Elayne Zorn

Weaving a Future: Tourism, Cloth, and Culture on an Andean Island

The people of Taquile Island on the Peruvian side of beautiful Lake Tiricaca, the highest navigable lake in the Americas, are renowned for the hand-woven textiles that they both wear and sell to outsiders. One thousand seven hundred Quechua-speaking peasant farmers, who depend on potatoes and the fish from the lake, host the forty thousand tourists who visit their island each year. Yet only twenty-five years ago, few tourists had even heard of Taquile. In Weaving a Future: Tourism, Cloth, and Culture on an Andean Island, Elayne Zorn documents the remarkable transformation of the isolated rocky island into a community-controlled enterprise that now provides a model for indigenous communities worldwide. Over the course of three decades and nearly two years living on Taquile Island, Zorn, who is trained in both the arts and anthropology, learned to weave from Taquilean women. She also learned how gender structures both the traditional lifestyles and the changes that tourism and transnationalism have brought. In her comprehensive and accessible study, she reveals how Taquileans used their isolation, landownership, and communal organizations to negotiate the pitfalls of globalization and modernization and even to benefit from tourism. This multi-sited ethnography set in Peru, Washington, D.C., and New York City shows why and how cloth remains central to Andean society and how the marketing of textiles provided the experience and money for Taquilean initiatives in controlling tourism. The first book about tourism in South America that centers on traditional arts as well as community control, Weaving a Future will be of great interest to anthropologists and scholars and practitioners of tourism, grassroots development, and the fiber arts.

TEXTILES AND THE MAYA ARCHAEOLOGICAL RECORD

Abstract Textiles formed a major part of any ancient Mesoamerican economy. Based on ethnohistory and iconography, the Maya were great producers of cloth for both internal and external use. However, the archaeological identification of textile production is difficult in any tropical area because of issues of preservation. This paper examines the evidence for the production and distribution of cloth that is found in the pre-Columbian Maya area and then focuses on archaeological data relative to textiles from the ancient Maya city of Caracol, Belize. Archaeology at Caracol has been carried out annually from 1985 to the present and has resulted in the collection of data that permits insight into the economic production and social distribution of cloth at the site. This is accomplished through examining the contexts and distributions of spindle whorls, bone needles, bone pins and hairpins, bone awls, and limestone bars. All of these artifacts can be related to weaving, netting, or cloth in some way. Importantly, perforated ceramic disks are not included in this grouping because of contextual information from the archaeological record that these artifacts likely functioned as backings for ear assemblages. Spindle whorls are the artifacts most clearly associated with textile production and 57 of these have been recovered at Caracol, 38 of them in 20 different burials. Several of these interments are of high-status women placed in the most important architectural constructions at the site. The contextual placement of these burials stresses not only the link between women and weaving, but also the high status associated with such an activity, thus signaling the importance of cloth and spinning in ancient Maya society. The prevalence of female interments in the major ritual buildings at Caracol also reflects the importance of women to Maya social structure during the Classic period (a.d. 250–900), pointing to difficulties in hieroglyphically based interpretations of ancient Maya social organization and suggesting that the traditional focus on males in the sociopolitical organization of the Classic Maya is incorrect.Textiles formed a major part of any ancient Mesoamerican economy. Based on ethnohistory and iconography, the Maya were great producers of cloth for both internal and external use. However, the archaeological identification of textile production is difficult in any tropical area because of issues of preservation. This paper examines the evidence for the production and distribution of cloth that is found in the pre-Columbian Maya area and then focuses on archaeological data relative to textiles from the ancient Maya city of Caracol, Belize. Archaeologyat Caracol has been carried out annually from 1985 to the present and has resulted in the collection of datathat permits insight into the economic production and social distribution of cloth at the site. This is accomplished through examining the contexts and distributions of spindle whorls, bone needles, bone pins and hairpins, bone awls, and limestone bars. All of these artifacts can be related to weaving, netting, or cloth in some way. Importantly, perforated ceramic disks are not included in this grouping because of contextual information from the archaeological record that these artifacts likely functioned as backings for ear assemblages. Spindle whorls are the artifacts most clearly associated with textile production and 57 of these have been recovered at Caracol, 38 of them in 20 different burials. Several of these interments are of high-status women placed in the most important architectural constructions at the site. The contextual placement of these burials stresses not only the link between women and weaving, but also the high status associated with such an activity, thus signaling the importance of cloth and spinning in ancient Maya society. The prevalence of female interments in the major ritual buildings at Caracol also reflects the importance of women to Maya social structure during the Classic period (A.D. 250‐900), pointing to difficulties in hieroglyphically based interpretations of ancient Maya social organization and suggesting that the traditional focus on males

Exploring Peruvian Culture through Multimedia Ethnography

The projects discussed in this article, Nicario Jiménezs website on Folkvine.org and the PeruVine/PeruDigital/PeruQuechua project, explore new ways to tell stories using features of digital environments such as immersion and imitation. In this article we discuss how the design and navigation structure of these websites tries to present simultaneously the context for understanding stories as well as the experiential dimension of ethnography and ethnology (method and interpretation). The website projects, then, relate to ongoing debates about the literary nature of ethnographic productions as well as the distinctive characteristics of interactive environments.