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November 25, 2009

Indigenous pride shows in textile work

By STEVEN HOWELL

ST. LAMBERT, QUE. — A colorful mola is sure to brighten your day.

The Museum of Costume and Textile of Quebec presents "Molas in Transition: Textile Art of Kuna Women," a colorful collection of more than 100 hand-stitched embroidered textiles.

Molas, handmade using a layered reverse-applique technique, are a tradition of the indigenous Kuna women of Panama. The mola textile is sewn directly onto the bodice of an equally colorful women's blouse. The design — almost always a one of a kind — is made to be seen from the back as well as the front perhaps with minor variations in color here and there.

"Molas show a real contrast between a handmade textile and an industrial one," said museum coordinator Catherine Laflamme.

There is no rhyme or reason to matching the pattern of the original blouse with the mola. A brightly-patterned busy floral blouse can play home to an even brighter and busier mola embroidery. Vibrant oranges, fuchsias and reds rule the palette.

"They're not afraid of color," Laflamme said.

Molas are worn only by women and are made for everyday wear, not special occasions. They are also made mostly by women. Young Kuna girls learn the mola-making tradition at a very early age. There are some four-dozen Kuna communities throughout Panama, Laflamme said. They mostly live on the San Blas Islands of the Kuna Yala archipelago.

TRANSITION
The exhibition offers an interesting documentary that explores the everyday life of the Kuna. The film was created this past June in Panama by co-curator, textile scholar, artist and filmmaker Kathryn Lipke Vigesaa, a Vermont resident who teaches at Montreal's Concordia University, and folklorist Dr. Skye Morrison.

"In the 21st century, the textile art of Kuna women is in transition between the esteemed aesthetics of tradition and the pressure to create contemporary topical products for the marketplace," said Lipke Vigesaa in a press release.

The exhibition indeed explores both traditional molas and ones made specifically for the tourism industry in themes that explore nature, abstracts, politics, pop culture and religion. Laflamme has a particular favorite mola that offers abstract flair.

"It reminds me of a Keith Haring painting," she said.

Designs that depict agricultural and fishing motifs, the main livelihood of the Kuna, are more traditional, she said. But indeed the Kuna have tapped into the tourist market by catering and marketing many molas to the whim and pocketbook of visitors. On display are a number of pieces aimed at capturing the tourist dollar with designs that depict Pikachu, Daisy Duck, a Ninja Turtle, Noah's Ark, even Elvis Presley. Taking the tourism sale one step further, the Kuna have also fashioned molas into the likes of handbags and eyeglass cases.

A STRUGGLE WON
In 1925, the Panamanian government sought to ban molas as a way to modernize the Kuna society. But the people revolted and won their struggle to be recognized. Today, the mola stands not only as an important source of income but as an enduring symbol of indigenous pride.

"Molas in Transition" continues through Jan. 17.

The Museum of Costume and Textile is at 349 Riverside St. in St. Lambert. Take Autoroute 15 North to Highway 132/20 East, exit 6. Hours are 10 a.m. to 5 p.m. Tuesday to Friday; 11 a.m. to 5 p.m. weekends. The museum is closed for the holidays Dec. 19 through Jan. 4. Admission costs $4 for adults, $3 for students and seniors, and $2 for children 6 to 12. Call (450) 923-6601 or visit www.mctq.org.

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