Backstrap loom for making a cotton sprang bag, mochilla - Specimen details
| Catalogue Number: 100417 | |||||
|---|---|---|---|---|---|
| No Image | Plant Name | 31.01 MALVACEAE Gossypium sp | Entry Book Number | 3.2018 | |
| Artefact Name | Backstrap loom for making a cotton sprang bag, mochilla | Vernacular Name | |||
| Iso Country | Colombia | TDWG Region | Colombia | ||
| Parts Held | Backstrap loom for making a cotton sprang bag, mochilla | Geography Description | Guane, department of Santander | ||
| Uses | Backstrap loom for making a cotton sprang bag, mochillaUse: User: | TDWG use | |||
| Storage | Bottles, boxes etc | Related Items | |||
| Donor | Mowat, Linda | Donor No | 1 | ||
| Donor Date | 23/05/2018 | Donor Notes | |||
| Collector | Mowat, Linda | Collector No | |||
| Collection Notes | Collection Date | ||||
| Exhibition | Expedition | ||||
| Number Components | Publication | ||||
| Notes: | The warp, of commercial cotton called pita, was made on a simple rectangular frame on legs, with two removable horizontal sticks across its width (slides 1-2). This is called a telar (loom in Spanish, though this is not a loom but a warping frame). The ya, rn is wound spirally around the two sticks until the desired number of warps is reached, then an extra one, called the non, is added before the yarn is tied off. x0Dx0Ax0Dx0ALeaving out the non, the first pair of lower warps is exchanged for the pair of upper war, ps above it, then exchanged again to make a twist. This is repeated across the width of the warp. A shed stick is put through to hold all the twists in place, and the warp, now with three sticks, is carefully removed from the frame. x0Dx0Ax0Dx0AThe craft is said, to take 10 years to learn, the weaver formerly used to weave with fique, but prefers commercially spun cottan pita (that she dyes wit synthetic dyes). Sometimes coloured synthetic yarn called terlenka is used. Bags are sold in a shop in Barichara and to, commissions.x0Dx0Ax0Dx0AThe two end sticks are now attached, one to the weaver's waist and the other to a chair in front of her, by slipping it through the chair legs. Holding the warp under tension with her body, she works on the first shed created by the stick, , which is kept in place but pushed towards the other end of the work. Twill sprang is produced as follows (slides 3-6):x0Dx0Ax0Dx0AR to L (non on the upper R)x0Dx0ABring up lower pair on the R and drop the non and the next thread to it on the L. Hold in place with y, our R hand. Repeat across the warp, gradually sliding in a new shed stick to hold the work as you go. At the end of the row, beat down with the new stick. Then push the first shed stick right to the other end of the warp, and push the second one up agains, t it, keeping them both in place.x0Dx0Ax0Dx0AL to R (non on the upper L)x0Dx0ABring up lower pair on the L and drop the non and the next thread to it on the R. Repeat across the warp, introducing a new shed stick as before. x0Dx0Ax0Dx0AKeep going until there are so many shed, sticks in place that you can no longer work comfortably. Then turn the work so that the sticks are at your end and the woven area at the other end. One by one, starting with the stick nearest to you, beat down and remove the stick. BUT LEAVE THE LAST STI, CK IN PLACE!!! x0Dx0Ax0Dx0ANow you can see that each row you worked at one end of the warp is reproduced at the other. This also applies to any mistakes you make in the weave. Dulcelina's attitude to mistakes (of which we made a huge amount) was 'Undo it all ands, tart again!'x0Dx0Ax0Dx0AThe bag is finished in the centre by inserting two rows of thick yarn in place of sticks. As the weaving becomes very tight at this stage, it is usual to shift from twill to plain weave for the last few rows. x0Dx0A | ||||