To weave in a unique fashion: Textile styles

In the Andean region, weaving skills are very relevant. Men and women are expected to show some level of expertise when they weave, so that their textiles may be considered as k’achitos (pretty in quechua). Each community shows different weaving techniques; hence a variety of textile styles exist. The differences between them depend on a number of factors:
• Geographical Origin. Weavings are elements that allow to rebuild geographic and social frontiers; both in present and past times. The place of origin is determined by color variety, color arrangement, and iconography. Sometimes it’s even possible to, not only find out the regional origin of the piece, but to specify which community it is from.
• Weaving’s usage (past and present). It is strictly codified, so that some textiles are used on festivities and others are destined to the everyday routine. In some cases colors define how the piece is worn. For example, in Yampara region, black colors along with blue and green lines are used in mourning occasions. In the central region of Bolivia, brown and black tones are preferred around the altiplanic zone, meanwhile red, green and blue are favored in the valley.
• Elements arrangement in weavings (relationship between single color spaces and spaces filled with design). It is very important how wide the pampa (single color space absent of design) is. Broad pampas are woven in the central region of Bolivia, meanwhile narrow pampas come from the Kallawaya region in La Paz. The pampa can also identify the textile. For example, if the pampa is green then it’s a green textile, if it’s red then it’s a red piece.
• The use of specific and characteristic iconographic designs. Sometimes among textiles from a wide area similar elements are present. Although there are certain differences that allow each community to be unique. These differences depend on some factors like:
Zig zag lines detail. Yampara Region. Mountains representation (due to the presence of animasl and plants)	Design dimensions. Size may be used to locate the weaving’s place of origin. Condors from Kallawaya measure about 2 to 4 cm, but Condors from Challa are about 5 to 10 cm wide. Chromatic context. This means what colors are used to weave them. Sometimes people use white, or a single color. There are some that locate them in horizontal stripes filled with different colors. Design interpretation. For example, zig zag lines in Yampara region may be read as rivers; but when there are animals and plants present they are read as mountains. The reading process. This procedure depends on the worldview of communities. For example, the rhombus is read as an eye in some aimara regions; in some other places it’s read as lagoons or lakes. Meanwhile in quechua regions it’s interpreted as the sun representation or a piece of land.
Rhombus detail. Tinkipaya Region. Lake representation Image source: MUTAB Textile styles are cultural expressions that portray the worldview of each community by using all the elements detailed above. These styles can be thought of as documents that register people’s history, ordinary and extraordinary facts. This is how pallayes are the place where expressions and influences from different times are acknowledged. Expressions like the door of the sun and stars come from the pre-colonial times. Meanwhile little guitars, horses with riders, two headed eagles and baroque ornaments show the influence of the colonial period. During the republican times, bay leaf and olive branches, regions’ shields, Bolivia’s shield are new elements used as expressions; currently people also include tanks, planes, bicycles, buses and trucks. It’s important to establish that in the Andes there are neither paints nor drawings to portray people’s expressions; instead men and women weave.