leading down to the lake from her house in San Juan La Laguna is lined with small shops selling bags and ponchos to tourists. Maya art is often used to present an image of Guatemala as a tourist destination, and textiles play a central role in that.

"There is a folklorization of our textiles happening. The ministry of tourism photographs women in traditional clothes and uses it for campaign material, but they don't provide people with their needs," says Ixquik Poz, a lawyer from Zunil.

Weavers have started demanding reforms to Guatemala's intellectual property laws, such as making sure that profits from traditional textiles go back to the craftspeople and that credit is given to the creators of the indigenous designs. A group called AFEDES (Asociación Femenina para el Desarrollo de Sacatepéquez) filed a petition to the Constitutional Court, which in 2017 ruled in their favor and urged Guatemala's Congress to legislate protection of these intellectual rights. Legal battles have been fought elsewhere in the region too: In Mexico, indigenous artisans won against a department store that used traditional iconography on a pair of shoes.

"Our ancestral knowledge and our weavings are tied together, we want to share it with the world, but in a fair manner, with rules that are clear," Angelina Aspuac from AFEDES said in a public hearing.

In recent years, many women in Guatemala have started dressing in a new way, mixing clothes from different indigenous regions in what is known as the pan-Maya style. Nobel laureate and indigenous rights advocate Rigoberta Menchú Tum was one of the first to champion it.

"She may wear a huipil from, say, San Martin Chilotepequez together with a skirt with a generic pattern and a wrap-around headcloth from Chimaltenango. That way she is not representing her own village but the entire Maya people," says Barbara Knoke de Arathoon, a textile expert who has authored several books about Maya fabrics.

"It is fashion, but also a way to convey unity and sisterhood."

It is perhaps this, the way in which the huipil forms a bond of connection, which gives the garment its power. In a country where indigenous culture remains marginalized, the huipil manifests its worth and value.

Xivir and Ujpán both use huipils daily. Xivir wears one in many shades of pink and yellow, with machine-stitched decorative embroidery attached to its back and front. Machine-made huipils are becoming more and more common among Guatemalan women, not least since it significantly takes down the price of the huipil and makes it more affordable. Ujpán wears a more traditional huipil, woven entirely by herself. It has the typical rainbow of San Juan La Laguna around the neck, embroidered in a variety of bright colors.

"But I wear things from other places in Guatemala too, from any region and community. To me there is no style that is more beautiful than the other," she says.

"It is all work from a Maya woman, and that is why it is valuable to me. This is how we preserve our culture: with our hands."

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Identity, Community, and Defiance, All Woven Into a Blouse

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In Guatemala, to wear a huipil is to represent millennia of Maya history.

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https://www.phalarope.org/magazine/2021/1/30/the-huipil-an-everlasting-indigenous-cultural-emblem

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By: Mimi Urizar Avila
All photographs taken by Nicholas and Miriam Rittmeyer. Photographs are of weavers in Chimaltenango, Guatemala and huipiles from a private collection in Savannah, Georgia, USA.

When encountering textiles from Latin America, some of the first things we notice are their bright hues and intricate designs. The indigenous cultures of Latin America have created the complex and skillful culture and traditions that bring about the weaving of marvelous, labor-intensive textiles. Not only are these weavings visual representations of indigenous culture but also of its perseverance in the face of suppression in the colonized Americas.

In Guatemala specifically, of the most time consuming and rich textile traditions is the huipil. The huipil, or the top/torso portion of the traje (traditional indigenous womens' dress), is worn by the Mayan people of Guatemala as an expression of ethnic identity. These stunning handcrafted garments represent a rich pre-colonial legacy of craftsmanship, visual history, symbology and storybuilding.

The word huipil is derived from the Náhuatl word huipilli, meaning "my covering." Among some Mayan indigenous languages, it is known as "po´t." In pre-colonial Central America, well into 500 C.E., huipiles were used especially in ceremonial contexts, either socially or religiously. After this period, according to archeological findings, huipiles became more commonplace among all aspects of societal life and were worn in day-to-day settings by people of varying social status.

Weaving and Women
The notion that the birth of children is tied to the symbolic birth of woven garments such as huipiles connects the identity of indigenous women into the traditionally feminine role of a weaver. Traditionally, the art of weaving has been one passed down through generations matrilineally, to young girls and women. Many women learn the craft very young, before the age of ten, and weave for the rest of their lives. Lately, with the increased schooling of young women, the time-consuming art of weaving has been difficult to pass on, yet weavers make their best effort to continue the heritage of weaving and woven visual narrative.
Materials
Traditionally huipiles were made from cotton and henequen (agave) fibers-cochineal, seashells, indigo from certain tree barks, and coffee were used as dyes to make colored thread. After the Spanish colonial invasion, materials like silk and wool were also introduced and incorporated in weaving materials. Currently, the use of synthetic fibers such as rayon, mercerized cotton thread, acrylic fiber and embroidery floss are more common and popular. Artisanal thread dying is usually reserved to the multi-color, marbled thread used in only a small amount of specific huipil designs.
Form
The huipil can be composed of one to three panels, this composition varies from department, and sometimes even from municipality and/or community. The panels are joined with special union seams, which are called randas in many areas of Guatemala. The lateral seams are left open at the height of the arm or sometimes left completely open, again this can vary by community. Sometimes lateral seams are instead joined by cords tied on each side, called tocoyales. Almost all huipiles have sleeves, some are wider than others depending on the length and number of panels. When it comes to the collar, some are created by an opening in the middle of a single panel, in between two panels, or in the middle of a third panel. The shape of each collar and how it is decorated varies by community as well, some are round, some are square, and some are very ornately embroidered while others are finished off with simple ribbons. The length of the huipil varies by community needs and local customs, especially when it comes to the weather. Some huipiles are made short, sometimes so that they are not even tucked into cortes or the skirt of the traje. Weavers from communities in consistently warmer climates, such as some in the regions of Alta Verapaz and Palín will practice making these shorter huipiles. On the other hand, weavers from communities in colder regions, like San Mateo Ixtatán, will make very long huipiles in order to help protect themselves from the cold. In San Mateo Ixtatán huipiles are made long and worn over the corte, meaning that weavers have more decoration to make for them on the longer region, some other communities wear the longer portion inside the corte and therefore leave that part undecorated.

Weavers use looms or telares to make their textiles, traditionally these were waist looms made up of thirteen different parts, most notably the mecapal or the waist strap that keeps the weaver sitting in the telar as they work. Using these looms a huipil will take about two to three months to make, if not longer. After colonial invasion, the Spanish introduced a foot pedal version of the loom that was more efficient, this loom is used nowadays but many weavers continue the tradition of waist looms, as they are not only rooted in heritage but are cheaper and easier to keep around one's home.

In terms of decoration, there are three techniques, brocade and embroidery being the most common, along with application. Brocade has been the more traditional form of decoration used in huipiles, in which designs are built into the actual weaving of the panel, showing through both sides of the textile, while embroidery is sewn onto a completed textile.

Embroidery was introduced after colonial invasion, and was adopted by Maya weavers in Guatemala and eventually adapted by hand and with machinery. Sometimes weavers also incorporate applications of textile, beads, or other accents into huipiles.

Visual Narrative and Symbology

Huipiles are ultimately a narrative or representation using the visual vocabulary of Mayan symbology and color. Weavers carefully choose cultural motifs to convey good, evil, agriculture, fertility, personal narratives, and allude to or reconstruct mythology within the Mayan cultural and historical framework.

Some examples of common motifs/legends within huipil visual narratives are found below, these interpretations can also vary on the context of each weaver especially given the area in which they weave (department, municipality, language community):

The Sun - Often made on the neck opening of the huipil, so as to be in the center of composition, representing the centrality of the sun in agricultural life and Maya mythology.

Moon - Associated with women, given that the moon's phases align with the menstrual cycle. Also connected to fertility and birth, given that a child needs a lunar year to be born.

Stars - A recurring motif in Guatemalan weaving given how central astrology is to Maya beliefs and spirituality.

The Lion of Riches - Supposed to bring good luck as it represents the king of the jungle who is a strong nahual of goods and riches.

Serpents - Symbolize protection, the serpent is seen as a guide for humans along the path of life. Within Maya mythology, the serpent is one of the most important animals of the cosmovision from pre-colonial culture and it is highly represented in indigenous iconography. It will often be pictured as a part of the sky or the earth, since it is seen as a sacred generator of energy in the universe.

Human Figures - Often humans holding hands will be represented in textile patterns. They can be interpreted as platonic communal solidarity, but also as romantic, marital union between men and women.

Butterfly - Represents freedom and liberty, specifically the freedom with which the weaver constructs their woven visual narrative with their own personal life force.

The Two Headed Eagle - Seen mostly in huipiles from Quiché, Chichicastenango, Palín, Escuintla, Nahualá, Sololá y Chuarrancho, and Guatemala City. This mythological creature ( kot or kab-awil) represents duality in its many forms. The figure can refer to seeing the future and the past, good and evil, or up to the sky and down to the earth. It is also interpreted as symbolizing a great god with dual natures. In pre-colonial times rulers would use cepters with two headed snakes, but after colonial invasion the eagle was introduced to the Mayas in Guatemala.

Zig zags - These patterns can allude to a variety of things such as mountains, volcanoes, serpents, plumed serpents, roads, or the ups and downs of life.

Diamonds - Depending on how they are organized and their visual and geographical context, diamonds can symbolize various different notions. Some include the four corners of the universe, town squares, cosmograms, plates for tamales, or the sun's path through the sky.

Turkeys - This figure symbolizes an offering made to a bride's family on the wedding day. Dead turkeys are distinguishable from living turkeys in weavings because the former will appear with its neck bent backwards, whereas the latter's neck faces forward.

Trees - In general, the tree was a primordial symbol within the Maya cosmovision. Depending on their exact rendition, trees can symbolize the tree of life, nature in general, two people sharing one life, the growth of a human, and/or the growth of a family.

Various other natural figures are seen represented throughout Mayan textiles, including plants like corn (usually seen in the cross form of a milpa or corn plot), seeds that represent agriculture, and animals like the quetzal, scorpions, vultures, toads, hummingbirds, roosters, and jaguars.

Colors
Color symbolism is also very important when it comes to the composition of each and every piece, while each community determines the specific significance of each color, there are some overarching color symbolisms that can be traced across Maya indigenous communities and their history with the huipil.

Navy blue is usually used to represent the sky and water, and sometimes the great Lake Atitlan in Guatemala.

White can represent the North, air, spirituality, hope, promise, and everything that is untouchable.

Black can represent the West, along with death, sunset, night time, recovery, and war.

Red can represent the East, sunrise, daytime, energy, honey, blood, and power.

Yellow is used to represent the South, the sun, and corn.

Green symbolizes plant life, royalty, and can specifically allude to the royal Quetzal, which is the national bird of Guatemala, native to its rainforests.

Social and Cultural Significance

As one can see, the huipiles' visual and technical intricacies do not exist solely for the purpose of aesthetics, the semiotics of their designs are deeply tied to notions of indigenous identity. The various materials, colors and motifs of the textiles made by hand over a matter of months are visual representations of both cultural and social nature. Through the painstakingly precise and lengthy craftsmanship of a weaver, the deliberate and careful composition of motifs, colors and themes within each huipil can signify the origin, gender, class, occupation and status of the wearer.
Community Representation
One of the biggest roles the huipil has played, as mentioned earlier, is in social representation, and specifically community marking. Within each of the many language groups and specific indigenous communities that inhabit Guatemala, come idiosyncrasies represented in their communities' weavers' work. If one has the knowledge, looking at a woman's huipil allows one to discern which department and even which specific indigenous community she comes from. There are about 117 set variations of combined decoration methods-brocade versus hand or machine embroidery-and loom technique-waist versus pedal/foot- in huipil making among the 22 departments of Guatemala.

The identification of specific community huipiles is determined by looking at the combination of characteristics it has in terms of color palette, distribution of decoration, the motifs used, the number of panels used in the construction of the huipil, the collar type, and the length and width of these individual panels. Here are some examples of the various unique aesthetics one can recognize from certain regions in Guatemala:

In the region of Sacatepequez, in a community such as San Antonio Aguas Calientes, huipil weavers are well known for their difficult and complex style of Guatemalan weaving and brocading. In their brocade work, they use a little stick, called a marcador to execute very fine and intricate floral and bird designs in blue and green hues.

Meanwhile, in the communities of the lacandones, who live in the northern jungle near the Mexican border, community members use long, ankle length huipiles that are made with plain white fibers and usually don't carry any decorations.

Coban's huipiles, which are also called kembilzo pikbil, are short in length and traditionally made of very light white cotton. Their patterning includes white woven symbols such as birds and animals, while their neckline is usually square and embroidered with brightly colored flowers.

Tecpán and Mixco usually decorate their collars with simple silk or velvet ribbon.

Quetzaltenango, or Xelaju, is known for its huipiles' color palette of red, yellow and purple, which represent their department, weavers usually include motifs of birds, flowers, and stars in the main composition of the garment and concentrate floral and animal patterns on the collar. Here huipiles are mostly composed of three panels made with a pedal/foot loom. Their huipiles are also characterized by round collars with elaborate floral designs and a medium length.

In Chimaltenango, it is common to see huipiles with big red stripes that frame the shoulders. Stripes or bars that alternate with animal symbols and multicolored loans are also characteristic. These weavers also create V-shaped collars for their huipiles and usually decorate them with black velvet piping.

In Ixtahuacán, one can see typical geometric and colorful huipiles but the area's garments are characterized by complex silk embroidery and wide square collars.

These are just some examples of how unique each community's visual composition can be when it comes to huipiles, these region specific aesthetics help create a strong sense of unity and pride within individual communities in Guatemala. Characteristic designs and materials allow for the wearer of huipiles to express their ethnic identity and geographic origins in a very targeted and specific way.

Regardless of the rich, region specific tradition that underlies huipil craftsmanship, as briefly mentioned before, there have been changes to the ways in which huipiles are made and worn. The reality is that the cost and time of weaving huipiles and the materials needed to do so has made it less and less feasible for as many people to undertake the task. It is not uncommon for indigneous women to purchase more mass-produced, machine embroidered blouses called generalizadas.

On the other hand, the "pan-maya," trend has seen women buy huipiles not on the basis of regional design but personal taste. More and more women have bought and worn huipiles from other communities, either as a sign of their spending power or as a gesture of sisterhood, kinship, solidarity and Maya ethnic pride.

We can only hope that these new trends and forces will only bolster the survival of the huipil tradition; a centuries-old master craft from indigenous women that continues to tell countless personal and communal stories while perpetuating the pride of the Maya people.

You can own a piece of a beautiful huipil at the same time that you help a Mayan artisan.
Huipil Masks - MUNNA
Sources:

Alejandra, and Ricky Lopez. "Trajes Típicos De Guatemala: Origen, Historia, Significado y Más." Conozcamos Las Culturas De Todo El Mundo, 10 July 2019, hablemosdeculturas.com/trajes-tipicos-de-guatemala/.

Chacon Faggiani , Deborah Esther. ANÁLISIS Y DESCRIPCIÓN DE TEXTILES MAYAS DE LA COLECCIÓN "OLGA ALEJOS DE MIRÓN", PATRIMONIO CULTURAL DE LA UNIS, PARA SU CONSERVACIÓN Y EXHIBICIÓN . UNIVERSIDAD DEL ISTMO Facultad De Arquitectura y Diseño , 4 Feb. 2006, glifos.unis.edu.gt/digital/tesis/2006/15213.pdf.

de Arathoon, Bárbara Knoke. "HUELLAS PREHISPÁNICAS EN EL SIMBOLISMO DE LOS TEJIDOS MAYAS DE GUATEMALA." FAMSI, www.famsi.org/reports/03101es/01arathoon/01arathoon.pdf.

Editor. "El Huipil En Guatemala - Mundo Chapín." Solo Lo Mejor De Guatemala, 20 Jan. 2020, mundochapin.com/2013/05/el-huipil/16574/.

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Huipiles De Guatemala, huipilesdeguatemala.blogspot.com/.

"Símbolos Textiles Mayas y Su Significado." La Casa Del Algodón, casadelalgodon.com/simbolos/.

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Ventura , Carol. "El Telar De Cintura De Jacaltenango, Guatemala." Carolventura.com, www.carolventura.com/telar.html.

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The Huipil: An everlasting, indigenous cultural emblem - Phalarope.org

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By: Mimi Urizar Avila All photographs taken by Nicholas and Miriam Rittmeyer. Photographs are of weavers in Chimaltenango, Guatemala and huipiles from a private collection in Savannah, Georgia, USA.

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Descriptive audio version available here. The artists in "Friends & Strangers" are connectors, building upon and supporting the existing groups they participate in and searching for ways to create ever more inclusive forms of community. Featuring Linda Goode Bryant, Miranda July, Christine Sun Kim, and Cannupa Hanska Luger, this hour follows the four artists as [...]

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The World Is Yours

A playlist featuring artists who engage with environmental concerns to uncover opportunities to see the world through a new lens. From tracking natural phenomena to evaluating the impact of personal consumption, these artists position their work as jumping off points to reflect on our entanglement in these networks and society at large.

The World Is Yours

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