As we traveled onward, our overnight stay was in San Martin Peras. This village was a white dot on the textile treasure map. Perhaps, I thought, in this burgeoning town there are people making textiles. But, I saw nary a soul dressing in anything but factory made clothing.
Meanwhile, as I travel, I’ve been trying to come up with a way to describe what I’m seeing in one-after-another rural town. Last evening in San Martin it struck me — these towns are molting. They are in the midst of shedding their old skins that they’ve outgrown, sold on the new construction trends of changing times. Village after village appears to be a work in progress, an active construction site with half-finished concrete block houses everywhere, piles of sand and gravel, rebar lying in wait along the edge of the newly paved concrete road and protruding like insect antennas out of the tops and sides of the flat roofs of all the grey buildings. All day long the sound of hammers and chisels putting holes in the cement wall to pass waterlines and electrical cables, nothing finished, inside or out, all in movement, change, growth, transformation. It would be fascinating to watch a time lapse film of the villages of Oaxaca from 1970 to present, because roughly speaking, that’s the time frame of this current molt.
Torn down or squeezed in between the new concrete boxes are the remnants of what the previous molt left. Likely that molt happened so slowly over hundreds of years it was hardly noticeable. Tinted gray in concrete dust are the old adobe houses, the wattle and daub, the Spanish tiles, the wood beamed and shingled places, the last grass roof houses. The old time places managed an elegance in their cut and trim that the new buildings fall short of. Try as hard as they might (and some try very, very hard, while others don’t try at all), the new just can’t seem to muster the style of the old.
(for the whole picture, click here)
As with community fashion, once there were marked regional styles in architecture and as I travel through Oaxaca I see the remnants; from the log cabins of the upper Mixteca, the tiny two story adobe houses with wood rail porches and roof crosses in the northern sierra, the bamboo walled, palm-roofed long houses in the Papalopapan region, the thick-walled adobe court yard houses of the central valleys, the masterly built stone buildings of the Tamazulpan del Progreso region, etc, etc.
And as with clothing, each of these styles of architecture was a reflection of the region; the natural materials, adaptations to climate (and earthquakes), the needs of the people and creative inspirations over the centuries all rolled into the graceful styling that became the community vernacular.
Similar to the trends of architecture are the trends in dress and clothing. Like the last few steep peaked thatch house roofs with cooling, open bamboo sides surrounded by the new concrete shoe boxes, or the remaining Mixtec log cabins built of local resources in a landscape of migrant trophy houses built of industrial materials, so too appears the community dress in many of the villages I’m travelling to. In all directions people are dressed in impersonal, imported, factory-made clothing with meaningless name brands sewn on; just as I am, just as you are. And then walking through the crowd appears a grandmother, and then perhaps another, wearing full length, hand woven white huipiles with red zigzag patterns woven around the neck and chest with geometric swirls and flowers in oranges and greens. Around their necks they wear a pile of red beaded necklaces, and braided into their hair are two ribbons tied into bows at the end all of which is wrapped around their heads in a style just so, as the women of this village once commonly wore their hair. What they wear they wove, the work of their hands is in every meticulously placed thread.
(for the whole picture, click here)
There is no meaningless brand name sewn into their clothing, and yet their clothing is a brand loud and clear that says, “I am of this village-nation; I am of this heritage and of this history”. And though the knowledge has been lost in the last 500 brutal years of cultural attack, the designs around their necks and across their chests once told a story, the colors and shapes are symbolic of stages in life, position, reverence, and connection.
Of course it is these people whom I am seeking. These are people who still bear the woven flags of their village-nations and heritage. These women and men are my cultural heroes. Against tremendous odds, here and now in 2015 some of them still wear their culture. They still weave, dye, and embroider their collective voice. They still walk and dance and work wrapped in the style and brand that says “I am from here!”
Today we are headed to Santos Reyes Zochiliquilazala. This village is a white dot, we-don’t-know-if-there–is-a-textile-tradition village, on the Big Textile Treasure Map. On the back side of the map there is a photo of the blouse in the museum’s collection with the acquisition date of 1960. Odds of there being anything there all these years later are slim. But filled with a sense of adventure and quest, I figured it was worth making the little trek down.
Did we find anything? Tune in next blog…