Although less well known than its much-admired counterparts in Peru and Bolivia, highland Ecuadorian weaving is an Andean tradition that has relationships with these more southern areas. A world away from the industrialized textile manufacturing of Euro-American society, these handmade pieces reflect the history and artistry of an ancient culture.

This comprehensive study, edited by Ann Pollard Rowe, is unrivaled in its detail and includes not only descriptions of the indigenous weaving and dyeing technology, but also an interpretation of its historical significance, as well as hundreds of photographs, drawings, and maps that inform the understanding of the process.

The principal focus is on backstrap-loom weaving, a major pre-Hispanic technology. Ecuadorian backstrap looms, which differ in various ways from those found elsewhere in the Andes, have previously only been treated in general terms. Here, the basic operation of this style of loom is covered, as are a variety of patterning techniques including warp-resist (ikat) dyeing, weaving belts with twill, and supplementary- and complementary-warp patterning. Spanish colonial treadle-loom weaving is also covered. The weaving techniques are explained in detail, so the reader can replicate them if desired.

Textiles have been an important art form among Andean peoples from remote prehistory up to the present. A greater understanding of their creation process can yield a more meaningful appreciation of the art itself.

In the highlands of Chiapas, Mexico, a large indigenous population lives in rural communities, many of which retain traditional forms of governance. In 1996, some 350 women of these communities formed a weavers' cooperative, which they called Jolom Mayaetik. Their goal was to join together to market textiles of high quality in both new and ancient designs. Weaving Chiapas offers a rare view of the daily lives, memories, and hopes of these rural Maya women as they strive to retain their ancient customs while adapting to a rapidly changing world. Originally published in Spanish in 2007, this book captures firsthand the voices of these Maya artisans, whose experiences, including the challenges of living in a highly patriarchal culture, often escape the attention of mainstream scholarship. Based on interviews conducted with members of the Jolom Mayaetik cooperative, the accounts gathered in this volume provide an intimate view of women's life in the Chiapas highlands, known locally as Los Altos. We learn about their experiences of childhood, marriage, and childbirth; about subsistence farming and food traditions; and about the particular styles of clothing and even hairstyles that vary from community to community. Restricted by custom from engaging in public occupations, Los Altos women are responsible for managing their households and caring for domestic animals. But many of them long for broader opportunities, and the Jolom Mayaetik cooperative represents a bold effort by its members to assume control over and build a wider market for their own work. This English-language edition features color photographs - published here for the first time - depicting many of the individual women and their stunning textiles. A new preface, chapter introductions, and a scholarly afterword frame the women's narratives and place their accounts within cultural and historical context.

'I have only one problem with this fascinating book - it had to end! I felt so well acquainted with the weavers and the authors and the techniques that it seemed like the story should go on forever. Loving, honest, illuminating documentation is how I would characterise the text, augmented by Joe Coca's superb photography.' Janet De Boer, editor of Australia's Textile Fibre Forum magazine for 30 years. What began as a couple's backpacking adventure transformed into a thriving fairtrade business and a renewed sense of well-being. Over the past decade, Joshua Hirschstein and Maren Beck have developed deep connections with the villagers of Xam Tai who raise their own fibre from silkworms, create their own natural dyes, and weave the patterns of their ancestors into healing cloths, ceremonial textiles and daily wear. Their narrative provides an in-depth and rare view into the everyday lives, culture, and craft of Lao silk weavers. Engaging personal stories and intimate photography bring it all into focus: the patience and skill of artisans, the steady pace of village life, and a commitment to honouring the old ways.

An essential guide to the techniques and traditional craft of hand weaving. This practical and inspirational book is perfect for beginners who want to learn the techniques of the traditional craft of hand weaving. Step-by-step instructions show you how to weave on a frame loom, including changing yarns, mastering curves and using interlocking to create intricate patterns. There is also advice on spinning, dyeing yarns, designing your work, incorporating found objects, and constructing your own simple looms. Written by an experienced weaving teacher, this book contains all you need to know to get started on weaving beautiful objects, and includes projects to make your own 'weavelets', purses and wall tapestries.

Easy to learn, portable, and lots of fun--that's weaving on peg looms and weaving sticks! This book introduces you to the craft and answers all of your questions.* 20+ projects, including dolls and toys, flowers and brooches, cowls, baskets and bowls* Gallery of woven pieces will inspire your own weaving creativity* Includes finishing techniques for these handheld weaving tools

Learn how to make colorful, gorgeously patterned rugs using the 200-year-old techniques of the Shakers. The author researched and analyzed textiles at five historic Shaker village sites before developing a method to create new versions of these classics. You'll learn how ten original rugs were woven and then get detailed instructions on how to make ten reproduction rugs, with full explanations of the dyeing, the warp material, the weft materials, and how to weave, as well as instructions for weaving Shaker tapes. Learn about the history of the Shakers in America and the impact of their craftsmanship on our arts tradition. Like all items used in daily Shaker life, these rugs have three outstanding characteristics: they are unusual in their design, they are perfect for the purpose they are meant to serve, and they are beautiful in quality.

Baskets made of baleen, the fibrous substance found in the mouths of plankton-eating whales-a malleable and durable material that once had commercial uses equivalent to those of plastics today-were first created by Alaska Natives in the early years of the twentieth century. Because they were made for the tourist trade, they were initially disdained by scholars and collectors, but today they have joined other art forms as a highly prized symbol of native identity. Baskets of exquisite workmanship, often topped with fanciful ivory carvings, have been created for almost a century, contributing significantly to the livelihood of their makers in the Arctic villages of Barrow, Point Hope, Wainwright, and Point Lay, Alaska. Baleen Basketry of the North Alaskan Eskimo, originally published in 1983, was the first book on this unusual basket form. In this completely redesigned edition, it remains the most informative work on baleen baskets, covering their history, characteristics, and construction, as well as profiling their makers. Illustrations of the basketmakers at work and line drawings showing the methods of construction are a charming addition to this book, which belongs in the library of all those with an interest in the art of basketry and in Alaskan Native arts in general.

Baskets made of baleen, the fibrous substance found in the mouths of plankton-eating whales-a malleable and durable material that once had commercial uses equivalent to those of plastics today-were first created by Alaska Natives in the early years of the twentieth century. Because they were made for the tourist trade, they were initially disdained by scholars and collectors, but today they have joined other art forms as a highly prized symbol of native identity. Baskets of exquisite workmanship, often topped with fanciful ivory carvings, have been created for almost a century, contributing significantly to the livelihood of their makers in the Arctic villages of Barrow, Point Hope, Wainwright, and Point Lay, Alaska. Baleen Basketry of the North Alaskan Eskimo, originally published in 1983, was the first book on this unusual basket form. In this completely redesigned edition, it remains the most informative work on baleen baskets, covering their history, characteristics, and construction, as well as profiling their makers. Illustrations of the basketmakers at work and line drawings showing the methods of construction are a charming addition to this book, which belongs in the library of all those with an interest in the art of basketry and in Alaskan Native arts in general.

The fundamental gesture of weaving in "The Craft of Zeus" is the interlacing of warp and woof described by Plato in "The Statesman"--an interweaving signifying the union of opposites. From rituals symbolizing--even fabricating--the cohesion of society to those proposed by oracles as a means of propitiating fortune; from the erotic and marital significance of weaving and the woven robe to the use of weaving as a figure for language and the fabric of the text, this lively and lucid book defines the logic of one of the central concepts in Greek and Roman thought--a concept that has persisted, woof and warp crossing again and again, as the fabric of human history has unfolded.

Spider Woman's Children: Navajo Weavers Today illustrates the beautiful and complex world of contemporary Navajo life, art and family - a world shaped by history and rich cultural traditions. It offers an intimate view into the life of today's Navajo weavers that will inspire and surprise. While many books have been written about Navajo weaving, techniques and style, non has highlighted the weavers themselves. Authors and sisters Lynda Teller Pete and Barbara Teller Ornelas are fifth-generation Navajo weavers, which lends an authentic and in-depth perspective to each story.

These 50 interesting and entertaining projects are designed to teach beginners the basic skills of the Maori craft of plaiting.Fun with Flax shows how to make items ranging from a simple windmill, a dart and a whistle to more complex puzzles, balls, birds, fish and even a caterpillar. Each project is described one step at a time with easy-to-follow line drawings and instructions. All are fun and will delight children and adults with their ingenuity, their beauty and the amusement they provide. This book is ideal for kohanga reo, playcentres, kindergartens, Maori crafts groups and New Zealand homes. It aims not only to teach the skills of plaiting to young New Zealanders but also to nurture a new generation of flaxworkers. Mick Pendergrast first became interested in plaiting and other Maori crafts while teaching in small communities in the East Cape area. He has spent time as a VSA teacher in the Solomon Islands and on the remote Polynesian outlier of Tikopia, and has worked in a number of New Zealand's major museums. He is the author of Te Mahi Kete- Maori Basketry for Beginners, Feathers and Fibre, a catalogue of the first major exhibition of Maori flaxcrafts, of which he was the curator, and Raranga Whakairo, a collection of plaiting patterns.