Textiles and the Weaving Process

Weaving is primarily the domain of women, though today it is not unheard of for men to be accomplished weavers. It is a skill usually passed down from mother to daughter. Most girls start on the backstrap loom around 10 years of age, and it will take several years for them to master the techniques necessary for more complex weaving. Women will often weave for 8-9 hours each day. Many Quechuans now weave various items for tourist trade, though textiles for sale are much less elaborate and time consuming than the mantas (for women) and ponchos (for men) made for the family. Most of their weaving time is devoted to the family’s clothing. Today, even in high mountain regions, synthetic store bought garments are pervasive, and for most men only the outer garments are hand-woven. Among the older generation you can still find men who wear hand-woven wool pants.

Weavings motifs and patterns follow centuries of tradition and most often represent natural surroundings, such as flower, lakes, rivers, stars, the sun, and animals that live in the mountains, though in the weavings they may appear as very abstract lines or shapes.  Elements of folklore are often included; in Patacancha a common motif is the drawing and quartering of the popular folk hero Tupac Amaru, who led an uprising against colonial rule.

The weaving process itself begins with the phusca, or drop spindle. Women, men, and children all spin wool, but particularly with women the phusca is always on hand. The technique becomes completely second nature, accomplished even while trotting up and down steep mountain slopes. Purchased synthetic wool is also spun several times to meet the discriminating standards of the weavers.

Natural dye techniques are increasingly rare but survive in some communities and are regaining popularity. Generally the time-consuming process is completed only a few times each year. Dyes are made from various flowers and leaves, and the rich red traditionally associated with the region is made using a type of beetle. For decades most Quechuans have preferred brighter and longer lasting synthetics colors. However, it is common to find both natural and synthetic wool within a single weaving, and some weavers still prefer working with alpaca wool, prized for its strength, facility, and warmth.

Once the wool has been spun and dyed it is ready for weaving. Wider weaves such as mantas and ponchos require the backstrap loom, a tool used in the Andes well before the time of the Incas. To set the loom the weaver works with a partner, passing the thread back and forth between two warp beams. The process may take a few hours. It is here that the weaver will chose the color scheme, perhaps consulting and debating with her partner as the process unfolds organically from experience and without any set or written plans. In this way every new weaving is unique.

Once the loom is set the weaver is ready to “pick” the pattern, alternating top and bottom threads to form stripes of various colors. In this tableau that she will pass the weft thread, filling in the stripes with intricate patterns and figures, and beating the weft thread into place with a llama bone pick. For larger pieces such as ponchos, multiple weavings are stitched together; to maintain harmony and symmetry using this technique takes considerable skill. Fringes are woven separately and stitched into the final piece.