About a year ago I was casually scrolling through my Facebook feed, when a post from TAFA List made me pause. The post advertised textile tours to Peru, and featured a beautiful picture of amazing textiles in vivid, bright colors. I clicked on it and started drooling.
For a while I considered taking one of the tours, but the dates didn’t work out for me, and I also didn’t want to leave my family for too long. Hence was born the idea of dragging my kids, yet again, to South America.
Luckily for me, everyone enjoyed our Ecuador trip so much, that they were eager to explore the region further. And so, this past December, my family and I found ourselves in the Cusco province of Peru, the Mecca of textiles.
After we arrived, my kids got one day to rest and acclimatizeÂ in Cusco city. The very next morning a bus belonging to the tour company Apus Peru came by to take us down to the Sacred Valley and some weaving communities.
Apus Peru is a relatively small tour company specializing in cultural tours. This was the company that operated the textile tours I saw on Facebook. They employ knowledgeable, English-speaking guides, and engage in culturally-responsible tourism. Apus Peru actively give back to the communities they take tourists to, not only through financial support, but also by providing training and education to local groups.
Our original plan was to go to Pizaq Market and ruins, and then up the Andes to the weaving community ofÂ Chayhautire. The trip down to the valley took about an hour, however, and involved some windy roads. My daughter started suffering from motion-sickness, and I myself felt the unpleasant effects of elevation. The thought of an hour or more of driving up a narrow, windy dirt road suddenly didn’t seem that appealing, even if it was leading to a remote weaving community…
So we changed plans. We went to the ruins first and the market later (Pizaq Market, supposedly the Otavalo of Peru, turned out to be a little disappointing). Then, instead of up toÂ Chayhautire, we drove on a relatively straight road to Chinchero, another weaving community.
This change of plans turned out to be a lucky stroke, as on the way we came across a local procession in honor of the Conception Virgin. This involved costumes, music and dance, and turned out to be very interesting:
Chinchero is a small town with several weaving centers. Our guide took us to Balcon Del Inka Centro Artesanal, which, he claimed, was the best one.
Being at the top of the hill overlooking the town, it certainly had the best view!
Women form several local families run the Artisan Center. The Center has two areas designed to show tourists how wool is prepared. It also has a small outside market. Women don’t actually weave on the premises. Everything is nicely set, however, and the English explanations are clear.
The Making of a Peruvian Tapestry:
Women gather wool from the desired animal. This could be a sheep, or one of the four camelid animals of Peru: ilama, alpaca, guanaco or vicuĂ±aa. Ilama wool is rather course. Alpaca is softer, and baby alpaca is even softer than that. But the softest wool of them all comes for the undomesticated vicuĂ±a. This wool is hard to gather, and is therefore the most expensive on the planet.
When sheered, any wool is rather dirty:
To clean it, the local women grind a jaboneraÂ plant root that, with water,Â froths like soap. Local nickname it “Andean Soap.”
Women then wash and scrub the wool:
Once washed, the wool is clean and ready to work with:
Women spin the wool into thread. During our stay in Peru, we’ve seen women walking and spinning, working and spinning, cooking and spinning, caring for children and spinning. Women, in fact, seem to always multitask…
After it is spinned, the wool is ready for dyeing. Many women in Chichero and the vicinity still use natural dyes, made from local plants. In the picture below, you can see the different colors and the plants that make them. I especially loved the purple wool, dyed with purple corn:
The biggest magic, though, involves the color red. Red is made from cochineal,Â a parasite that dines on one of the more common cactus species in the area:
When collected, this parasite appears white, as it is cocooned in a web-like fluffy substance:
But here is where the fun begins, and our hostess delighted in showing us some magic: when squished, you see, a vivid, blood-like red fluid appears:
Mixed with a bit of lime, this fluid gets an orange tint:
Mixed with salt, it becomes more purple:
Playing around with these various shades, the weavers can tweak the colors to whatever shade they like. The number of times a piece of wool is dipped in the dyeing pot, and the length of time it stays there, determine the final color:
The result is beautiful, vividly-colored wool:
Women then pull the wool onto looms. Looms are easily portable, allowing women to weave in their homes or outside in the fields.
Here are some finished pieces, at the market part of the Center:
Of course, we couldn’t leave without buying something. This is our new table runner, with the artist who claimed to make it:
How Tourism Complicates Things
Textiles are historically an integral part of the Peruvian culture. However, after a few days in the country, I realized that the locals don’t actually wear traditional textiles, nor do they use them. In fact, tourists are the only ones walking around with vividly-woven fabrics. The locals wear jeans, t-shirts and the like, like the rest of us.
The few women and kids who roam about the old city of Cusco dressed in traditional clothes, often carry sheep or alpacas, and are there to take photos with tourists for money. Even in the more remote areas, the people wearing traditional clothes are mostly doing so for tourists (and wear synthetics). People told me that in really remote villages people still dress like that for real, but I haven’t been to any of those. The few houses I visited in different parts of the region didn’t have traditional textiles as home decor. If they had any textiles at all, they had the cheaper, industrial/synthetic kind, most likely imported from China.
The beautiful, traditional textiles, it seems, are made for tourists these days. They are also sold at tourist prices. These textiles are not cheap, even in American standards. Tourists have to splurge on them. The locals can’t afford them at all.
In fact, it seems that the art of weaving in Peru, like many traditional arts around the world, began to disappear. Even natural dyeing almost gave way to the easier, industrial kind. That is why several local and international organizations, The Center for Traditional Textile of Cusco and Apus Peru being some of them, intervened in an effort to save the craft.
Weaving is a very time-consuming task. Even when selling their work at tourist prices, weavers still make little per hour. It is not surprising, therefore, that many try to cut corners, by using cheaper, synthetic fibers, for example, or by selling sub-standard products. Many tourists can’t tell the difference anyway. The money that textiles bring, therefore, leads to all kinds of gray areas and dishonesty. Read this post to get an idea about some of those problematic issues.
So, as much as I enjoyed learning about textiles in theÂ Centro Artesanal, I couldn’t but also realize that the entire place was a nicely-set illusion. The ancient craft shown was artificially kept alive. The entire display was a myth that tourist companies and the fashion industry spread, and which tourists, myself included, really want to buy into. TheÂ tourist industry in a way re-invented the old traditions. This includes the descriptions given to explain the different designs, that often have very little connection to the actual historical origin of those designs.
In fact, in order to appeal to tourists, even the traditional patterns have been changing. Many of the fancy boutiques sell items with patterns and colors that appeal to Westerners, as do fashion houses selling Peruvian clothes in the West. There is nothing wrong with that, of course, and the textiles are still beautiful. I just found it interesting how the economy surrounding tourism preserves old traditions while, at the same time, profoundly changes them.