Weaving Generations Together - Maxwell Museum
Weaving GenerationsTogetherEvolving Creativity in the Maya of ChiapasEducators Resource GuideUniversity of New Mexico - Maxwell Museum of Anthropology
Textiles from the Patricia Greenfield Collection*The exhibition and educational activitieswere produced by the Maxwell Museum ofAnthropology at the University of NewMexico.Maxwell Museum of Anthropology - University of New MexicoMSC01 1050 -- 1 University of New Mexico -- Albuquerque, NM 87131-0001http://maxwellmuseum.unm.edu -- (505) 277-2924* Private Collection** Ixchel image modified from Dr. Peter Mathews’ drawing of Bonampak Stela tson/event/?event 562625
Maxwell Museum of AnthropologyWeaving Generations Together: Educators GuideFrom the Curator of EducationThe Weaving Generations Together exhibition hasbeen a wonderful resource in our museum fordeveloping educational programs and I ampleased that you will have it in your institution toshare with your community. The activitiespresented here are a guide for using thematerials in this kit that supplement the contentof the exhibition. These are just suggested usesfor the resources that have worked for us, butyou may find creative new ways to utilize theobjects and adapt the activities for youraudience. Whether used as enhancements forschool programs or engaging activities forfamily days, I hope the resources and activities inthis kit will provide your museum with hours offun learning opportunities. Enjoy!i
Maxwell Museum of AnthropologyWeaving Generations Together: Educators GuideTable of ContentsPart 1:Activities using Resource MaterialsActivity 1: Learning About Maya Clothing . . . . . . . . . . . . . 1Activity 2: Learning How to Weave . . . . . . . . . . . . . . . . . . . . 2Activity 3: Comparing Ponchos and Shawls . . . . . . . . . . . 4Activity 4: Learning About Designs . . . . . . . . . . . . . . . . . . . 6Part 2:Docent TourThemes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8The Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Hands - on activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Part 3:Suggested Family Day Activities and EventsActivity 1: Maya Fashion - La Moda Maya . . . . . . . . . . . . .14Activity 2: Hearth and Home with the Maya Family . . . 21Activity 3: Project Runway . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Activity 4: A Marvelous Maya Market . . . . . . . . . . . . . . . . 31Activity 5: The Wonderful World of Weaving . . . . . . . . . . 33Part 4:Teachers CurriculumBackground information for teachers . . . . . . . . . . . . . . . . . 35Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Letter to educators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Introduction to the exhibition . . . . . . . . . . . . . . . . . . . . . . . 39Who are the Maya? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40ii
Maxwell Museum of AnthropologyWeaving Generations Together: Educators GuideHistory of the Maya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Classroom Curriculum: Pre-visit Activities . . . . . . . .43Lesson 1: Constructing Identi-tees . . . . . . . . . . . . . . . .43Lesson 2: Researching Identi-tees . . . . . . . . . . . . . . . . .50Museum Visit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Classroom Curriculum: Post-visit Activities . . . . . . . 53Lesson 3: Categorizing Identi-tees . . . . . . . . . . . . . . . . 53Lesson 4: Community Identi-tees . . . . . . . . . . . . . . . . . . .58Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59Education Standards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63Part 5:Self-guided Visit ActivitiesGrades K to 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Grades 5 to 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77iii
Maxwell Museum of AnthropologyPart 1: Activities using Resource MaterialsMaterials for the activities in Part 1of this guide (clothing,looms, sticks and frames, etc.) can be found in theResource Box.Activity 1: Learning about Maya ClothingObjectivesVisitors will:- Identify the types of clothingtypically worn by a Maya family.- Try on the clothing.- Learn the Spanish and Tzotzil wordsfor the clothing.MaterialsGirl’s huipilWoman’s huipilGirl’s skirtWoman’s skirtWoman’s shawlGirl’s shawlGirl’s beltWoman’s beltBoy’s ponchoMan’s ponchoMan’s hatFull length mirror(Optional, not included)1What to do:1. Direct families to explore theexhibit showing clothing familieswear in different time periods.2. Invite families to try on theclothing, wearing it as shown in theexhibition.3. Encourage the families to read thelabels on the clothing and say thenames of the pieces in Spanish andTzotzil.4. If a mirror is provided, direct themto the mirror to see themselveswearing Maya clothing.
Maxwell Museum of AnthropologyWeaving Generations Together: Educators GuideActivity 2: Learning How to WeaveObjectivesVisitors will:- Try on the loom.- Identify the parts of a backstrap loom,including the batten, shed loop andbobbin.- Manipulate the weaving tools andloom to create a shed by lifting anddropping the heddle.- Weave on a back strap loom.Materials4. Have the visitor practice manipulatingthe heddle (E), lifting and dropping it, togenerate the two shed spaces needed toweave.For the “heddle-up shed”, use the batten(F) to push down on the warps wherethey attach to the end bar (B) nearest theweaver, while pulling up on the heddle.Then put the batten in the shed formedand turn it 90o to open the shed entirely.Make sure all the warp threads attachedto the heddle are “up” and all others havedropped ”down.”Back strap loomsBattens and bobbinsTwo-sided diagrams of loomsand weaving (pages 22 and 23)What to do:1. Set up the looms to a secure post ortree.2. Instruct the visitor to try on the loom,properly attaching the back strap (H).3. Review the parts of the loom andweaving tools and briefly discuss whatthey are used for. Refer to the diagramsif needed. (Note: each part mentionedbelow is indicated on the loom diagramwith the exception of the shed rods.)For the “heddle-down shed”, put thebatten in the space formed by lifting theshed loop. Draw the batten down tothe heddle and while leaning back, turnthe batten 90o to open the shed entirely.The warps on the weaving side of theheddle will pop up and then you canput the batten in that shed and open itentirely. You may find it useful to hold2
Maxwell Museum of AnthropologyPart 1: Activities using Resource Materialsthe shed open with one hand, whileyou transfer the batten from the spacebehind the heddle to in front of theheddle with the other hand. Make sureall the warp threads attached to theheddle are “down” and all others are “up.”5. Once the visitor is comfortable usingthe heddle and batten, demonstrate howto pass the bobbin (G) through the shed.6. After the weft thread from the bobbinis passed through the shed, use thebatten as a beater stick to firmly set theweft into the warp.7. Continue weaving, using the batten tocreate the shed and set the weft.3
Maxwell Museum of AnthropologyWeaving Generations Together: Educators GuideActivity 3: Comparing Ponchos and ShawlsObjectivesVisitors will use colored sticks withina frame to:- Represent stripe patterns in ponchosand shawls.- Complete striped patterns that havebeen started for them.- Make striped patterns that they considerbeautiful.MaterialsSticks and frames.Ring binder containing pictures ofsticks and frames in particular patterns.Red and white striped ponchos andshawls in the exhibition.Background:When Dr. Patricia Greenfield went toZinacantán to study the transmission ofthe weaving tradition among womenand girls, she also conducted anexperiment to understand how childrenpicture in their minds the clothing thatthey see in their community.represented their idea of the clothing.The first part of the experiment involvedcomparisons among red and whitestriped ponchos and shawls. The secondpart showed how the children wouldcomplete striped patterns that werenovel in their culture. The third partallowed the children to make somethingthey considered beautiful.This activity will recreate parts one, twoand three of the experiment. Results ofthe study with Zinacantec children areincluded for comparison with today’sactivity results.What to do:1. Set up groups of two frames, eachwith a pile of different colored sticksof various widths, near or between theexhibits with the red and white stripedponcho and shawls.2. Direct the visitor to the exhibit and instruct them to closely study the stripedpatterns of the poncho and shawls.Using colored sticks and frames, thechildren made striped patterns that4
Maxwell Museum of AnthropologyPart 1: Activities using Resource Materials3. Then, using the frames, direct the visitor to recreate the striped pattern of theponcho in one frame and the stripedpattern of the shawl in the other framewith the sticks provided. The visitor isfree to use whatever color and size ofstick of their choosing.4. When complete, have visitors compare their representations with eachother and with the patterns completedby Zinacantec children shown in pictures 5.9, 5.10, 5.11, 5.12, 5.15, 5.16 and5.17.8. For part three, direct the visitor to anempty frame and ask the visitor to makesomething beautiful using any sticksprovided. Compare the visitor’s resultwith other visitor’s results and the resultsin pictures 5.18, 5.20, 5.22 and 5.23.9. Have visitors discuss their interpretations with others doing the activitythroughout the experiment.5. For part two of the experiment, set upthe frames with the patterns shown infigure 5.4, one pattern per frame. Directthe visitor to continue the pattern.6. Next, set up a frame with the stickpattern shown at the top of picture 5.6.Direct the visitor to continue the pattern.7. Now, compare how the visitor continued the patterns in step 5 with how thevisitor continued the pattern in step6. Did they use the same method of continuing? Compare the visitor’s resultswith those of the children in Zinacantánshown on the bottom of picture 5.6. Didthe visitor repeat the pattern, make amirror image or “grow” the pattern?5Photographs by Lauren Greenfield/VII from the bookWeaving Generations Together.
Maxwell Museum of AnthropologyWeaving Generations Together: Educators GuideActivity 4: Learning About DesignsObjectivesVisitors will:- Weave paper mats with specificdesigns.- Weave paper mat puzzles.MaterialsLaminated matsLaminated stripsPoncho, huipil and map wovenpuzzlePictures of poncho, huipil and mapcomplete the weaving which willthen generate a complete picture ofthe poncho, huipil or map. When theexercise is complete, visitors are free tocreate designs to their liking.What to do:1. Give the visitor the mat with the starsand strips with stars on one side andblue circles (moons) on the other. Havevisitors make observations about wherethe designs are placed on the mat andstrips.2. Direct the visitor to weave the mat sothe result shows all stars, like shown inthis photo.Background:Visitors will be given laminated papermats and strips with motifs on themto weave mats with specific designs.They will need to plan how theyweave the strips in order to achievethe desired results. The strips can bewoven starting either over or under thefirst slat, which will change the designoutcome. The strips also have designson each side, which will also vary thedesign results. For more of a challenge,the visitor can be given a mat with apartial image of a poncho, huipil, ormap. Arranging the strips in the correctorientation is required in order to3. Remove all the strips and again directthe visitor to weave the mat so the resultshows alternating stars and moons, likeshown in this photo.6
Maxwell Museum of AnthropologyPart 1: Activities using Resource Materials4. Remove all the strips and again directthe visitor to weave the mat so there areno designs on the mat, like shown in thisphoto.8. Using the appropriate strips, have the visitorcomplete the woven image. They will need tomake careful observations of the images on themat and strips and predictions of images thatwill result when the strips are woven into themat.9. When all exercises are complete, the visitorscan weave mats with any motifs they desire.5. What other design outcomes can bemade? (Stars alternating only on the mat,stars alternating only on the strips.)6. Try the same exercises with the matsand strips with other designs on them aswell.7. For a challenging exercise, provide amat with a partial poncho, huipil, or mapimage printed on it.7
Maxwell Museum of AnthropologyWeaving Generations Together: Educators GuideDocent TourGeneral exhibition themes:This exhibition was put together by theMaxwell Museum of Anthropologyexhibit and curatorial staff using acollection from researcher and guestcurator Dr. Patricia Greenfield, based onher work in Chiapas, Mexico and herbook, Weaving Generations Together;Evolving Creativity in the Maya ofChiapas. Dr. Greenfield is a culturaldevelopmentalpsychologistandprofessor at UCLA. Her research onsocial change and human developmentin Chiapas has spanned more than 40years. Her first wave of field researchtook place in 1969 and 1970 in theZinacantecMayahamletofNabenchauk. She then returned after21 years to see how the economictransition from agriculture to commercehad transformed both the weavingtradition and the way in which weavingwas passed from one generation to thenext.Broad themes of the exhibition:1. Transmission of traditionalknowledge2.
Weaving Generations Together: Educators Guide 6. 4. Remove all the strips and again direct the visitor to weave the mat so there are no designs on the mat, like shown in this photo. 5. What other design outcomes can be made? (Stars alternating only on the mat,
realm of weaving.” The weaving curve for a k-factor of 1.0 essentially identified the limit of weaving length that resulted in weaving movements. Beyond these lengths, which depended upon weaving volume or flow rate, the section was believed to operate as a basic freeway section, with merging at one end and diverging at the other.
Dark Age Tablet Weaving for Viking and Anglo-Saxon re-enactors 1 Introduction Tablet weaving, also known as card weaving, is a method of using square tablets with holes in the corners to weave narrow decorative bands made of wool, linen or silk threads. Tablet weaving was widespread in E
Free Weaving Patterns from Eplore Techniques for nlay Plain Weave and uck Lace The Draft: How to Read Weaving Patterns P atterns for weaving are written in a form called a “draft.” The draft is a standardized short-hand way
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