MAKANA
Textile ikat from the Andes of Ecuador
Draped by crossing rivers and rolling hills is a province in central Ecuador, rich in history and craftsmanship. Azuay province is a centre of fine crafts with long traditions dating back to pre-Columbian times. The area was home to the Cañari culture until it became part of Tahuantinsuyo, the territorial expansion of the Inca Empire. It was finally conquered by the Spanish until it gained its independence in 1820.
The highland villages surrounding Gualaceo canton are small production hubs in weaving, embroidery, ceramics and woodwork. Bullcay is a small community of artisan families practicing traditional weaving for generations. Makanas, also known as Paños are hand woven textile pieces characterised by the colourful Ikat technique originating from Bullcay and the neighbouring villages.
Ikat is a Malaysian-Indonesian term referring to a resist dyeing method, applied on yarns prior to weaving. The technique is used across the world varying in design, colour and complexity. In 2015, Ecuadorian Ikat – Makanas were officially recognised by UNESCO as intangible cultural world heritage.
Bullcay is home to Gladys Rodas, Maria Roncano and Yolanda Vera, three highly skilled weavers who hosted us during our visit. Gladys
Gladys Rodas is an artisan with UNESCO recognition in her early seventies, born and raised in the village. She has been weaving on back-strap looms from the age of ten, following the footsteps of her mother and grandmother. Gladys described how she developed her weaving skills by producing household items and clothing, such as belts, ponchos, ropes and sheets, using cotton and hand spun wool. In later years, she specialised in Ikat weaving, gradually becoming a master weaver.
Yolanda Vera is a fairly recent artisan in her early fifties born in Macas, a city on the outskirts of the Ecuadorean Amazon. For many years, Yolanda was an economic migrant who crossed the Mexican – US boarder in search for a new beginning. During her time in the United States she met her husband who was from the Azuay province. They eventually moved back to Ecuador and settled in Gualaceo. Yolanda started weaving out of necessity to support her family, learning the techniques from her mother in law. She explained how challenging it was to create mirroring patterns and described how her initial Makanas transformed into abstract paintings.
Maria Roncano is an exceptional weaver in her mid-forties born in Gualaceo. She started weaving at the age of seven to assist her mother. During her adult life, she abandoned weaving as a consequence of moving to the city of Cuenca, returning to the practice twelve years ago. Maria specialises in multi-coloured designs creating geometric forms with a unique sequence and a richness in depth. She is a weaver eager to learn new techniques, develop unusual ideas and challenge her design work.
Gladys, Yolanda and Maria, explained the complex process of resist warp dyeing demonstrating the various steps. The patterns, colour choice and sequence are decided and planned using imagination and mental mapping. The intricate designs will only be revealed at the final stage, coming to life during the weaving process. Yarns are wrapped around in sections using cabuya cactus fibre or plastic thread and dipped in different dyes according to the design.
For every colour the yarn needs to be dyed separately starting with the lightest shades. The complexity of the final piece can be identified by the number of colours combined. Traditionally, Makanas were made with natural pigments, a technique that has almost disappeared in the area. More commonly the cloth is dyed with chemical dyes using imported 2 ply mercerised cotton.
Every design differs in pattern and colour, expressing the creativity and vision of its maker. It is a labour-intensive technique that requires dedication and practice, representing collective knowledge transmitted from generation to generation.
Makanas are daily utilitarian cloths, elaborate creative expressions, communicative vessels and essential products of trading. They are sold locally and nationally with small quantities being exported for specialised collections. The appreciation and fair trading of products such as the Makanas supports the safeguarding of the technique, encouraging future generations to continue the craft.