ANDEAN TEXTILES IN HISTORICAL PERSPECTIVE

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One of the principal forms of expression “extirpated” were -logically enough- the Tocapu designs. Existing textiles with Tocapu designs were routinely destroyed and the future inclusion of these symbols in textiles was gradually forbidden in most cases. This resulted in a lamentable break in the continuity of weaving symbology. The use of provincial and regional designs also underwent a similar censorship but was far more difficult to enforce or control due to remoteness and geographical inaccessibility. That allowed for a survival of certain iconography but it was “second hand” (so to speak) Tocapu, mixed with older surviving symbols. There lay the seeds, however, of the revival of the native art and iconography, albeit still very distant . Meanwhile, within the principal centres, general textile expression was reduced to mere colour combinations.

The native dress, however, was not eliminated nor forbidden -another 200 years were to pass before another, more devastating “cultural extirpation” would attempt to enforce that. In fact, the use of native dress was actually made mandatory, through expressly forbidding native peoples to adopt Spanish dress. This, of course , was intended to ensure the separation of the races. Yet it was one of the factors which also ensured the survival of a principal cultural feature (that of dress) thus assuring the survival of the cultural identity of the Andean peoples. Another such extraordinary disposition (one with a built-in long-term “catch-22”clause) was the permission (extraordinary for its time) to officiate the Holy Mass and all associated Liturgies Confession, etc. “In the Native Languages” (Quechua, Aymara, Guarani, etc.) in order to further accelerate the conversion of the native peoples into the Christian religion.

If a people are “conquered” through sword and fire, their rulers killed, their temples destroyed and the ruins of these build upon; and yet the conquerors allow them to continue in their dress and their language -not only to speak among themselves but even to address their new gods and their new masters- are that conquered people then retaining some, if not all, of the basic ingredients of cultural identity which will allow their race and their culture to survive and -given the appropiate conditions- to flourish again ? ? (Even if the conquistadors did not intend it as such ? That is what happened.

Among other seemingly disparate -or perhaps “desperate”- measures implemented at that time were: the prohibition to ride or own horses by natives and the obligatory practice of the Catholic religion whilst simultaneously establishing separate Indian parishes. (All features familiar to us through 20th century fascism and apartheid). It should be stated, however, that the Spaniard never sought to actually eliminate or extirpate the native race itself, since it occupied an important part within the framework of colonial society: After all, it was the Indian who toiled the land -at least, the highlands (where African slaves certainly did not fare well-) and, as such, the survival of the Spaniard was dependent on the survival of the Indian. But only upon the Indian's survival, not its welfare or its cultural and intellectual existence.

At the same time that the cultural expressions and manifestations of the native races was being stunted and maimed, extremely strict forms of tribute were levied upon them. One of these was the mandatory production of cloth of various grades. This actually followed in the wake of a traditional Inca institution, which was the mass manufacturing and distribution of cloth by the Inca state as a means with which to provide the population of the empire with basic food and clothing. This, in turn, ensured the willingness of the bulk of the population to wage war and build palaces and temples for the Inca and the state Religion. A method wilfully described as “social imperialism” by some writers. The case of the mandatory cloth production imposed by the Spanish was differed from the original Inca pattern, in that the native weaver received nothing in exchange for his work, that work being regarded as tribute -as was working in the mines, for example- but, who tilled the fields meanwhile?

The ownership and management of the cloth workshops -known as “Obrajes”- was initially adjudicated to anyone with the initial capital. However, the Jesuit Order gradually amassed great wealth and influence and so came to assume control and administration of the native cottage industries. Under their hegemony, large communal Obrajes devoted to the production of textiles and dyestuffs were established. The creation of these colonial “sweatshops” and the subsequent centralisation and control of textile production, in combination with the strictures of Toledo concerning eradication of Inca-tainted cultural vestiges, constituted one dimension of an extensive cultural purge. One should bear in mind that .in the case of many of the native peoples- “Inca” did not equate with “Andean” or “personal” or “local”. In many cases, the native peoples saw the Inca as a conqueror, as foreign as the spaniards, Only much later in time did “Inca” gradually become synonimous with “Peruvian”.

Some regional or provincial motifs -Pallays- may have survived this purge; but it appears that native textiles of this period are generally devoid of Pallay and limited to the reproduction of combinations of bands and stripes of solid colours, with perhaps some decorative geometrical patterning but no symbolism as such. Nevertheless, this was a fertile and innovative period for native weaving, although the results would be reaped much later on, for many new elements were introduced by Europeans. These included: metallic yarns, silk, sheep’s wool and the European treadle loom (which allowed for increased quotas of production). New dyestuffs, such as Indigo, originally brought to Central America from Asia and from Guatemala to Peru, were introduced at this time.

Significantly, the “Poncho” (a garment that one traditionally associates with the Peruvian Andes, but apparently of araucanian, Chilean-Argentine, origin) began to make its appearance in the mid-seventeenth century. The Poncho -very plausibly- metamorphosed from the original Inca tunic -called “Unku”- into the garment we know today.

16th Century Colonial Painting of Inca and Ñusta

Peru After the Conquest Map 1574

“Sermon of the Cura” - Guaman Poma, 1600's

Unku - Predecessor of the Poncho