While in Guatemala, my project focuses on gender dynamics throughout the ancient, colonial, and contemporary history of the Maya, specifically through the lens of textile production. This week, our group had the privilege of visiting a textile cooperative in Santiago Atitlán named 13 Batz (“13 threads”), nestled a couple of streets away from Saint James the Apostle Church. After visiting the co-op and listening to the founder’s daughter, Andrea, it was evident this cooperative stands as an excellent example of the strong cultural resilience modern Maya communities display amidst globalization and economic pressures.
^13 Batz courtyard
Andrea, the 22-year-old daughter of Don Camarón, shared detailed insights into the history of backstrap and footloom weaving used to create traje, the traditional clothing worn by both men and women in Central America. She explained how traje weaving plays a crucial role in maintaining Maya indigenous identity, with intricate symbolism woven into every step of the textile production process, ensuring cultural history is passed down through generations despite modern societal pressures.
^Here is Andrea, the daughter of Don Camarón, explaining the embroidery process on the back of a huipil.
^This huipil is very complex in design with butterflies, birds, men, and women depicted in detail in the columns of the huipil.
After Andrea’s presentation, Don Camarón invited us to the back of their workspace to see the footlooms. He led us through a corridor to a room with five footlooms, where two men were diligently weaving. As he demonstrated the looms, he explained that creating complex, multi-colored patterns requires significant experience. He then shared his personal journey, which left a lasting impression on me.
^This is a close picture of the intricate process required to weave a huipil on a footloom. Each thread on the huipil has to be woven into the entire piece, thread by thread.
Don Camarón learned to weave on a footloom from his grandfather when he was young. However, he married early and needed a job to support his growing family, so he worked as a merchant in Guatemala City for 20 years. During this time, he had four sons and a daughter, Andrea. When his wife was pregnant with Andrea, Don Camarón wanted to buy material for her traje corte (skirt) from their town. Unfortunately, with only four weavers in Santiago out of a population of 44,000, the material wouldn’t be ready until Andrea was three years old.
This realization inspired Don Camarón to return to weaving. He knew others in his community faced similar challenges in obtaining woven material promptly. Thus, he founded 13 Batz, a cooperative including both male and female family members, to make traje more accessible to their community.
Don Camarón’s dedication to his community and family is profoundly inspiring. His decision to return to weaving, despite facing discrimination against indigenous men wearing and making traje, has had a lasting impact. Without his efforts, individuals like Andrea wouldn’t be continuing the vital work of revitalizing Maya culture.
^Here is Don Camarón at the footloom explaining the history of the co-op.
Visiting 13 Batz and hearing Don Camarón’s story highlighted the sheer power of their cultural preservation efforts through traditional crafts. His unwavering commitment to his heritage and community serves as a powerful reminder of the importance of resilience and cultural pride. The work of 13 Batz not only sustains a significant aspect of Maya identity but also empowers future generations to keep their traditions alive.