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Mola (art form)

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production of molas for the sole purpose of a sale to outsiders started to flourish after the second World War. Molas are very sturdy and well sewn. Authentic molas have already been washed many times and can be safely hand washed in warm water. Molas are often sold in pairs, the pair consisting of the back and front panels of a blouse. The two molas are usually two variations on a theme. Matched molas complement each other and should be kept together.
236: 181: 32: 172:, the Guna's native language, "mola" means "shirt" or "clothing". The mola originated with the tradition of Guna women painting their bodies with geometric designs, using available natural colors; at a certain point, after the arrival of the Spanish, these same designs were woven in cotton, and later still, sewn using cloth "acquired by trade from the ships that came to barter for coconuts during the 19th century". 257: 1007: 211:. It is not agreed when this technique was first used. It seems to have been popular in the second half of the nineteenth century. In 1924, Lady Brown refers to the dress of the medicine man/ Kantules as "dressed up the knees in long covered with cabalistic characters...all worked into, or let into, the cloth in a form of patchwork." 248:
on the best molas being close to invisible. Although some molas rely on embroidery to enhance the design, a good looking mola is always constructed using the reverse-appliqué method as the leading technique. A mola can take from two weeks to six months to make, depending on the complexity of the design.
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The largest pattern is typically cut from the top layer, and progressively smaller patterns from each subsequent layer, thus revealing the colors beneath in successive layers. This basic scheme can be varied by cutting through multiple layers at once, hence varying the sequence of colours; some molas
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Molas vary greatly in quality, and the pricing to buyers varies accordingly. A greater number of layers is generally a sign of higher quality; two-layer molas are common, but examples with four or more layers will demand a better price. The quality of stitching is also a factor, with the stitching
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The quality of a mola is determined by such factors as the number of layers, fineness of the stitching, evenness and width of cutouts, addition of details such as zigzag borders, lattice-work or embroidery, color combination, and, as Mari Lyn Salvador put it, "skillful manipulation of the technical
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The artistry of a mola reflects a synthesis of traditional Guna culture with the influences of the modern world. Mola art developed when Guna women had access to store bought yard goods. Mola designs are often inspired by modern graphics such as political posters, labels, pictures from books and TV
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Molas may have their origin in body painting. In 1514, Pasqual de Andagoya, arrived in Darian and wrote.. the women are very well dressed, in embroidered cotton mantles which extend down so as to cover their feet, but the arms and bosom are uncovered." They did not wear blouses even in 1688 until
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Since mola panels have been worn as part of the traditional blouse of a Guna woman, they often show signs of wear such as fading and stitch marks along the edges of the panels. These "imperfections" indicate that the mola is authentic and not made solely to be sold to tourists, albeit a strong
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Molas are hand-made using a reverse appliqué technique. Several layers (usually two to seven) of different-colored cloth (usually cotton) are sewn together; the design is then formed by cutting away parts of each layer. The edges of the layers are then turned under and sewn down. Often, the
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After the attempt of the Panamanian government to "westernize" the Guna, the Guna greatly objected to the control on their cultural dress, and ethnic identity, and showed great strength in their reaction to the bans implemented by the government, leading to the
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As an inspiration for their designs, the Guna first used the geometrical patterns which have been used for body painting before. In the past, they have also depicted realistic and abstract designs of flowers, sea animals and birds, and popular culture.
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There was a strong link between traditional dress and Guna culture and identity. Molas have such an importance for the Guna people and their traditional identity that they can be considered responsible for the independent status of the Comarca
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Geometric molas are the most traditional, having developed from ancient body painting designs. Many hours of careful sewing are required to create a fine mola. The ability to make an outstanding mola is a source of status among Guna women.
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Depending on the tradition of each island, Guna women begin the crafting of molas either after they reach puberty, or at a much younger age. Women who prefer to dress in western style are in the minority as well as in the communities in
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By 1907, the traditional costume of a Guna woman consists of a patterned blue cotton wrapped skirt, red and yellow headscarf, arm and leg beads, gold nose rings and earrings and the many layered and finely sewn mola panel blouse.
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stitches are nearly invisible. This is achieved by using a thread the same color as the layer being sewn, sewing blind stitches, and sewing tiny stitches. The finest molas have extremely fine stitching, made using tiny needles.
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process and the amount of work involved, together with the design considerations which include filled space, repetition with subtle variation, subtle asymmetry, visibility, complexity, and interesting subject matter".
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Several early influences can be attested: a small colony by Christopher Columbus in 1502, a Scottish colony established in the south of Darien, in 1698; the Calvinist or French
168:(olasu) and earrings in addition to the mola blouse (dulemor). Two groups, Choco and Cuna lived side by side without intermarriage and without adopting a similar culture. In 319:
In 1925 for three years following the revolution, women were required to once again adopt traditional dress as a form of rebellion against the government. Women on
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In 1919, the Panamanian government began a policy of forced assimilation banning mola's dress and nose piercing in women. The government introduced these laws to
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and other more progressive islands were forced to wear mola, even if they had never worn this traditional dress, and their noses had to be pierced by force.
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did the Guna start to transfer their traditional geometric designs on fabric, first by painting directly on the fabric and later by using the technique of
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also incorporate patches of contrasting colours, included in the design at certain points to introduce additional variations of color.
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Molas from the San Blas Islands: a loan exhibition from the F. Louis Hoover Collection of Cuna Art, December 19, 1968-January 19, 1969
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This closeup of a mola by Venancio Restrepo shows the layering of the different colors of cloth, and the fine stitching involved.
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settled and married some Cuna women, even though they were killed in 1757. Ultimately a Spanish colony was established in 1790.
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Two groups, Choco a group who lives near the Isthmus known as Darien were the body painters.
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is a hand-made textile that forms part of the traditional women's clothing of the indigenous
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Secrets of the Cuna Earthmother: A Comparative Study of Ancient Religions Illustrated
724: 685: 670: 658: 602:(1997). "Looking Back: Contemporary Kuna Women's Arts". In Salvador, Mari Lyn (ed.). 599: 509: 486: 476: 447: 371: 654: 2592: 2562: 650: 185: 2745: 2567: 1743: 1698: 1625: 1273: 961: 941: 2359: 2296: 1683: 1268: 1215: 1210: 1151: 1069: 951: 946: 788:(2003). "Kuna Women's Arts: Molas, Meanings and Markets". In Barta, Eli (ed.). 297: 260:
This traditional mola represents the olasu, a nose ring worn by the Guna women.
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The Art of Cutwork and Applique: From Historic, Modern and Kuna Indian Designs
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Howe, James (1997). "The Kuna Portray Their Own Revolutionary History". In
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cartoons, as well as traditional themes from Guna legends and culture.
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A Guna woman displays a selection of molas for sale at her home in the
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Crafting Gender: Women and Folk art in Latin America and the Caribbean
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The Art of Being Kuna: Layers of Meaning Among the Kuna of Panama
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The Art of Being Kuna: Layers of Meaning Among the Kuna of Panama
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University of Connecticut - The William Benton Museum of Art
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Cuna Indian Art: The Culture and Craft of Panama's San Blas
1006: 391:"The Molas of San Blas Islands: A Historical Perspective" 833: 873: 853: 539:: Parque Explora for Museo del Oro Colombia (YouTube) 528: 696:- Fowler Museum of Cultural History. pp. 146–9. 625:. Austin: University of Texas Press. pp. 63–4. 575:"Guna Yala: The islands where women make the rules" 370:. Center for Inter-American Relations Art Gallery. 56:. Unsourced material may be challenged and removed. 414: 610:- Fowler Museum of Cultural History. p. 177. 557: 2758: 572: 923: 836:"Fashioning Identity: Mola Textiles of Panamá" 768:Magnificent Molas: The Art of the Kuna Indians 469:Magnificent molas: the art of the Kuna Indians 196:they had been introduced by the missionaries. 1775: 1312: 909: 834:Andrea Vazquez de Arthur (22 November 2020). 558:Angermuller, Linnea; Chaves, Enrique (1972). 1034:List of North American pieced quilt patterns 641:Marks, Diana (1 May 2014). "The Kuna Mola". 346: 623:Kuna Crafts, Gender, and the Global Economy 388: 175: 1782: 1768: 1319: 1305: 916: 902: 746: 342: 340: 338: 336: 116:Learn how and when to remove this message 1279:San Jose Museum of Quilts & Textiles 1254:Museum of the American Quilter's Society 784: 718: 598: 255: 251: 234: 179: 129: 333: 2767:Indigenous textile art of the Americas 2759: 1284:Conservation and Restoration of Quilts 765: 737: 466: 441: 365: 1789: 1763: 1300: 897: 792:. Durham, NC: Duke University Press. 721:Molakana: Volkskunst der Cuna, Panama 640: 636: 634: 632: 535:(in Spanish - subtitles in English). 1908:Colombia–Peru War (Leticia Incident) 683: 620: 503: 54:adding citations to reliable sources 25: 1326: 751:. New York City: Barre Publishing. 749:Molas: Folk Art of the Cuna Indians 723:. Berlin: Museum fĂĽr Voelkerkunde. 573:Egle Gerulaityte (14 August 2018). 291: 13: 1005: 742:. New York City: Exposition Press. 712:Mola Art From the San Blas Islands 704: 629: 471:. Translated by Dusinberre, Deke. 14: 2798: 807: 300:Guna society and assert control. 1851:Military career of SimĂłn BolĂ­var 1249:International Quilt Study Center 747:Parker, Ann; Neal, Avon (1977). 347:Emma Capponi (16 October 2020). 30: 2605:Freedom of religion in Colombia 1930:Current internal armed conflict 1846:United Provinces of New Granada 714:. K.S. Kapp Publications. 1972. 677: 655:10.1179/0361211214Z.00000000021 614: 592: 566: 560:About Molas / Hablando De Molas 226: 41:needs additional citations for 1381:Reunification of Gran Colombia 874:Renate Wetter; Marion Wetter. 854:Renate Wetter; Marion Wetter. 551: 522: 497: 460: 435: 408: 382: 359: 349:"Textiles of the World: Molas" 1: 326: 7: 2702:Colombia in popular culture 2475:Water supply and sanitation 1893:Colombian Civil War of 1895 1656:Water supply and sanitation 1123:Underground Railroad quilts 924:Layered textiles and quilts 562:. Florida State University. 529:Gloria Esperanza MartĂ­nez. 201:colonization by the Spanish 10: 2803: 1836:Viceroyalty of New Granada 719:Hartmann, GĂĽnther (1980). 475:: Flammarion. p. 25. 18: 2718: 2697:Right-wing paramilitarism 2623: 2488: 2423: 2419: 2410: 2318: 2309: 2277: 2187: 2149: 2140: 2091: 2044: 1956: 1952: 1943: 1883:United States of Colombia 1801: 1721: 1664: 1621: 1612: 1557: 1548: 1459: 1450: 1398: 1389: 1338: 1234: 1168: 1159:International Honor Quilt 1131: 1098: 1057: 1016: 1003: 929: 815:"Mola Textiles of Panama" 738:Keeler, Clyde E. (1960). 442:Keeler, Clyde E. (1969). 366:Hoover, F. Louis (1969). 2782:Circum-Caribbean culture 1464:Administrative divisions 1376:Separation from Colombia 1244:Great Lakes Quilt Center 415:Oswaldo DeLeĂłn Kantule. 176:Development of the style 1935:Colombian peace process 1878:Granadine Confederation 1873:Republic of New Granada 840:Cleveland Museum of Art 766:Perrin, Michel (1999). 621:Tice, Karin E. (1995). 467:Perrin, Michel (2000). 137:woman selling Molas in 2787:Kuna words and phrases 2373:Science and technology 2128:Indigenous territories 1831:Kingdom of New Granada 1024:English paper piecing‎ 1010: 261: 240: 189: 141: 16:Guna hand-made textile 1264:Quilters Hall of Fame 1009: 770:. Paris: Flammarion. 259: 252:Molas in Guna Culture 238: 183: 133: 2528:World Heritage Sites 2498:Archaeological sites 2232:Council of Ministers 2036:World Heritage Sites 2026:Environmental issues 2003:Valleys and Plateaus 1903:Separation of Panama 1888:Republic of Colombia 1856:Wars of independence 1821:Muisca Confederation 1132:Notable modern works 876:"How to make a Mola" 504:Puls, Herta (1978). 446:. 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Kuna
Panama City
Guna people
Panamá
Colombia
nose ring
Dulegaya

San Blas Islands
colonization by the Spanish
missionaries
reverse appliqué
Panama City


Huguenots
Westernize

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