Descendants of the Incas

Inca Knitted Hats

admin — Sat, 01 Jun 2013 22:57:34 +0000

In the Andes In the Andes mountains the traditional Inca knitted hats are made to be worn by men and by babies, not by women whose dramatic hats are entirely different. Men usually wear their knitted chullo hats for warmth and then on top often wear another broader brimmed hat to shade their faces from the high altitude sun.

The traditional hats are extremely fine, tightly knitted, not loose like those seen in the markets that are meant for sale. (The latter I would call “trade goods.) Now the Center for Traditional Textiles of Cusco has introduced natural dying which is used in knitting by villagers associated with the Center.

In Chinchero, Peru and elsewhere, the practice of distinct Inca knitting had become almost extinct by the 1980s. Only one old lady in Chinchero and her son knew the complicated process. Nilda Callañaupa, as a young girl, went to this woman and asked if she could learn from her the unique Inca knitting. Nilda started to learn by making a tiny bag and progressed until she knit a whole hat. She then passed on the technique to her niece, Yolanda. On and on the knowledge spread. Even from a young age Nilda was intent on preserving her Inca weaving traditions.

Man from Acha Alta knitting a chullo (pro: choo yo) -photo by David VanBuskirk

The Inca traditional knitting is difficult and time-consuming but now it is widely practiced by weavers committed to carrying forward the tradition.

Some beautiful knitted hats are made by men in Acha Alta, Peru, as in the photograph above.

A wide selection of the best knitted hats for men and children are on display in the exhibition at the Center for Traditional Textiles of Cusco, 603 Av. Sol, Cusco, Peru and for sale in the Center’s Museum shop.

Photographs by David VanBuskirk

The Lost City Of The Incas

admin — Sat, 23 Mar 2013 21:50:41 +0000

I felt closest to the last short story in my book, about an old man with a passionate mission. He lives in a remote high-altitude Inca village and believes he remembers a time in his childhood when he visited the so-called “Lost City of the Incas.” Is his memory valid? As a boy did he really accompany his father and other local people to help uncover the sacred Inca emperor’s greatly overgrown Machu Picchu?

Hacking Into The Incas’ Lost City

To anyone willing to listen, the old man tells his favorite stories, of hacking out vines and trees that grew out of Machu Picchu’s ancient rooms and sacred spaces. In old age, the old man is determined to return to the place of his memory, to make the treacherous journey of his dreams—accompanied by his magical llamas and his grandson. Does his quest, which involves struggling down into the cloud forest and jungle, fit into the realm of possibility?

Llamas In The Mountains. Phototo and copyright David Van Buskirk, 2013

My stories and the accompanying paintings by the award-winning Inca painter, Angel Callañaupa Alvarez, relate to the Latin American literary tradition of Magic Realism. It’s hard to write of the Inca culture without reference to the society’s magical thinking, different from our own magic which we too have in abundance. Actually “the other’s” belief systems and practices can be based on useful social methods of dealing with the struggles of the human race. What group has found welcome ways to solve the problems of being human? Maybe others have ideas to contribute. A good reason to be world-thinkers.

Beyond the Stones of Machu Picchu: Stories and Folktales of Inca Life

admin — Fri, 22 Mar 2013 01:35:56 +0000

I’m in celebration mode. I’ve fulfilled my book contract and my “BEYOND THE STONES” story book will be released in November, 2013. Angel Callañaupa, the Peruvian painter is finishing his very last illustrations. Hurrah.

Now my stories, my characters, will come to life through the written word. I want to show real Inca life today. It’s time to share what I’ve learned these years, based on the frequent trips to Andean villages around Cusco, researching the Incas weaving and, with my husband, serving to help Nilda Callañaupa found the now hugely successful Center for Traditional Textiles of Cusco. My husband Dave and I worked hard in the early years of CTTC, during our many journeys to Peru and at home striving to give the organization grounding here in the United States.

Inca Life, A Culture STILL at The Top of The World

For the nine months of writing “BEYOND THE STONES,” I locked myself in my (Vermont home) tower for months of writing. I cut out all social activities: a wedding, family occasions, poetry group meetings and the like. But I seldom felt alone, connected to the rich culture of the Andes that never failed to send into my brain images of the dramatic up-and-down landscapes, rich colors and braille-like weaving design textures.

During my time spent in the Andes, I came to learn a lot about Inca life today and to know Inca people and families with whom I’ve kept in touch over many years. In particular we’ve developed close relationships with members of the brilliant and creative Callañaupa-Alvarez family. I’ve also enjoyed many experiences with the kids in Chinchero, enthusiastic young weavers for whom the Center helped start a “Jakima Club” otherwise called “The Childen’s Weaving Group.” (How much Nilda has taught the kids through their weekly weaving get-togethers and their educational field trips arranged by the Center!) I’m also privileged to have two Peruvian godchildren, Elizban and Gabriela, the first of whom Nilda and Paulino named for my husband and me.

Ancient Andean Textiles Workshop for Scholars

admin — Sat, 08 Sep 2012 03:00:58 +0000

Here is a remarkable opportunity for a scholar in a related field or actual field of ancient textiles of Peru. Mary Frame is a fine researcher and teacher. She has also shared valuable expertise with The Center for Traditional Textiles of Cusco. The workshop is designed for specialists and graduate students in the fields of textile studies, conservation, or Andean archaeology and ethnology. I’m sure this workshop will be memorable for anyone eligible to attend:

THE MEANING OF STRUCTURE/THE STRUCTURE OF MEANING: A Workshop on Ancient Andean Textiles by Mary Frame

December 7–9, 2012, 9:30 to 5:00

The Cleveland Museum of Art will hold a three-day workshop that will explore image, structure, technique, and meaning in ancient Andean textiles. Taught by Mary Frame, the preeminent Andean textile scholars, the workshop will include illustrated lectures on techniques, color patterning, symmetry analysis, and other topics but will emphasize hands-on instruction in various structural techniques, focusing on their relation to iconography and design.

Textiles from the Cleveland Museum of Art’s collection will be used to illustrate theoretical and technical portions of the workshop. Enrollment is limited to 15. The enrollment deadline is November 1, 2012. Tuition fees, a complete workshop schedule, and the registration form are available from Bethany Corriveau ([mailto:BCorriveau@clevelandart.org ]. The workshop is held on the occasion of the exhibition Wari: Lords of the Ancient Andes, about which more information will soon follow.

Announced by Susan E. Bergh, Ph.D.<sbergh@clevelandart.org>, Curator of Pre-Columbian and Native North American Art,The Cleveland Museum of Art, 11150 East Boulevard,Cleveland, Ohio 44106-1797

Inca Lives Today

admin — Tue, 04 Sep 2012 15:54:51 +0000

by Libby Van Buskirk

FIFTH AND LAST DAY of the great writing retreat. Solo life at the cabin: can I measure success? Total for the book: a good draft of the story “How to Weave the Milky Way?” and heavy editing of “Children in the Mountains,” formerly called “Shepherding.” I’m anxious to give glimpses of Inca people’s lives today–the great and continuing traditions of weaving, knitting, spinning, natural dying, & unique fiber works, the enviable multi-generationalism, the inspiring belief systems. Sound like a lot?

Even though some of us may be teachers at heart, we know that a fiction writer must never let the didactic urge show through. But is it okay to be just a little blatantly informative, (a little skipping of “show don’t tell”) in such a book of stories and folk tales as mine?

August 31, 2012

Casiana Weaves the Milky Way

admin — Tue, 04 Sep 2012 15:46:39 +0000

By Elizabeth Van Buskirk

Fourth day alone to write. Tomorrow afternoon family returns to woods-it or splash-in for the weekend. Do I do any better writing here absolutely alone than at home? I used to think so — before discovering I’m not REALLY alone with my lively labradoodle and the distraction of Facebook. Maybe it’s not so bad to write on this blog, a space for my morning practice instead of the classic “morning pages” meant to exercise a writer’s voice.

I’m revising my latest story for the book. “Casiana Weaves the Milky Way.” Maybe it won’t be included in the collection. The selection process, however, is not a long time away. Publisher’s deadline: Oct. 15. It will be a late night, this one.

My Mind is Living in Inca Peru

admin — Tue, 04 Sep 2012 02:08:31 +0000

by Elizabeth Van Buskirk

The third day of my solo writing retreat here in the wilds of Maine. All I hear is the cracking of branches in the woods; no one but animal neighbors around. But today when I took my morning walk, I found my hat hanging on a bush at the edge of the meadow. So I do not feel alone. My mind is living in Cusco Peru.

I figure morning is my free time to sit under the pines, watch the heron in the reeds–or communicate via the Internet, my growing addiction. I stay up to write late into the night. 2:00 AM: true solitude, fully focused under lamplight.

Morning time must not be used to write poetry. As soon as I put up the quickie poem below, I wanted to take it down to redo. Poetry is the perfect medium for us, the revisionists. I’m here to work on my book. So I will not pull down a poetry book from the shelf.

I’m working on a story for the book that includes a lot of Inca cosmology (the culture’s world view). Hope it’s not too complex for the collection. But I’ve always said: A good writer can take any subject and make it clear to readers. True of New Yorker pieces.

First Day

Unwelcome, the new fog quiet
morning, no mountains, no lake, just
the sailfish shows through, the craft
I’m not here to sail. I have my mind
and memyself and the deer of my dog
from her other kingdom. Free will,
the empty page, the new of my doubt.
This I own
another wild beginning blank
in the slow of an early white world.

Writing at the Maine Cabin

admin — Tue, 04 Sep 2012 01:04:22 +0000

by Elizabeth Van Buskirk

This is the first morning of my five-day solo writing retreat. I have my own little study under the upstairs balcony. It has an old water-stained door into the so-called fireplace room and a (barely) sliding glass door onto a little deck. I like to write in confined space. Never tried a straight jacket. But that could be a useful experiment.

My partner, gone home to Vermont to work, will be back Friday, Memorial Day weekend. He is my first reader and sounding board. At first I grieve his leaving but have told our dog I won’t wait by the back door until he returns. I too am a softie for separations but time alone gives a power unlike any other as Paul Theroux pointed out in his wonderful “Great Patagonian Express.” Of course I am lucky, this is not a permanent and grief-stricken loss as I have seen friends suffer. So I can only celebrate my lonely senses so loudly sounding.

It seems no one is around. But when I took my morning walk, I found my hat hanging on a bush at the edge of the meadow. So I do not feel alone,. I figure morning is my free time to communicate via internet, the growing addiction. I stay up to write late into the night. 2:00 AM: true solitude, fully focused under lamplight.

August 27, 2012

Stories and Retold Folktales, Set In The Andes

admin — Mon, 03 Sep 2012 18:11:48 +0000

by Elizabeth Van Buskirk

I’m here to work on my book of collected stories due to the publishers by October 15. Stories and retold folk tales, set in the Andes mountains of Peru, in high altitude villages around Cusco. My great passion is to give a glimpse of the wonders of Inca life today, so the working title is “Machu Picchu, Behind the Stones: Stories and Folk Tales of Inca Life.” The folk tales I’ve been collecting in Peru since receiving a grant from the Society of Children’s Book Writers and Illustrators (SCBWI Barbara Karlin grant award.)

The collection will be for adults interested in the Incas, in the fabulous textiles, or those traveling to Cusco to visit Machu Picchu, etc. With strange and new characters and events, along with practical dilemmas of Inca families today, I hope it will also serve for family read-alouds. I’m overjoyed: “Behind the Stones..” will be fully illustrated by the great Inca folk artist, Angel Callañaupa whom I’ve been wanting to publish with for years!

August 27, 2012

Center for Traditional Textiles of Cusco

admin — Fri, 20 Apr 2012 23:53:15 +0000

El Centro de Textiles Tradicionales de Cusco

Message from the DirectorChanges that Affect Us AllSaving Cultural Heritage

Join Nilda
and Friends of the Center

SUPPORT FOR THE CENTER

WHY DO PERUVIAN TEXTILE TRADITIONS NEED TO BE SAVED?

THE CENTER’S APPROACH

A TEXTILE COLLECTION FOR THE NEXT GENERATION

EL CENTRO DE TEXTILES TRADICIONALES DE CUSCO

RESEARCH OF THE CENTER

OUTREACH AND EDUCATION

JOIN NILDA AND FRIENDS OF THE CENTER

HOW YOU CAN HELP

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The Center for Traditional Textiles of Cusco

El Centro de Textiles Tradicionales de Cusco

In Cusco, visit the permanent home of the Center for Traditional Textiles located at 603 Ave. Sol, beside the gardens of Koricancha, the Inca Temple of the Sun. TheCenter’s presentation, WEAVING LIVES: TRADITIONAL TEXTILES OF CUSCO installed in the Exhibition Gallery. In the museum shop you can watch weavers from villages associated with the Center as they demonstrate their work. In the museum shop you will also find textiles of the highest quality for sale. Most have been hand-selected by Nilda Callañaupa.

Hours of operation are:

Monday-Friday: 7:30 a.m. to 8:30 p.m.
Saturday: 8:30 a.m. to 8:30 p.m.

The website for the Center in Cuso: textilescusco.org

Message from the Director

In the Andes of Peru weavings are important to every Inca family. Every
village has its own weaving patterns and traditions. There are thousands
of techniques, layouts, styles, and practices associated with Peruvian
weaving. We draw on a tradition of over 2000 years and we are still
weaving today.

I am proud that I learned skills and knowledge from my Chinchero grandmothers
and their ability to lay out and weave comlex designs, carrying on
ideas passed from their mothers and grandmothers. I learned how to spin
yarn when I was five years old, to weave my first patterns when I was six, and
to make belts and mantas when I grew older.

Changes that Affect Us All

Today all children live in a different world from their parents, reacting
to the many influences outside of family and community. In Peru I see that
instead of spinning fur or wool from their animals, many young people can
buy and are beginning to weave with synthetic yarn made by machines.

I saw how my Grandmothers took strength from their Inca rituals and ceremonies,
especially those connected with spinning and weaving. Not only do I hope
that young people will continue their traditions but I would like to see
Inca children today experiencing the joy, sense of identity and accomplishment
that spinning and weaving can bring to their lives. We started the Center for Traditional Textiles of Cusco in 1996 to explore

We started the Center for Traditional Textiles of Cusco in 1996 to explore
which Andean weaving traditions still exist today, how we might educate
people in our culture to value and continue the Inca heritage, and how we
this process.

In the Andes we depend mainly on farming to provide food for our families,but
it brings little income. Like those who came before us, we still honor the
earth and continue practices adapted to difficult conditions of high altitude,
steep slopes and unpredictable weather. But we can no longer depend on the
agricultural systems of land planning and food store-housing put in place
by our Inca ancestors to assure that everyone received enough to eat in
bad years. Those systems were destroyed during colonial times.Families today
must find ways to supplement their income to meet their daily needs.

The work of the Center is not just to preserve and to study Peruvian
textiles, their symbolism and significance, etc. Our goal also is to assist
families to create a larger market for their textiles and a new economy
for their communities.

Saving Cultural Heritage

We are realizing that every culture contributes to the richness of world
culture. For example, many Native North American communities, eroded as
ours has been by conquest and being made subjects, are trying to find out
the beliefs and practices of their ancestors. We are fortunate that many
of our practices are still alive and can be continued. But they are changing
fast and are in danger of being lost in this generation.

I would never have believed the support received both in Peru and from
friends and acquaintances in other countries to make our project, the Center
for Traditional Textiles of Cusco, a growing reality. We want to make a
contribution in helping to keep Andean weaving traditions alive. We also
want to find opportunities for weaving families and children to make a small
income that provides the benefits of adequate food, health care,improvements
to school buildings and the pencils and notebooks and papers children need
in order to take advantages of opportunities provided in the modern world.
As we continue our plans for the Center we believe that all of these functions
can come together to make a whole.

Here in Peru weaving is an art that we live with every day and for us
it is more than an art, it is an historical part of the living culture.

Nilda Callañaupa, Director

CENTER FOR TRADITIONAL
TEXTILES OF CUSCO

The Center was established in 1996 as a Special Project of Cultural Survival. The mission was to aid in the preservation and revival of Peruvian Inca textiles. The founders were responding to an alarming development: the valuable 2000-year-old textile traditions of Peru were in danger of disappearing in this generation.

Five years later the Center for Traditional Textiles became independent of Cultural Survival receiving its own status as a nonprofit 401c3 in the United States.

Under the leadership of Nilda Callañaupa, the project in Peru has experienced significant growth as an internationally recognized organization. During it’s first ten years it has added a skilled staff to run a large range of activities.

The Center works with nine villages in the Cusco region. Weavers in Chinchero, Pitamarca, Chahuaytari, Accha Alta, Patabamba, Mahuaypampa, Acopia, Santa Cruz De Sallac, and Chumbivilcas are devoting great energy to renewing their rich past of extraordinary textile designs and complex weaving techniques.

SUPPORT FOR THE CENTER

Concerned individuals in the United States have joined with Nilda Callañaupa
to develop a broad base of support for the project. The Center has brought
together supporters of the project from diverse backgrounds such as
anthropology, archaeology, ethnobotany, education, weaving, textile
arts and others. The Center’s U.S. Board of Directors reflects this
diversity.

With an increasing funding base, the Center’s efforts now provide great
rewards for the weavers and their families. As friends and foundations
continue their support, the efforts of Nilda and her staff will reach
more villages and CTTC programs will expand.

One of the many supporters of the center is The Earth Preservation
Fund. They support projects which are assisting educational, environmental,
or cultural preservation.

WHY DO PERUVIAN TEXTILE TRADITIONS NEED TO BE SAVED?

It is becoming clear that the survival of diversity contributes to the valuable storehouse of world resources. Textile systems developed in Peru over the millennia represent a treasury of techniques rare in the world. Most remain unknown outside of Peru. They are passed on, not by writing, but by the Andean process of person-to-person communication, by watching and practicing.

Peruvian weaving is a ritual activity with many layers of meaning. Peruvian textiles honor Pachamama, Mother Earth. They express appreciation for the process of growth and generation and the concept of relatedness to other species and the natural world.

Many people find inspiration in the ideas of indigenous people who developed
systems of survival in this hemisphere before the time of Columbus. Icons
and symbols expressed in the arts that inspire a respect for the earth can
help to keep alive our efforts at preservation and conservation.

THE CENTER’S APPROACH

How can we begin to address the issues of preserving Peruvian textiles
when, even in isolated Peruvian villages, life is in the process of rapid
change?

The Center’s approach is to visit, establish and maintain reciprocal
relationships with selected weaving communities in the Cusco region. The
first step is to appraise the state of the art in each village by interviewing
community members, conducting a written survey and identifying the ways
that the Center can encourage and support weavers and their families. For
example, the Center purchases textiles to encourage talented weavers to
continue weaving and learning while earning money to support their families.

Another approach used by the Center builds on the Andean tradition of
partnerships formed between children learning to weave and experienced village
weavers.The Center is encouraging elders in the communities, who carry rare
information,to pass their expertise to the next generation. In one village,
Chinchero,a program has been set up for school children to interview elders.
Through oral history young people have already acquired valuable information
about their heritage.

To promote virtuoso weavings, the Center is also beginning to offer a
series of annual rewards to weavers in participating villages who show exceptional
achievement.

A TEXTILE COLLECTION FOR THE NEXT GENERATION

Living in the Cusco area, Nilda Callañaupa is in a rare position to identify and acquire authentic Peruvian textiles before fine or rare pieces are sold and taken out of the country. The Center’s collection is valuable reference for Peruvian weavers wishing to continue or revive the many varieties of Andean techniques and designs.

The collection is also available to international scholars and weavers
for study.

EL CENTRO DE TEXTILES TRADICIONALES
DE CUSCO

The Center’s space in Cusco is where weavers from villages
can demonstrate, sell their work, interact with each other, and inform visitors
and tour groups about fine Peruvian textiles. The Center houses the
textile collection.

The central location in Cusco serves as a much-needed visitors’ center for weavers and scholars, making available meeting, resource and seminar rooms.

RESEARCH OF THE CENTER

While visiting the village of Pitumarca, Nilda Callañaupa made
a rare discovery of a weaving technique, practiced as long ago as 500 AD, thought to be nearly extinct in the modern day. As this and other discoveries are published and presented, the public will gain a greater awareness and appreciation of Peruvian textiles and culture. a rare discovery of a weaving technique, practiced as long ago as 500 AD, thought
to be nearly extinct in the modern day. As this and other discoveries are
published and presented, the public will gain a greater awareness and appreciation
of Peruvian textiles and culture.

The Center is also attempting to identify the significance, meanings
and origins of designs and techniques. In the village of Chinchero, over
80 weavers have been interviewed and 44 weaving patterns have been documented.

The Center is working with villagers of the Huilloc region where patterns
are figurative and detailed. Some depict historical events. Others feature
sacred animals as well as chickens, ducks, or wild rabbits which are close
to the life of the community. Recently modern images have entered the complex
weaving compositions of the village.

OUTREACH AND EDUCATION

Over the past 2000 years, a series of high civilizations flourished in South America. The Inca Empire served as the last of these kingdoms,incorporating ideas and themes expressed by those who came before them. Ancient Peruvian textiles are valued by the great museums of the world.Yet few people have the opportunity to discover the rich history and culture of the Southern Hemisphere of the Americas.

A goal of the Center for Traditional Textiles is to provide information
through the textile arts of Peru, otherwise not available in our schools
and universities.

JOIN NILDA AND FRIENDS
OF THE CENTER

Those of us interested in the preservation of worldwide cultures, the diversity
of creative expression, and celebration of the textile arts, have a
rare opportunity to make a difference by preserving the 2000-year-old
Peruvian heritage.

HOW YOU CAN HELP

The Center for Traditional Textiles of Cusco is a 501c3 public non-profit
charitable corporation incorporated in the United States. If you would like to make a tax-deductible conribution, please send your donation
to the CTTC treasurer at the following address:

Center for Traditional Textiles
PO Box 367
Corvallis, OR 97339-0367

THE EMAIL ADDRESS OF THE CENTER IN PURU IS cttc@terra.com.pe