#andean region

[andeanbeauties]

RENATA FLORES RIVERA: Ayacuchana Quechua Singer

[mothmiso]

Combeima Canyon (2) (3) (4) by Panegyrics of Granovetter

[manessha545]

Cuenca, Ecuador: Cuenca, officially Santa Ana de los Ríos de Cuenca, is an Ecuadorian city, head of the canton of the same name and capital of the province of Azuay, as well as its largest and most populated city. It is crossed by the Tomebamba, Tarqui, Yanuncay and Machángara rivers, in the south-central inter-Andean region of Ecuador, in the Paute river basin, at an altitude of 2,538 meters above sea level. Wikipedia

[artifacts-and-arthropods]

500-year-old Snake Figure from Peru (Incan Empire), c. 1450-1532 CE: this fiber craft snake was made from cotton and camelid hair, and it has a total length of 86.4cm (about 34in)

This piece was crafted by shaping a cotton core into the basic form of a snake and then wrapping it in structural cords. Colorful threads were then used to create the surface pattern, producing a zig-zag design that covers most of the snake's body. Some of its facial features were also decorated with embroidery.

A double-braided rope is attached to the distal end of the snake's body, near the tip of its tail, and another rope is attached along the ventral side, where it forms a small loop just behind the snake's lower jaw. Similar features have been found in other serpentine figures from the same region/time period, suggesting that these objects may have been designed for a common purpose.

Very little is known about the original function and significance of these artifacts; they may have been created as decorative elements, costume elements, ceremonial props, toys, gifts, grave goods, or simply as pieces of artwork.

The Metropolitan Museum of Art argues that this figure might have been used as a prop during a particular Andean tradition:

In a ritual combat known as ayllar, snakes made of wool were used as projectiles. This effigy snake may have been worn around the neck—a powerful personal adornment of the paramount Inca and his allies—until it was needed as a weapon. The wearer would then grab the cord, swing the snake, and hurl it in the direction of the opponent. The heavy head would propel the figure forward. The simultaneous release of many would produce a scenario of “flying snakes” thrown at enemies.

The same custom is described in an account from a Spanish chronicler named Cristóbal de Albornoz, who referred to the tradition as "the game of the ayllus and the Amaru" ("El juego de los ayllus y el Amaru").

The image below depicts a very similar artifact from the same region/time period.

Why Indigenous Artifacts Should be Returned to Indigenous Communities.

Sources & More Info:

Metropolitan Museum of Art: Snake Ornament

Serpent Symbology: Representations of Snakes in Art

Journal de la Société des Américanistes: El Juego de los ayllus y el Amaru

Yale University Art Gallery: Votive Fiber Sculpture of an Anaconda

[m1male2]

#Curiosities

The Sacred City of Caral-Supe, one of the most important and little-known cultures of the American continent, is located in the province of Barranca, Lima Region, Peru.

“It constitutes the oldest manifestation of civilization in Peru and on the American continent due to its 5,000 years of age. It is made up of 32 monumental buildings, included in a complex system of settlements that show a strong religious ideology, among which are distinguished ceremonial buildings, residential sectors for people of different social rank, a set of minor temples and production workshops. Caral led a settlement system that brought together 17 similar, although smaller, sites located in the Supe Valley.

“It expresses the complexity and development of an early socio-political and economic organization model during the Late Archaic Period (5000-3800 BP) originated independently by the Andean societies that inhabited this small fertile valley on the central Peruvian coast.”

Information:

World Heritage Sites of Peru. Culture Ministry.

[purpleglitch]

Dream and George dancing el Sanjuanero 🇨🇴👨‍❤️‍💋‍👨

El Sanjuanero is a traditional dance and subgenre of Bambuco with Joropo influences. It's an important dance in colombian folklore and especially in the andean region because of the holidays in late June.

The dance represents the story of a relationship, It begins with flirting and courtship, goes through falling in love and ends with the symbol of marriage. 💚💙

Thank you Nov @suenitos for hosting the collab this was so fun seeing everyone's cultures :3

[literaryvein-reblogs]

Word List: Fashion History

to try to include in your poem/story (pt. 3/3)

Pelete Bite - a fabric created by the Kalabari Ijo peoples of the Niger Delta region by cutting threads out of imported cloth to create motifs

Pelisse - a woman’s long coat with long sleeves and a front opening, used throughout the 19th century; can also refer to men’s military jackets and women’s sleeved mantles

Peplos - a draped, outer garment made of a single piece of cloth that was worn by women in ancient Greece; loose-fitting and held up with pins at the shoulder, its top edge was folded over to create a flap and it was often worn belted

Pillow/Bobbin Lace - textile lace made by braiding and twisting thread on a pillow

Pinafore - a decorative, apron-like garment pinned to the front of dresses for both function and style

Poke Bonnet - a nineteenth-century women’s hat that featured a large brim which extended beyond the wearer’s face

Polonaise - a style of dress popular in the 1770s-80s, with a bodice cut all in one and often with the skirts looped up; it also came back into fashion during the 1870s

Pomander - a small metal ball filled with perfumed items worn in the 16th & 17th centuries to create a pleasant aroma

Poulaine - a shoe or boot with an extremely elongated, pointed toe, worn in the 14th and 15th centuries

Raffia Cloth - a type of textile woven from palm leaves and used for garments, bags and mats

Rebato - a large standing lace collar supported by wire, worn by both men and women in the late 16th and early 17th century

Robe à L’anglaise - the 18th-century robe à l’anglaise consisted of a fitted bodice cut in one piece with an overskirt that was often parted in front to reveal the petticoat

Robe à la Française - an elite 18th-century gown consisting of a decorative stomacher, petticoat, and two wide box pleats falling from shoulders to the floor

Robe en Chemise - a dress fashionable in the 1780s, constructed out of muslin with a straight cut gathered with a sash or drawstring

Robe Volante - a dress originating in 18th-century France which was pleated at the shoulder and hung loose down, worn over hoops

Roses / Rosettes - a decorative rose element usually found on shoes in the 17th century as fashion statement

Ruff - decorative removable pleated collar popular during the mid to late 16th and 17th century

Schenti - an ancient Egyptian wrap skirt worn by men

Shirtwaist - also known as waist; a woman’s blouse that resembles a man’s shirt

Skeleton Suit - late 18th & early 19th-century play wear for boys that consists of two pieces–a fitted jacket and trousers–that button together

Slashing - a decorative technique of cutting slits in the outer layer of a garment or accessory in order to expose the fabric underneath

Spanish Cape - an outer wrap often cut in a three-quarter circle originating from Spain

Spanish Farthingale - a skirt made with a series of hoops that widened toward the feet to create a triangular or conical silhouette, created in the late 15th century

Spencer Jacket - a short waist- or bust-length jacket worn in the late 18th and early 19th centuries

Stomacher - a decorated triangular-shaped panel that fills in the front opening of a women’s gown or bodice during the late 15th century to the late 18th century

Tablion - a rectangular panel, often ornamented with embroidery or jewels, attached to the front of a cloak; worn as a sign of status by Byzantine emperors and other important officials

Toga - the large draped garment of white, undyed cloth worn by Roman men as a sign of citizenship

Toga Picta - a type of toga worn by an elite few in Ancient Rome and the Byzantine Empire that was richly embroidered, patterned and dyed solid purple

Tricorne Hat - a 3-cornered hat with a standing brim, which was popular in 18th century

Tupu - a long pin used to secure a garment worn across the shoulders. It was typically worn by Andean women in South America

Vest/Waistcoat - a close-fitting inner garment, usually worn between jacket and shirt

Wampum - are shell beads strung together by American Indians to create images and patterns on accessories such as headbands and belts that can also be used as currency for trading

Wellington Boot - a popular and practical knee- or calf-length boot worn in the 19th century

If any of these words make their way into your next poem/story, please tag me, or leave a link in the replies. I would love to read them!

More: Fashion History ⚜ Word Lists

[whencyclopedia]

The Fabric of Civilization: How Textiles Made the World

In "The Fabric of Civilization," Virginia Postrel explores how the history of textiles is akin to the story of civilization as we know it. As evidenced throughout her book, Postrel treats each chapter as a standalone story of its production and journey, all the while masterfully weaving it together to show the story of human ingenuity. While academic in nature due to its incredibly well-researched methodology, the general reader will enjoy the book's unique style and approach to world history.

In The Fabric of Civilization: How Textiles Made the World, Virginia Postrel expertly demonstrates how the history of textiles is the story of human progress. Although textiles have shaped society in many ways, their central role in the development of technology and impact on socio-economics have been exceedingly overlooked. Attempting to remedy this issue, Postrel organizes her book into two distinct sections: one focusing on the different stages of textile production (fiber, thread, cloth, and dye) and the other on the consumers, traders, and future innovators of said textiles. To strengthen her argument, Postrel pulls from different primary sources across many regions and cultures, such as the works of people like entomologist Agostino Bassi and the accounts of disgruntled Assyrian merchants. However, Postrel goes beyond relying solely on books and peer-reviewed articles; she personally interviewed textile historians, scientists, businesspeople, and artisans who offered their own insight regarding the importance of textiles in the world. To help the reader envision the intricacies of textile manufacturing, the book is riddled with images that range from ancient spindle whorls and Andean textile patterns to nineteenth-century pamphlets raging over improved cotton seeds. It is quite a laborious task to explain the history of textiles, but Postrel’s way of organizing her chapters and style of writing does an excellent job of conveying her argument.

In Chapter One, Postrel illustrates the many uses of fibers and how their multipurpose functionality served its role in world economies. From the domestication of cotton in the Americas to sericulture in ancient China, such fibers left an indelible mark on trade and technology. Chapter Two looks at the use of thread's connection with social and gender roles as Postrel argues that dismissing fabric as feminine domesticity ignores its integral role in the social innovations that products like clothing and sails provided. Chapter Three connects mathematics with weaving through handwoven textiles by Andean artisans and in the notations written down in Marx Ziegler’s manual, The Weaver’s Art and Tie-Up Book (1677). Chapter Four explains how dyes not only contributed to the distinction between social classes, such as the use of Tyrian purple by Roman emperors but also the ingenuity of humans to ascribe meaning and beauty to a variety of colors. Furthermore, the increasing and competitive trading of dyes in the 16th and 17th centuries would eventually contribute to the discovery of synthetic dyes.

Textile traders and consumers also helped to foster cultural exchanges. Postrel then highlights how traders often also served as innovators. The implementation of the Fibonacci sequence in European trading not only helped traders with bookkeeping but also gave a new perspective to the practicality of learning math by helping traders understand profits and calculate prices. Readers explore in Chapter Six how the Mongol Empire expanded across many different lands for their desire for valuable woven textiles. Under the Pax Mongolica, the textile trade flourished as the Mongols protected the Silk Road, resulting in cross-cultural and technological exchange between Europe and Asia. Lastly, in Chapter Seven, Postrel introduces synthetic polymers like nylon and polyester, where the efforts made by scientists like Wallace Carothers, Rex Whinfield, and James Dickson have revolutionized the use of textiles. Companies like Under Armour use polyester to create water-repellent clothing. Despite synthetic polymers currently being used innovatively, many still seek to look into the future of textiles. As Postrel explains, imagine your pockets can charge your phone or your hat could give you directions. The future of textiles is incredibly exciting.

As an avid writer of socio-economics, Postrel expertly showcases her knowledge of the subject. Postrel’s previous books, such as The Future and its Enemies (1998) and The Power of Glamour: Longing and the Art of Visual Persuasion (2013), cover the interconnectedness between culture, technology, and the economy. Postrel has also worked as a columnist for several news sites, is the contributing editor for the magazine Works in Progress, and was a visiting fellow at the Smith Institute for Political Economy and Philosophy at Chapman University. This book is a wonderful intellectual contribution that feels like a documentary series, perfectly threading the reader through cultures and regions like a needle through fabric.

Continue reading...

[nonasuch]

The 2022 Miss Universe pageant was last night!

Which means: the National Costumes are here.

Yes, there is video. It’s worth watching if you want to see how some of these look in motion, but I’m warning you in advance that the emcees keep doing these shitty little rhyming couplets, and they will make you want to strangle them with one of the many available voluminous gown trains. So I’m suffering on your behalf, and liveblogging.

First up: Albania.

Sparkly flag-inspired bodysuit with train is the voting “present” of the Miss Universe National Costume Competition.

Angola. She did a fun dance on her way to center stage, which would probably not have been possible in her original costume, which was “tree-inspired” and too big to ship to New Orleans.

Argentina. This is where the video does come in handy, because without it I would not be able to award her First Contestant To Visibly Struggle Under The Weight Of Her Outfit. It’s a waterfall. The rainbow crotch area was certainly a design choice.

Armenia. I would like to see what’s going on with the bodice behind the... shield thing? but she never put it down.

Also, it turns out that when one contestant has a costume dedicated to solemn remembrance of the Armenian genocide, and the contestant immediately after her has a costume that’s about beach parties, there is kind of an uncomfortably abrupt tonal shift that happens onstage.

Aruba. Like I said: weird tonal shift! She did a little shimmy dance at Miss Armenia as they passed each other and it was clearly awkward for both of them. This is made of recycled materials leftover from Carnival, which is cool? I guess?

Australia. This is a prom dress. Boo.

Bahrain. A rare pants look! There’s a lot of detail in the headdress and bodice that’s kind of getting lost, but it looks cool in motion. Also the theme is apparently “Bahrain is rich as fuck,��� so congrats I guess?

Belgium. Okay so the theme of this costume, my hand to g-d, is “the window on the International Space Station that Belgium built.” Why does this requires a shit-ton of leftover Christmas tinsel and some very awkward-to-wear angel wings? I do not know.

Belize. This is fun! It’s a good “lesser-known Batman villainess” kind of look. Like if Ivy and Catwoman co-mentored someone. The actual theme is “the world’s only jaguar reserve, which is in Belize,” but I think it’s also kind of implying that she might be a were-jaguar. Which, again, is fun!

Bhutan. This goes in the “just an actual regional/folk costume” category, which is also kind of like voting Present, but it looks like the fabrics are nice.

Bolivia. She has an entire Andean condor on her head so I’m already on board. This photo only shows the cloak, which is covered in silver spangles in honor of Bolivia’s silver mines, and is also why her condor is perched on a miner’s helmet. The dress underneath is entirely made of swags of sparkly gold beads, so the visual effect is actually pretty nice in motion.

Brazil. The construction details on this are actually quite lovely! Lots of intricate beading and rhinestone work. Unfortunately that doesn’t convey well at any distance, and also that white fin peplum thing flaps around really awkwardly when she walks. Oh, wait, she can flip it up to be a clamshell thing behind her head!

That looks much better.

British Virgin Islands. First giant flower of the year!

Bulgaria. Apparently this is made of neoprene? So with that and the rainbow stripes, the effect ends up being kind of “what if Midsommar, but at a rave.”

Cambodia. It feels weird to say “yep, standard Miss Universe warrior goddess costume” but basically that’s what this is. I do like the green-and-gold color palette, though.

Cameroon. “The baskets represent the nation’s agricultural movement.” Okay! I like how it’s giving ���Valkyrie, but make it Global South,” though I’m not sure three entire country-shaped cutouts were necessary.

Canada. Another fine Miss Universe tradition: contestant who knows how to dance en pointe so she’s going to goddamn wear a costume that goes with pointe shoes, Or Else. Some nice beadwork! I would let her be the third, secret red swan in Swan Lake if that were a thing.

Cayman Islands. Sexy Blue Iguana is a fun concept! There’s a tail in back of the cape.

Chile. Sexy Atacama Desert is kind of abstract, as these things go, but I respect her choice to wear something she could walk in.

China. Hilariously, the announcer was like “This look... does not match the bio we were given, so I’m gonna wing it!” The fabrics are nice -- the satin drapes and moves well -- but the embellishments are kind of meh compared to some of the Miss China looks I’ve seen.

Colombia. This is a legit great Sexy Phoenix, but I need you all to know that her crown got turned a little sideways while she walked to the stage and she clearly knew it and just as clearly could do nothing about it, and I feel bad for laughing but it was funny.

Costa Rica. Sexy hummingbird! I think I’ve identified a recurring theme for this year. Corset and wings are made of recycled materials, which is nice, and they look well-made -- a lot of wing-based costumes tend to flop around or go crooked in motion, but not these.

Croatia. Oh, honey. This has big “my mom helped me make this the night before it was due” energy, unfortunately.

Curacao. “Meet the Fisherman’s Wife, a woman with a key role in Curacao’s fishing industry.” Okay? Honestly you could have left off the basket and said “this costume represents the beautiful marine life of Curacao” and I would have been like “yep, checks out” but now I have many follow-up questions.

Czech Republic. This is meant to be a Mucha-inspired look but uh. Mostly it’s just. beige. I’m starting to feel like all the other Slavic countries saw advance photos of Miss Ukraine and were like “let’s just phone it in this year, girls, there’s no point.”

Dominican Republic. “This costume recognizes the importance of birds in Dominican culture.” They did make it with silk feathers, which I appreciate, because it would have been very weird to use real ones with that mission statement. Also I like her headdress, and the giant feather fans are a good way to nod in the direction of wings without the hassle of actually wearing wings.

Ecuador. This looks good in motion! She did some dancing onstage that worked well, and there’s a great sculpted Inca head scowling on the back of her headdress. This is still only a few notches above voting Present, though.

El Salvador. “History of Currency,” which is definitely a concept! The Bitcoin wizard staff is sure something.

Equatorial Guinea. A perfectly nice entry in the “actual regional costume” category, but on the video I was like “oh, yikes, her headdress is really wobbly” and then it FELL OFF and I felt so bad for her.

Finland. “Spirit of the Forest”? Fuck off, that’s a prom dress. Boo.

I’m going to pause here so this readmore doesn’t get completely out of control. Shit, there are 50 more of these? Well, I have only myself to blame.

[andeanbeauties]

Picture of a Bolivian woman in Andean fashion and an unknown art piece potraying a Bolivian woman.

[probablyasocialecologist]

On the border of Peru and Bolivia, the Waru Waru—an indigenous Quechua word that means ridge—are once again protecting potato and quinoa crops as they did in the region 2,000 years ago. "It is an agricultural system that lets us face climate change, which has changed the seasons of the year. It is very beneficial in times of drought and frost," farmer Cesar Cutipa, 42, told AFP. Puno lies on Lake Titicaca about 3,812 meters (12,507 feet) above sea level. Farmers have made six Waru Waru nearby in flood-prone fields. Furrows form a rectangular platform, where planting is done. Surrounded by water, the planting beds are up to 100 meters long, between four and 10 meters wide and one meter high. The water around the plants creates a microclimate, absorbing heat from the sun during the day and radiating it back at night to ward off frost in sub-zero temperatures. "The Waru Waru cannot flood during the rainy season because they have an intelligent drainage system that reaches the river. They have many advantages," agronomist Gaston Quispe told AFP. In 2023, when Puno suffered one of the largest periods of drought in almost six decades, Waru Waru helped farmers cope with lack of water and avoid food shortages. The area is home to mostly indigenous farming communities, mostly Quechua in Peru—and up the Andes—and both Quechua and Aymara in Bolivia. "We are able to live here peacefully because we have our potatoes, our quinoa and barley. We can be in peace without going to the city," said 22-year-old farmer Valeria Nahua.

[manessha545]

Condors, Colca Canyo, Peru: Native to the mountains of South America that give the bird its name, the Andean condor can be spotted across the continent but arguably the best place to see these strikingly large animals is in the Colca Canyon of Peru. Located in the south of the country about a 4-hour drive from Arequipa, the Colca region is known for its dramatic landscapes, history, vibrant rural culture, and native condors. Aracari arranges private, tailormade trips to Arequipa and Colca where you can spot the majestic Colca Canyon condors... The Colca Canyon is a canyon of the Colca River in southern Peru, located about 160 kilometres northwest of Arequipa. Wikipedia

[mindblowingscience]

Rocks recently exposed to the sky after being covered with prehistoric ice show that tropical glaciers have shrunk to their smallest size in more than 11,700 years, revealing the tropics have already warmed past limits last seen earlier in the Holocene age, researchers from Boston College report in the journal Science. Scientists have predicted glaciers would melt, or retreat, as temperatures warm in the tropics—those regions bordering the Earth's equator. But the study's analysis of rock samples adjacent to four glaciers in the Andes Mountains shows that glacial retreat has happened far faster and already passed an alarming cross-epoch benchmark, said Boston College Associate Professor of Earth and Environmental Sciences Jeremy Shakun

Continue Reading.

[adobealmanac]

Hello, I wonder if you have seen difference between brujeria in certain regions and countries, like would Mexican brujeria be different then Salvadoran brujeria.

Que Dios de bendiga

The different paths of Brujeria

There are many distinct branches of Brujeria. In my opinion, I simply see the term as the Spanish word for "witchcraft". Therefore, there are many types of it. I've coined the term 'Brujeria de frontera' for my practice -- I am a border witch. I live in a place where the cultures of the southwestern USA and Mexico blend into a unique branch of Brujeria on its own. It is not entirely the same as Mexican Brujeria, but it is also not entirely "American". There are distinctions between what I practice than that of my Bruja friends from Mexico.

Sure, I do believe there is a general theme to all Brujeria, that being regaining our own power; regaining control over our spirituality. However, I do think each unique region of Central and South America provides a different backdrop for their spirituality. For example, there may be plants that grow better in Chile than in Mexico, so that plant is more likely to be used in Chilean Brujeria than in Mexican Brujeria. A good analogy would be that of the different branches of Voodoo. There are clear differences from Haitian Vodou compared to Louisiana Voodoo. These differences can come from a variety of sources, such as the different colonial powers, the different tools and ingredients available to practitioners, or the different origins of the enslaved peoples who's religion combined to form Voodoo. Thus, they are distinct branches of a religion.

Another example could be that of the different Christian denominations, such as the differences between Catholicism and Eastern Orthodoxy, however I will not delve into too much detail here as there are many sources out there for information on this.

So, for example, the Maya people practiced a religion that was hidden and intertwined into Folk Catholicism and Brujeria due to the Spanish colonization of Mexico, creating a unique religion that is different than say, that of the Andean peoples. Another thing to note is that branches of Brujeria often share more common threads, such as Spanish colonizers, the Spanish language, and Catholicism. These lead to them to develop similarities, such as the use of saints as a concealment for praying to the original pantheon. So, while different cultures blend differently with Catholicism, many of them used Catholicism as a way to keep their spirituality in a way that the colonizers approved of.

While my Abuelita may do a limpia different than my Puerto Rican friend's, they still share many common threads that unite us as practitioners of the folk religions, and of Brujeria. This is my stance on the idea of different branches of Brujeria and how distinct or connected they all really are.

[ownencyclopedia]

☀ Chachapoyas culture (Peru)

-The Chachapoyas, also called the "Warriors of the Clouds", was a culture of the Andes living in the cloud forests of the southern part of the Department of Amazonas of present-day Peru.

☀ Gran Pajaten

- Gran Pajatén is an archaeological site located in the Andean cloud forests of Peru, on the border of the La Libertad region and the San Martín region, between the Marañon and Huallaga rivers