The members of the Indian population of Guatemala have clung to their customs and costumes. Even today, the brightly coloured clothes, hand woven, and proudly worn are an eyeful in more than one way. They are first of all, a statement of their philosophy, of their beliefs. The proof that they were surviving despite the cultural pressure of living in a different world.
These colourful costumes vary from region to region, from town to town. Apart from the general colour and fashion of the region, each town has specific patterns. Like the knitting patterns of the Irish fishermen’s sweaters, or the pattern and colours of the Scottish tartans; the patterns, designs and drawings of the textiles in Guatemala clearly identified the family, clan and neighbourhood of the wearer.
The women, especially, have clung to their clothes. Personally woven within the tradition of their town, the textiles included their family history.
This endeavour of registering the private history, the personal story, of the weaver-wearer seems to match what we know of other textiles throughout the world. Even the patchwork quilts, the perfect example of recycling using fabrics no longer adequate for their original purpose, to piece together a quilt… and in so doing, include in it the history of the fabrics used: this was a dress I wore when I was 15; this is part of a shirt I made for my first child; this was a skirt I bought on my first trip to Chicago… and so on.
The textiles in Guatemala, according to the textile museum Ixchel, tell of times of plenty and of want, happiness and sorrow, births and deaths. The personal story of the owner (the wearer), told by the weaver (the owner).
True to form, Guatemalans took this display of art and handicrafts quite for granted. It is so difficult to appreciate the extraordinary in what is “normal and commonplace”. Foreigners were the first to declare their astonishment at the beauty of these textiles parading the streets on the way to the market places under laden baskets of fruits and vegetables.
One of the first to take Guatemalan textiles seriously, some 60 years ago, was an American who built up a collection of these hand-woven costumes. In an interview, when asked how he had achieved such a great collection, he explained quite simply that it had been easy once understood that:
1)he had to speak at least a spattering of some of the most widespread Indian languages, if he was to convey the interest he felt for the textiles.
2)opportunities came at their own time and one had to be prepared to take advantage of them;
3)he could literally buy the clothes off the back of the wearer by offering a good price, and alteranative clothing so the seller could continue with his life, in other clothes.
His sincere interest and admiration for the textiles, his willingness to pay the price asked and not indulge in bargaining, and his respect for the people of Guatemala, quickly earned him a reputation for dealing fairly.
In an interview he once explained how it was difficult to persuade a woman to part with her dress, because she could not understand why, when the family history woven into it meant nothing to him, the textile could interest him.
This seemingly universal interest in recording family or personal history in what we wear and use is patent in our collections that are the chronicles of our life. That is why it is so astounding that today we buy ready-made collections, defeating the feature of chronicle of our life. Are we so orphaned of history, of self confidence and identity, that we rush out to buy our history and memory?