A rebozo is a long flat garment, very similar to a shawl, worn mostly by women in Mexico. It can be worn in various ways, usually folded or wrapped around the head and/or upper body to shade from the sun, provide warmth and as an accessory to an outfit. It is also used to carry babies and large bundles, especially among indigenous women. The origin of the garment is unclear, but Indigenous women of Mesoamerica were the primary weavers of the first rebozos, often crafted with body-tensioned or back-strap "otate" looms. Spaniards used it in religious situations to conceal the bare bodies of indigenous women. Rebozos were quickly influenced by the fringed shawls of the Philippines and Spanish mantillas as a result of colonization. Traditional versions of the garment show indigenous, European and Asian influences. Traditional rebozos are handwoven from cotton, wool, silk and rayon in various lengths but all have some kind of pattern (usually from the ikat method of dyeing) and have fringe, which can be fingerwoven into complicated designs. The garment is considered to be part of Mexican identity. It has been prominently worn by women such as Frida Kahlo, actress María Félix and former Mexican first lady Margarita Zavala and still popular in rural areas of the country. However, its use has diminished in urban areas.
Hand-colored photography by Luis Marquez (photographer), 1937 Mexico.
A rebozo is a long straight piece of cloth which looks like a cross between a scarf and a shawl. Like ponchos, huipils and sarapes they are classic Mexican garments made of straight, mostly uncut cloth, but rebozos have their own characteristics.[1] It is classically a woman's garment, traditionally hand woven, distinguished by complicated fingerwoven fringes called rapacejos.[2][3] The wearing of the rebozo is said to make the movement of a woman more graceful.[4] The wearing of a rebozo by many women is a sign of Mexican heritage, and for that reason, sales of the garment can double before Mexican Independence Day on September 16.[5][6] Because of the nature of the garment, especially the fringes, they should be hand washed. The dye may or may not be colorfast so mild soap should be used.[7]
Silk rebozo from Santa María del Río, SLP on a mannequin at the Feria de Rebozo in Tenancingo, State of Mexico
While all rebozos are rectangular woven cloth with fringes, there is significant variation within these constraints. There are three classes of rebozos. Traditional ones have a design created with the ikat dyeing technique and come in various set patterns. Regional rebozos are more colorful and their origins can be identified, especially those from Oaxaca, Chiapas and Guerrero. Contemporary rebozos experiment with non-traditional fibres and designs.[8] Sizes vary with lengths anywhere from 1.5 to about 3.5 meters long.[2][9][10] Most Mexican rebozos are made from cotton, wool, silk or rayon.[9][11] The type of fibre used is the main factor in determining a price of a piece which can vary from a couple hundred pesos to thousands of pesos, with fine pure silk pieces being the most expensive.[9][12] The finest silk rebozos can be passed through a wedding ring.[9][13]
Young street vendor carrying baby in a rebozo in the city of Oaxaca
Rebozo colors and patterns vary widely and traditional designs can usually identify where it was made.[14] For example, a tightly woven black and indigo version is identified with the mountain areas of the state of Michoacán.[13] Designs are generally classified as "classic" and "indigenous." Classic rebozos come in various colors with designs based on the prehispanic art of plumaría, or creating images with feathers. Some of these have their fringes knotted to form images of animals and stares. However, almost all are created with the ikat technique.[11][13] The most famous classic rebozo style is called "de bolitas" whose name comes from little knots of string tied onto groups of threads used in its production.[15] Among indigenous groups designs and colors almost always indicate with group the woman belongs.[7] While most rebozos use more than one color, monochrome versions are called "chalinas."[16]
Fringe of a rebozo from Michoacán, with roadrunner feathers
Rebozos have two main functions, that of a garment and that as a carrying aid. As a garment, it can be an indispensable part of the wardrobe of many mestizo and indigenous women, especially those who live in rural areas.[13][17] As a shawl, it can provide warmth (especially the thicker and wool ones), worn on the head to block the sun as well as for modesty, especially in church.[2][7] For city and upper-class women who use them, they can be worn inside the home but are most often used as an accessory to an outfit, especially on certain occasions.[7][17] As a carrying aid, it can be tied around the head or shoulders most often to carry small children and large bundles, mostly commonly among indigenous women.[2][9] The rebozo has even figured into Mexican traditional medicine. It has been used as a tourniquet, as support for a woman in later pregnancy, as an aid to a woman in labor, supporting her allowing for rhythmic movements and positioning with aim of making childbirth easier. It can also be used to alleviate headaches by tying it tightly around the head.[18] Other uses for the rebozo have been in indigenous traditional dances and even as a shroud.[13][17] One modern and innovative way to wear it has been to twist it around the upper body and fastened to make a kind of blouse or top.[12]
History
Hand-colored photography by Luis Marquez (photographer), 1937. Mexico
The name comes from Spanish, from the verb that means to cover or envelope oneself.[19] However, there have been indigenous names for it as well, such as "ciua nequealtlapacholoni" in colonial-era Nahuatl, which means "that which touches a woman or something like her," "mini-mahua" among the Otomi and in the Nahuatl of Hueyapan, Morelos, it is called "cenzotl" from a phrase that means "cloth of a thousand colors."[19]
The origin of the rebozo is not known, but probably had its beginnings in the very early colonial period.[11][16] The first mention and description of the garment in written records is in 1572 by Friar Diego Duran, according to research done by Ruth D. Lechuga.[11] The rebozo itself shows various influences, which probably come from the various cultures that had contact at that time.[11][13]
There are various indigenous garments that share physical characteristics with the rebozo. They include the ayate, a rough cloth of maguey fibre used to carry cargo, the mamatl, which is a cotton cloth also used to carry objects and which often had a decorative border, and the tilma (used for carrying and as a garment), a cloth best known from the one Juan Diego wore and which bears the image of Our Lady of Guadalupe.[11][20] There are chronicles that say that la Malinche carried a cloth called a "Manta del sol" or "Sun Cloth", which was not just used to protect from the sun but also to denote status as decoration.[3] However, prehispanic clothing and other cloths did not have woven fringes.[14] The main European influence is most likely the Spanish mantilla, although a southern Spanish garment called a rebociño (introduced to the area by the Moors) may have also played a part. Later influences came from the Filipinoalampay (Spanish pañuelo) at the start of trade from the Manila galleons. The 19th century mantón de Manila, also based on the alampay, was also influential in the development of the characteristic fringes.[21][3][11]
Writer Ana Castillo in a rebozo
Its origin was most likely among the lower, mestizo classes in the early colonial period, being most prominent among them first.[7][16] The most traditional rebozos show coloring and designs from the colonial period and mestizo women probably wore them to distinguish themselves from indigenous women but could not afford Spanish finery.[11][13] In 1625, Thomas Gage noted that blacks and mixed race people in Mexico wore wide strips of clothes on their head instead of the Spanish mantilla.[11] In the colonial period how it was worn distinguished married women from single. Married women wore it loose covering the top of the head down over the back. Single women would wrap it tighter, allowing more of the back to be seen.[9] These garment were initially made of cotton but by later in the colonial period, they were also made of wool and silk.[19] Their use eventually spread into indigenous communities becoming an integral part of many women's attire and culture. For example, an Otomi woman used to dip a point of her rebozo into water to indicate that she was thinking of her betrothed or husband.[17][22] One important use for the garment in colonial times to the 19th century was for women to cover their heads in church.[8] After its initial development in Mexico, its use spread south into Central America and even as far as Ecuador.[15]
The rebozo was in common use among the middle and lower classes by the 18th century, with the kind of fibre used to weave it distinguishing the two. The garment was in common use among women by the 18th century. At that time the Count of Revillagigedo noted that it was worn by all women except nuns and those of the uppermost classes.[7][11] The two most common fibres were cotton and the more expensive cotton/silk or silk. Sizes and designs varied but those made with the ikat dyeing technique became dominant.[11] In some parts of Mexico, a woman was given a rebozo by a man as a way to propose matrimony instead of a ring.[9] The finest rebozos included ornate embroidery including silver and gold thread. One fashion of that century was to embroider country scenes.[11][13]
In 1886, a synthetic silk called rayon was created in France. The use of this cheaper thread made decorative rebozos more affordable.[6] Its use as an identifying marker of Mexican identity began at this time as well with even the Empress Carlota wearing it on various formal occasions, especially while at her country home in Cuernavaca.[3] By the end of the 19th century, the garment had become indispensable and their making an important handcraft.[11]
Its symbolic function continued into the Mexican Revolution, and item associated with rebel women called "Adelitas," who carried both babies and weapons wrapped inside past federal checkpoints.[23][7][24] During this time, the rebozo was also often used as a shroud for the dead. Much of the world's familiarity with the rebozo comes from later cinematic depictions of Adelitas, but it also accentuated the garment's use with indigenous women, poverty and low socioeconomic station.[2]
Today, the rebozo can be found in all parts of Mexico and just about all women in the country own at least one regardless of socioeconomic class.[22][25][26] In many villages, women are still born in them, grow up with them, get married with them and are buried in them.[27] It is still commonly worn in church by rural women.[16] During the 20th century, the rebozo came to be seen as both a sign of modesty/tradition and of revolution including in some communities in the United States. For women of the Chicano movement, it represented the "complete woman" as both feminine and strong, ready to fight for "the Cause."[28] Personalities which have prominently worn rebozos include María Félix, Frida Kahlo, Lila Downs and model Luly Jáuregui as well as former Mexican First Lady Margarita Zavala who was noted for wearing the garment at state functions.[2][29] The rebozo has appeared in popular culture and media as well as literature.[15] During the Golden Age of Mexican cinema the garment appeared in many movies, including one named El Rebozo de Soledad (Soledad's Rebozo).[1] A de bolita patterned rebozo is mentioned in one of Francisco Gabilondo Soler’s famous children's songs.[17] The character of la India María, played by renowned female comedian María Elena Velasco, is very characterized by her rebozo.
Rebozo, 1875-1890, V&A Museum no. T.21-1931
However, despite its status as a national symbol, its use has diminished among women, especially those in cities.[11] One reason for this is that the garment is associated with indigenous groups and poverty and another is that the fine handwoven rebozos, especially of silk are very expensive because of the skilled labor required.[9][22] (tenancingohis) Many of the most expensive rebozos are no longer made in many parts of the country, with the exceptions of Santa María del Río and San Luis Potosí City.[5] The number of weavers of all types of rebozos have diminished. For example, there are only fifty in the entire state of Jalisco, almost all concentrated in a few municipalities such as Sayula and Tuxpan.[1]
Efforts have been made to preserve and promote the use of the rebozo in various ways. In 1953, the Escuela de Rebozo (Rebozo School) was established to teach the weaving techniques used. In 2002 the school won the Premio Nacional de Artes y Tradiciones Populares. Other institutions dedicated to the craft are Museo de Rebozo in la Piedad, Michoacan, the Tejedoras de la Tercera Edad, run by the Secretariat of Culture in Acatlán, Veracruz and the Taller de Rebocería in the Casa de la Cultura in Tenancingo, State of Mexico.[22] Since the 1940s, various techniques have been used to modernize the design of the garment, including the use of sequins.[11] Some modern Mexican fashion designers like Lydia Lavín and Monserrat Messeguer have designed modern versions of the garment, using new fabrics and international patterns, such as those from the Oriente and Africa.[30]
Rebozos have been the center of museum, cultural and fashion events in Mexico.[25] Various fairs and festivals dedicated to the garment are held in places such as Matamoros, Tamaulipas,[31] Jiquilpan,[4] Tenancingo,[32] and Zapopan.[33] The first Concurso Nacional del Rebozo (National Rebozo Contest) was held in San Luis Potosí in 2004.[1] The Universidad del Valle de Atemajac, Campus La Piedad created a video called "El Arte del Rebozo" to promote the garment both online and at international events.[34] The university held a conference with the same name in 2012.[24] For the 100th anniversary celebrations of the Mexican Revolution in Coyoacán, Mexico City, the rebozo was featured prominently.[35] The Museo Nacional de Culturas Populares in Mexico City held an event called "Tápame con tu rebozo" in 2012, to promote the use and sale of the garment.[14] Exhibitions of rebozos have also been held in the Southwestern United States with the first Festival del Rebozo in the country held in New Mexico,[8] exhibitions at the University of Texas at Brownsville at the Austrey Museum in Los Angeles[33] and Fresno, California holds an annual Day of the Rebozo Festival.[27] There is also a museum dedicated to the garment in Guadalajara called La Casa del Rebozo. In addition to a collection of rebozos in many sizes, colors and textures, it offers conferences, classes, workshops and fashion shows to promote the garment.[2][8]
Production
Woman weaving a silk rebozo on a backstrap loom at the Taller Escuela de Rebocería in Santa Maria del Rio, San Luis PotosíFinishing off a rebozo at a textile workshop at the Museo de Arte Popular, Mexico City.
Mexico is the main producer and exporter of rebozos, but some are also produced in Spain and Portugal.[15][36] Average time to make a traditionally woven rebozo is thirty to sixty days with anywhere fifteen to 200 different steps depending on how complicated the design is and the type of fibre being used.[13][22] For example, rebozos made of real silk take longer to weave. Those made of rayon have about 3,000 warp threads on average and those made of real silk have about 3,800.[16]
The dyeing process is done before weaving, with the most common technique being the ikat method, sometimes called "amarrado" (lit. stingy)[17] In the most traditional work, thread is dyed with natural colors, with colors such as black, blue, red, purple and green but synthetic dyes are now often used.[7][10][37] The patterns of the garment are determined by a sequence of colors dyed into the thread, with color changes made similar to tie-dyeing. Groups of threads are tied together tightly at intervals so that the dye cannot enter some areas. After dyeing, the knots are cut off.[10][37] The weaving begins by cutting the warp threads to the length of the final product. The number of threads determines the width.[10] They are woven on both backstrap looms and European style looms.[7] The groups of warp threads are then placed on the loom in order to work out the design that the body of the cloth will have.[22] After weaving, the last rows of the weft are finger weaved to secure them, which is complicated and meticulous work, often done by women specialized in this.[17] Isabel Rivera and Julia Sánches of Santa María have won national and international awards for their work, with the ability to weave letters into the fringes of rebozos.[10][22] In some areas, after they are finished, rebozos are "smoked" with rosemary branches or are stored with apples or quince in order to make them smell good.[7]
Labor doble design ikat rebozo on a loom at the Inocencio Borboa workshop in TenancingoIkat rebozo being made on a backstrap loom at the Feria de Rebozo in Tenancingo
Rebozo fringe intricately fingerwoven with small beads
Santa María del Río is a small rural town in the state of San Luis Potosí, containing country homes for the well-to-do in the city of San Luis Potosí. The entrance arch of the town states "Santa María del Río, cuna del rebozo" (Santa María del Río, cradle of the rebozo).[17] Even the local baseball team is named after rebozo weavers, called the "Reboceros."[32] It is known for its production of finely woven rebozos especially in silk and rayon, with cotton ones made as well.[10] Weaving was introduced to the area shortly after the conquest and gained fame by the 17th century.[19] Silk production was introduced originally in Oaxaca by the Dominicans. Despite prohibitions, Junípero Serra introduced their cultivation into the region in the 18th century, with silk production and weaving becoming widespread by the late 19th century into the 20th.[6][17] The variety of silk traditionally used in these rebozos is called "catiteo."[6] After the Mexican Revolution, the haciendas producing silk were broken up and many weavers turned to rayon and very few are still made with pure silk.[17] Their production is done by families, but only by the women, with a number winning national awards for their work.[10] In Santa María the use of various browns is a distinguishing characteristic of the region. Other common colors are black, blue, red, purple and green along occasional white threads which appear as flecks in the final product. There are a number of traditional color combinations and designs with names such as calabrote, Rosita, rosarito, culebrilla calado and more.[10][17] Santa Maria hosts a Feria del Rebozo in August and is home to the Escuela de Rebozo (Rebozo School) and a cooperative called the Taller Escuela de Rebocería.[16]
The making of cotton rebozos is important in Tenancingo and an image of the garment appears in the municipality's seal.[38] Tenancingo's rebozos come in a wide variety of prices from 400 to 4,000 pesos, depending on the quality of the cotton, the complexity of the design and the thread count. The craft was developed in Tenancingo by the 17th century and reached its peak during the 19th century. The creation of the garment remains important both culturally and economically, with the work here recognized at the national and international levels.[39] One of the town's most important weavers is Evaristo Borboa.[40]
The mountain areas of Michoacán have been noted for an indigo blue variety of rebozo, known as the Michoacán or Tarasco rebozo. In the 1930s and 1940s, the city of La Piedad, Michoacán became a major producer of rebozos of both natural and synthetic fibres.[20] In 1946 the Unión de Reboceros de La Piedad was formed and in 1958, the Sindicato Único de Reboceros de La Piedad.[37]
Aguayo, a similar piece of cloth used in the Andes
Dupatta, a similar piece of cloth used in South Asia
Pañuelo, a similar traditional clothing from the Philippines
Manila shawl, a 19th century shawl derived from the Philippine pañuelo
Mantilla, a similar-looking women's Spanish head-dress made of cloth, similar to a veil. Maybe a case of exchange or convergence
Related Research Articles
China poblana is considered the traditional style of dress of women in Mexico, although in reality it only belonged to some urban zones in the middle and southeast of the country, before its disappearance in the second half of the 19th century. Poblanas are women of Puebla.
Tenancingo is one of 125 municipalities in the State of Mexico, Mexico. The municipal seat is the town of Tenancingo de Degollado. The municipality is located in the south of the state, in the Tenancingo Valley, just outside the Toluca Valley. The official name of the municipality is only Tenancingo but the town is Tenancingo de Degollado and is often confused with Tenancingo, Tlaxcala, which is a town in a different state.
La Piedad is a municipality located at in the north-west of the Mexican state of Michoacán, bordering Jalisco and Guanajuato. The municipal seat is the city of La Piedad de Cabadas. The original colonial name was San Sebastián. It is bordered by the town of Santa Ana Pacueco, Guanajuato. Both cities straddle the Lerma River. La Piedad's population was 106,490 inhabitants in the 2020 census. The municipality has an area of 284.11 km². It is bordered by the states of Jalisco and Guanajuato.
The Mazahuas are an indigenous people of Mexico, primarily inhabiting the northwestern portion of the State of Mexico and small parts of Michoacán and Querétaro. The largest concentration of Mazahua is found in the municipalities of San Felipe del Progreso and San José del Rincón of the State of Mexico. There is also a significant presence in Mexico City, Toluca and the Guadalajara area owing to recent migration. According to the 2010 Mexican census, there are 116,240 speakers of the language in the State of Mexico, accounting for 53% of all indigenous language speakers in the state.
The quechquemitl is a garment which has been worn by certain indigenous ethnicities in Mexico since the pre-Hispanic period. It usually consists of two pieces of rectangular cloth, often woven by hand, which is sewn together to form a poncho or shawl like garment, which is usually worn hanging off the shoulders. It can be constructed of various different fabrics, often with intricate weaves, and is typically highly decorated, most often with embroidery.
Huipil is the most common traditional garment worn by indigenous women from central Mexico to Central America.
Maya textiles (k’apak) are the clothing and other textile arts of the Maya peoples, indigenous peoples of the Yucatán Peninsula in Mexico, Guatemala, Honduras, El Salvador and Belize. Women have traditionally created textiles in Maya society, and textiles were a significant form of ancient Maya art and religious beliefs. They were considered a prestige good that would distinguish the commoners from the elite. According to Brumfiel, some of the earliest weaving found in Mesoamerica can date back to around 1000-800 B.C.E.
The state of Oaxaca in southern Mexico has a noteworthy tradition of finely crafted textiles, particularly handmade embroidery and woven goods that frequently use a backstrap loom. Oaxaca is home to several different groups of indigenous peoples, each of which has a distinctive textile tradition.
Santa Maria del Rio is one of the 58 municipalities that make up the Mexican state of San Luis Potosí. The municipality is located in the southern part of the state, approximately 48 kilometers east of the city of San Luis Potosí. Santa Maria del Rio has a land area of 1,655 square kilometers, with 37,290 inhabitants. As of 2005, 12,000 were living in the town of Santa Maria del Rio. The area is famous for its rebozos, being the cradle of the blue and white rebozo de bolita. The Rebozo Caramelo is woven there.
Dzidzantún is a town in Mexico in the northeastern Yucatan, which serves as the headquarters of the municipio or administrative unit of the Dzidzantún Municipality.
The textiles of Mexico have a long history. The making of fibers, cloth and other textile goods has existed in the country since at least 1400 BCE. Fibers used during the pre-Hispanic period included those from the yucca, palm and maguey plants as well as the use of cotton in the hot lowlands of the south. After the Spanish conquest of the Aztec Empire, the Spanish introduced new fibers such as silk and wool as well as the European foot treadle loom. Clothing styles also changed radically. Fabric was produced exclusively in workshops or in the home until the era of Porfirio Díaz, when the mechanization of weaving was introduced, mostly by the French. Today, fabric, clothes and other textiles are both made by craftsmen and in factories. Handcrafted goods include pre-Hispanic clothing such as huipils and sarapes, which are often embroidered. Clothing, rugs and more are made with natural and naturally dyed fibers. Most handcrafts are produced by indigenous people, whose communities are concentrated in the center and south of the country in states such as Mexico State, Oaxaca and Chiapas. The textile industry remains important to the economy of Mexico although it has suffered a setback due to competition by cheaper goods produced in countries such as China, India and Vietnam.
Museo Universitario de Artes Populares María Teresa Pomar is a museum dedicated to Mexico's handcrafts and folk art tradition, called “artesanía.” It is part of the University of Colima in the city of Colima, founded by artesanía collector and promoter María Terea Pomar. It contains one of the most important collections of its type in Mexico, covering traditions from around the country as well as the artesanía and traditions of the state of Colima.
Amuzgo textiles are those created by the Amuzgo indigenous people who live in the Mexican states of Guerrero and Oaxaca. The history of this craft extends to the pre-Columbian period, which much preserved, as many Amuzgos, especially in Xochistlahuaca, still wear traditional clothing. However, the introduction of cheap commercial cloth has put the craft in danger as hand woven cloth with elaborate designs cannot compete as material for regular clothing. Since the 20th century, the Amuzgo weavers have mostly made cloth for family use, but they have also been developing specialty markets, such as to collectors and tourists for their product.
Florentina López de Jesús was a traditional Amuzgo weaver from Xochistlahuaca, Guerrero, Mexico. Her work was recognized by various awards.
Mexican featherwork, also called "plumería", was an important artistic and decorative technique in the pre-Hispanic and colonial periods in what is now Mexico. Although feathers have been prized and feather works created in other parts of the world, those done by the amanteca or feather work specialists impressed Spanish conquerors, leading to a creative exchange with Europe. Featherwork pieces took on European motifs in Mexico. Feathers and feather works became prized in Europe. The "golden age" for this technique as an art form was from just before the Spanish conquest to about a century afterwards. At the beginning of the 17th century, it began a decline due to the death of the old masters, the disappearance of the birds that provide fine feathers and the depreciation of indigenous handiwork. Feather work, especially the creation of "mosaics" or "paintings" principally of religious images remained noted by Europeans until the 19th century, but by the 20th century, the little that remained had become a handcraft, despite efforts to revive it. Today, the most common feather objects are those made for traditional dance costumes, although mosaics are made in the state of Michoacán, and feather trimmed huipils are made in the state of Chiapas.
The Procession of Silence in San Luis Potosi is an annual event to mourn the Passion of Christ and honor Our Lady of Solitude. It occurs on the night of Good Friday, beginning at the El Carmen Church, where it originated, and winds through the streets of the historic center of the city of San Luis Potosí. During the event there are the sounds of drums and bugles, but no participant or spectator speaks, giving the event its name. It is one of the most important Holy Week observances in Mexico and was declared part of the cultural heritage of the state of San Luis Potosí in 2013.
Michoacán handcrafts and folk art is a Mexican regional tradition centered in the state of Michoacán, in central/western Mexico. Its origins traced back to the Purépecha Empire, and later to the efforts to organize and promote trades and crafts by Vasco de Quiroga in what is now the north and northeast of the state. The state has a wide variety of over thirty crafts, with the most important being the working of wood, ceramics, and textiles. A number are more particular to the state, such as the creation of religious images from corn stalk paste, and a type of mosaic made from dyed wheat straw on a waxed board. Though there is support for artisans in the way of contests, fairs, and collective trademarks for certain wares, Michoacán handcrafts lack access to markets, especially those catering to tourists.
Basketry of Mexico has its origins far into the pre Hispanic period, pre-dating ceramics and the domestication of crops. By the time the Spanish arrived, there were a number of indigenous forms, a number of which are still made today. These and products that the Spanish introduced form the combined tradition that remains today. Like other Mexican handcrafts, sales to tourists and collectors is important, but basketry is not as popular as other handcrafts. Basketry techniques and materials vary from region to region depending on the vegetation available, with important traditions in Sonora, State of Mexico, Michoacán, Veracruz, Oaxaca and the Yucatán Peninsula.
The Mexican State of Mexico produces various kinds of handcrafted items. While not as well documented as the work of other states, it does produce a number of notable items from the pottery of Metepec, the silverwork of the Mazahua people and various textiles including handwoven serapes and rebozos and knotted rugs. There are seventeen recognized handcraft traditions in the state, and include both those with pre Hispanic origins to those brought over by the Spanish after the Conquest. As the state industrializes and competition from cheaper goods increases, handcraft production has diminished. However, there are a number of efforts by state agencies to promote these traditions both inside and outside of Mexico.
Chiapas handcrafts and folk art is most represented with the making of pottery, textiles and amber products, though other crafts such as those working with wood, leather and stone are also important. The state is one of Mexico's main handcraft producers, with most artisans being indigenous women, who dominate the production of pottery and textiles. The making of handcrafts has become economically and socially important in the state, especially since the 1980s, with the rise of the tourist market and artisans’ cooperatives and other organizations. These items generally cannot compete with commercially made goods, but rather are sold for their cultural value, primarily in San Cristóbal de las Casas.
References
1 2 3 4 Gonzalez, Enrique (July 19, 2004). "Trabajan por rescate del rebozo" [Working to rescue the rebozo]. Mural (in Spanish). Guadalajara. p.8.
1 2 3 4 Wilfrido Ávila García (June 1, 2008). "El rebozo mexicano"[The Mexican rebozo]. El Sol de Cuernavaca (in Spanish). Cuernavaca. Retrieved January 15, 2013.
1 2 3 4 "Materias Primas"[Raw materials] (in Spanish). Mexico: Municipality of Santa María del Río. Archived from the original on October 30, 2013. Retrieved January 15, 2013.
1 2 3 4 Julia Marisol Hernandez (June 13, 2012). "Únete al Festival del Rebozo"[Join the Rebozo Festival]. El Occidental (in Spanish). Guadalajara. Retrieved January 15, 2013.
1 2 Schultz, Alex K. W. (August 20, 2007). "Community celebrates Day of the Rebozo Festival: Tradition: Shawl can be used for many purposes". McClatchy - Tribune Business News. Washington. p.1.
1 2 3 4 5 6 7 8 9 10 Marion Rockefeller, Nelson A; Roberts, Ann R (2010). Folk Treasures of Mexico: The Nelson A. Rockefeller Collection. Houston, TX, USA: Arte Público Press. pp.66–67. ISBN9780810911826.
1 2 3 4 Guzman, Alejandro; Oralia Gonzalez de Ceron (September 2, 2000). "El rebozo una prenda 100% mexicana" [The rebozo, a 100% Mexican garment]. Reforma (in Spanish). Mexico City. p.11.
1 2 3 4 5 6 Armendariz, Lorenzo (August 15, 1999). "Santa Maria Del Rio, San Luis Potosi: La tierra del rebozo" [Santa María del Río, San Luis Potosí: The land of the rebozo]. Reforma (in Spanish). Mexico City. p.16.
↑ Pérez, Rebeca (November 20, 2009). "Revalora el rebozo medicina tradicional" [Revaluing the rebozo in traditional medicine]. Mural (in Spanish). Guadalajara. p.8.
1 2 Ernesto López Servín (June 22, 2012). "La historia del rebozo piedadense"[History of the La Piedad rebozo]. El Sol de Morelía (in Spanish). Morelia. Retrieved January 15, 2013.
1 2 Roberto Arellano Diaz (June 13, 2012). "¡El arte de usar rebozo!"[The art of wearing the rebozo!]. Periódico AM (in Spanish). Oaxaca. Archived from the original on February 19, 2013. Retrieved January 15, 2013.
↑ Félix, Marcela (December 12, 2008). "Quiere modernizar el rebozo" [They want to modernize the rebozo]. Mural (in Spanish). Guadalajara. p.12.
1 2 Villicana, Sarah Elizabeth (July 12, 2007). "Wrapped in history: Shawl: 'Day of the Rebozo' festival set for Aug. 18 in Porterville". McClatchy - Tribune Business News. Washington. p.1.
↑ Ana Paulina Valencia (29 November 2012). "Los 3 rebozos más chic de Margarita Zavala"[The three most chic rebozos of Margarita Zavala]. Quien magazine (in Spanish). Mexico City. Retrieved January 15, 2013.
↑ Olvera, Delgado (September 21, 2012). "El rebozo y la fusión de culturas"[The rebozo and cultural fusioin]. El Sol de Parral (in Spanish). Mexico City. Retrieved January 15, 2013.
↑ "Traen a Matamoros el Festival del Rebozo"[Festival of the Rebozo brought to Matamoros] (in Spanish). Tamaulipas: Government of Matamoros. February 20, 2012. Archived from the original on February 21, 2013. Retrieved January 15, 2013.
1 2 Angel Bernal Davila (September 15, 2010). "Expo Feria del Rebozo en Tenancingo"[Exhibition/Fair of the Rebozo in Tenancingo]. El Informador (in Spanish). Guadalajara. Archived from the original on February 21, 2013.
↑ Del Valle, Óscar (November 21, 2010). "Destaca Coyoacán tradición del rebozo" [The tradition of the rebozo stands out in Coyoacán]. Reforma (in Spanish). Mexico City. p.2.
↑ Rodolfo Valadez Luviano (September 19, 2010). "Reivindican el uso del rebozo"[Revindicating the use of the rebozo]. La Jornada (in Spanish). Mexico City. Archived from the original on 2014-09-11. Retrieved January 15, 2013.
1 2 3 "Rebozos" (in Spanish). Mexico: State of Michoacán. Archived from the original on 2013-02-03. Retrieved January 15, 2013.
↑ "Historia"[History] (in Spanish). State of Mexico: Government of Tenancingo. Retrieved January 15, 2013.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
