Programs

Serape/Sarape Weaving Project

You say serape, Yo digo sarape
CMACA hosts annual weaving demonstration at area schools
By Julie Chapa
Like a shaky dinosaur, the large wooden loom stood in the corner of the hallway of Sanchez Elementary as a group of second and fifth graders filed into the common area. The children’s curiosity was palpable. What was this relic? And, how was it related to the beautiful serapes draped over the tables and chairs?
    For the fifth year in a row, the Center for Mexican American Cultural Arts (CMACA), Inc., hosted the Serape/Sarape Weaving Project as part of Hispanic Heritage Month. Historian Reynaldo Rodriguez Cortes and weaver Herminia Maria Velazquez Trejo traveled from Saltillo, Mexico, to Austin to share the serape tradition and conduct weaving demonstrations at Sanchez and Zavala Elementary schools.
    Although not much is known about the beginnings of the serape, it is widely accepted that its design was a fusion of indigenous and Spanish elements. The rectangular woven fabric served multifunctional purposes for those living in Mexico and the Southwest during the nineteenth century. Its primary uses were as outerwear and blankets.
Coahuila-born Rodriguez, whose father was born in San Antonio, felt a connection with many of the students, many of whom were either born in Mexico themselves or were first-generation Mexican-Americans. As part of the presentation, Rodriguez narrated a slide show of Saltillo and introduced the children to the serape. “It’s important that we know our history—what we did, what we made, what we ate,” explained Rodriguez. “That’s part of our culture.
“Imagine Saltillo in the 1800s,” said Rodriguez, as a smile spread across his face. “I picture everyone wearing the bright colors of the serape, not the serious colors like we wear today. Today the serape is used mostly for adornment, but we still have people who are dedicated to this art and are passing on the tradition of the serape by teaching others.”
As Rodriguez and Valerie Menard, from CMACA, held up a huge serape, several children rushed up to touch the colorful swath. “Cuantos niños quedan abajo del sarape (How many children fit underneath the serape),” Rodriguez playfully asked.
Weaver Velasquez explained that serapes from Saltillo have a distinct look. “You can tell when a serape was made in Saltillo by many distinguishable details,” she said in Spanish. “For example, serapes created in Saltillo have the colors of the Mexican flag—green, white and red—striped on either end. In the center of the serape is a serrated diamond pattern and the background colors blend together in vertical patterns. You can include a type of flower on either end of the serape, or you can weave words into your pattern.”
After the presentation, the children were given the opportunity to try out the large loom as well as smaller handheld looms, with the assistance of weaver Velasquez. The children watched Velasquez demonstrate as she gingerly stepped on the loom and grabbed the yarn with each hand. As she began to peddle, her body weight created tension on the yarn, ensuring a tight-knit weave. As she stepped off of the pedals, the silence was interrupted by loud cries of “Me!” “My turn!” “I want to try!”
As Sanchez Principal Azucena Garcia looked on she said, “The children who have participated in this before look forward to it each year. Both the teachers and kids learn throughout the years about the culture and the history of both Saltillo and Texas.”
 Zavala Principal Rosa M. Peña agreed. “This project enhances the weaving learning the students have received through our art program as well as cultural knowledge that they are able to implement in different classroom settings. This experience is one that we would not be able to share with our students and are grateful that the CMACA includes Zavala Elementary.”
As the children got ready to head back to class, Menard gave each of them little serapes to help them share the experience with their parents and siblings. You can tell by the smiles on their faces that they can’t wait for next year’s presentation.
“I appreciate the effort it takes to do this hands-on presentation every year,” said Principal Garcia. “I think it’s great!”

Serape/Sarape Weaving Project 2005
The Center for Mexican American Cultural Arts (CMACA), Inc. presented their fourth annual Saltillo on Cinco cultural festival, May 6–7, 2005 at Zavala and Sanchez elementary schools. Promoting social and artistic links between Sister Cities Saltillo, Mexico and Austin, Texas, CMACA offers this pioneering sarape weaving demonstration by weaver Jannette Fuller Pamanes with a historical presentation by Reynaldo Rodríguez. It is our hope that this weaving demonstration will plant the seed for a sarape weaving guild.

The Serape: In a catalogue of Saltillo serapes from the classic period (eighteenth to midnineteenth century) critic James Jeter wrote that the artistic expression of the Saltillo serape is unique and incomparable to any other in that the manipulation of color and design creates a threedimensional effect. There are three components to the serape: the fringe, background, and the central pattern. This design is not found in any other textile product in the Western hemisphere, without having been influenced by the serape.

Not much is known about the history of the serape. It is accepted, however, that this article of clothing is not native to the territory of Mexico but is a product that combines both indigenous and Spanish elements. A few archeological findings in the north of Mexico offer some evidence of early textiles but the principal fountain of inspiration came from the south with the arrival of the Tlaxcaltecas. Not much is known about the textiles of the Tlaxcaltecas before the arrival of the Spanish but it is known that a weaving tradition existed using cotton and other plant-based threads and yarn. By the end of the sixteenth century, the wool industry, introduced by the Spanish, had blossomed. Its arrival north, accompanied by European weavers, could have been the origin of the serape, which incorporated designs from the natives of that region.

In the seventeenth century, the Saltillo market was known as the most important one in the north of Mexico. Due to Saltillo’s location and its distance from major ports and Mexico City, as well as the great number of middle men and taxes involved, the prices of the merchandise at the market were very high. Serapes were not the exception, in fact, they skyrocketed. Collectors, as well as vendors who would resell the serapes in other cities, paid a lot of money to own these serapes. At the end of the classic period for the Saltillo serape, and of the eighteenth century, comes the beginning of the battle for independence from Spain. After Mexico achieves independence, the serape becomes a national symbol for the country.

Reynaldo Rodríguez Cortés is the director of Urban Development for the state of Coahuila, Mexico and the city of Saltillo. He currently participates in the promotion and construction of the Museo del Carbón in Sabinas Coahuila and advocates for the construction of a Museo de la Angostura. He has written several articles regarding the Mexican-American War of 1846–1847. Rodríguez was born in Sabinas, Coahuila, Mexico, on November 17, 1945. His father was a Tejano who was born in San Antonio, Texas in 1914. For this reason, Rodríguez has always been interested in Texas history. He hopes that through education, any cultural barriers that divide the states of Coahuila and Texas will eventually disappear. Rodríguez has participated in the Saltillo on Cinco presentations to the children of Sanchez Elementary since 2002.