| 41 |
Los “diseños verdaderos” en los tejidos de las mujeres cashinahuá del Alto Purús
|
|
|
|
In: PreColumbian Textile Conference VIII / Jornadas de Textiles PreColombinos VIII (2019) (2020)
|
|
Abstract:
El presente trabajo constituye una aproximación a la cultura textil del grupo étnico cashinahuá con la finalidad de documentar las características particulares de los tejidos elaborados en las comunidades nativas ubicadas en los territorios de reserva del Parque nacional Purús. El arte del kené –que refiere a los diseños geométricos representados en tejidos, cestería y pintura corporal de ciertos grupos pertenecientes a la familia lingüística pano- es desarrollado específicamente en la textilería cashinahuá por mujeres especialistas, responsables de todos los niveles de decisión involucrados en la actividad y dueñas de los jardines de algodón, de donde obtienen la materia prima. Los primeros resultados nos permiten una perspectiva bastante completa de la complejidad del pensamiento cashinahuá, expresado en la versatilidad de sus técnicas textiles –particularmente en la técnica que hemos identificado como ‘varillas de memoria’- y en la singularidad de los diseños que nos remiten a la realidad cotidiana de su relación con el medio ambiente, a la vez que a los refinamientos de una estética singular. This essay seeks to characterize the textile culture of the Cashinahuá ethnic group in order to document the particular characteristics of the textiles created by native communities living on reserved territories within the Purús National Park. The art of kené –which refers to the geometric designs represented in textiles, basketry and body painting of certain groups belonging to the Pano linguistic family- is specifically developed in Cashinahuá textiles by women who are specialists, responsible for every level of decision-making involved in this activity and owners of the cotton gardens from which the raw material is obtained. These initial research results provide quite a complete vision of the complexity of Cashinahuá thought, expressed in the versatility of their textile techniques –particularly in the technique that we have identified as ‘memory sticks’- and in the singularity of patterns that reference the day to day reality of their relationship with the environment, and at the same time their refined and singular aesthetic. Le présent article propose une première approche de la culture textile du groupe cashinahuá. Il a pour objectif de documenter les caractéristiques particulières des tissus réalisés dans les communautés localisées sur le territoire de la réserve du Parc national Purús. L’art du kené — terme qui se réfère aux dessins géométriques présents sur les tissus, la vannerie et les peintures corporelles de certains groupes de la famille linguistique pano — apparaît tout spécialement dans la production textile de tisserandes spécialisées, responsables de toutes les décisions prises dans le déroulement de cette activité et, en même temps, propriétaires des jardins de coton d’où elles tirent la matière première pour cette activité. Les premiers résultats offrent une perspective assez complète de la complexité du mode de pensée des cashinahuá tel qu’il s’exprime dans la façon de tisser, dans la versatilité des techniques et dans la singularité des dessins. Tous ces éléments témoignent de la réalité quotidienne de leur relation avec leur environnement, en même temps que des aspects raffinés de leur esthétique.
|
|
Keyword:
Amazon Basin; Amazonía; Amazonie; and Archaeology; and Weaving Arts; Architecture; Art and Design; Art and Materials Conservation; Arts and Humanities; Cashinahuá textile tradition; design with mirror symmetry; dessin avec symétrie en miroir; diseño con simetría en espejo; Ethnicity and Post-Colonial Studies; Fiber; geometrías simbólicas; géométries symboliques; History of Art; Indigenous Studies; kené; Latin American Languages and Societies; loom with ‘memory sticks’; métier à tisser avec ‘baguettes de mémoire’; Museum Studies; Other History of Art; Race; sarga; sergé; symbolic geometries; telar con ‘varillas de memoria’; Textile; tradición textil cashinahuá; tradition textile cashinahuá; twill
|
|
URL: https://digitalcommons.unl.edu/pctviii/22
https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1023&context=pctviii
|
|
BASE
|
|
Hide details
|
|
|
| 42 |
Modern America from the Latin American Perspective
|
|
|
|
In: Senior Honors Projects (2020)
|
|
BASE
|
|
Show details
|
|
|
| 43 |
Kofifi/Covfefe: How the Costumes of "Sophiatown" Bring 1950s South Africa to Western Massachusetts in 2020
|
|
|
|
In: Masters Theses (2020)
|
|
BASE
|
|
Show details
|
|
|
| 44 |
A Translation of Dominik Nagl’s Grenzfälle with an Introductory Analysis of the Translation Process
|
|
|
|
In: Masters Theses (2020)
|
|
BASE
|
|
Show details
|
|
|
| 45 |
An Acquaintance of Interest
|
|
|
|
In: Senior Projects Spring 2019 (2019)
|
|
BASE
|
|
Show details
|
|
|
| 46 |
An Acquaintance of Interest
|
|
|
|
In: Senior Projects Spring 2019 (2019)
|
|
BASE
|
|
Show details
|
|
|
| 47 |
Growing Up Deaf in Appalachia: An Oral History of My Mother
|
|
|
|
In: Electronic Theses and Dissertations (2019)
|
|
BASE
|
|
Show details
|
|
|
| 48 |
For the Culture: The Importance of a Critical Social Theory within the Music Education Classroom
|
|
|
|
In: Senior Honors Theses (2019)
|
|
BASE
|
|
Show details
|
|
|
| 49 |
Explorers and Missionaries: the making the Marquesas one word at a time
|
|
|
|
In: South East Coastal Conference on Languages & Literatures (SECCLL) (2019)
|
|
BASE
|
|
Show details
|
|
|
| 50 |
Experimentalism in the Postcolonial Moroccan Novel: Fusing the Spheres of Aesthetics and Politics
|
|
|
|
In: South East Coastal Conference on Languages & Literatures (SECCLL) (2019)
|
|
BASE
|
|
Show details
|
|
|
| 51 |
The Multicultural Center's Role In Black Male Success At A Predominantly White Institution
|
|
|
|
In: Electronic Theses and Dissertations (2019)
|
|
BASE
|
|
Show details
|
|
|
| 56 |
Amjambo Africa! (September 2019)
|
|
|
|
In: Amjambo Africa! (2019)
|
|
BASE
|
|
Show details
|
|
|
|
|
