THE CRAFT COLLECTOR'S STORE
243418 1/2 X 14 "INCHES243617 X 14"243816 X 14"244017 X12"244216 1/2 X 13"SOLD244616 X 12"244816 1/2 X 12"245016 1/2" X 12"245214 1/2 X 12-1/2"245417 X 13"245616 X 13"245816" X 13"SOLD246216 X 14"246417" X 12"246617 x 13"246817 x 12"AUTHENTIC VINTAGE ETHNOGRAPHYHANDMADE HAND STICHED APPLIQUEMOLA PIECE .Washable by hand and cold water.Beautiful handmade with the art of molas,Richly decorated by intricated needlework,Traditional of the Kuna People.This can be used in many ways.Exquisite Ethnic handmade pieces of art.This piece is in great condition.No tears or holes.This Mola is Vintage and shows some signs of wear.Click for a larger image ,and see this mola up close.Alll molas are sold Used whether they are or not.AWESOME COLORS.FOLK ART PANAMASAN BLAS ISLAND17" X 14 INCHS approx.2436PLEASE CHECK MY OTHER LISTING.
TE ART OF THE KUNA INDIANS:
Beautiful famous Molas by Kuna Indians: Are ethnographic Art coming from the rain forest along the Colombian-Panameniam border, by Kunas Natives. Mola is the Kuna Indian word for blouse, but the term Molas has come to mean the elaborated embroidered panels that make the front and back of a Kuna Woman!s blouse.The art has been transmitted from grandmother mola maker to young daughters for centuries, putting in their work a definitive form of individual expression. Mola panels have become much sought after and collected examples of textile art. The artistry of a mola reflects a synthesis of traditional Kuna culture.Kuna women have made their bright-colored and strikingly unique blouse panels for more than a hundred years. Made by hand with thousands of tiny stitches close together with several pieces of layers spending several days to make only one panel.The process is very meticulous one of the artisans begins by stacking several squares of differently colored fabric on top of each other.She cuts a pattern into the stacks, revealing just one of the underlayers. Each piece takes between one or three weeks to complete. The drawing represents the events of daily life: usually, they portrait animals, family life, or cultural designs that are as old as the kunas themselves: seashells, fishes, boats, fishermen, turtles, and a great variety of birds that are part of their surroundings the paradise as they call these Islands. The theme of Mola is determined by the imagination of the artist.Objects observed in the course of their everyday routine or images etched in their mind from tales of prehistoric times.The native women use the Mola as part of their traditional clothes. We realize the beauty of their work, using the Molas for purses, carpets to hanging, bags, stuffed animals, Christmas decorations, pillows, decorative items to frame, appliqued on quilts, or even, modern-day clothing with the color expression of this art. Molas are prized by folk art collectors and can be viewed at some of the finest museums of the world like the Smithsonian in Washington D.C. Any attempt to describe Molas using words is bound to come short. One thing is certain, once you have seen them you will never forget them ... These items are suggested for private ethnic collections and galleries or ethnic groups museums.Start your collection today. Never is late.THE CRAFT COLLECTOR'S STORE
THE RAIN FOREST MOLA GALLERY
1-BEAUTIFUL MOLA HAND STICHED SEWN CLOTH PANAMA KUNA INDIAN ART VINTAGE
2-KUNA TRIBE HAND STICHED INDIAN CARFTS OF PANAMA
3-AUTHENTIC VINTAGE ETHNOGRAPHY HANDMADE HAND STICH APPLIQUE MOLA TAPESTRY PIEDE FOLK ART.
4-THIS MOLA IS VINTAGE AND SHOWS SOME SIGNS OF WEAR.
5-VINTAGE KUNA BIRD MOLA APPLIQUE TEXRTILE ART PANAMA PRE-OWNED
6-KUNA GEOMETRIC MOLA REVERSE TEXTILE 12 X12 HAND STICHED FOLKABSTRACT ART FOLK USED.
7-CONDITION: USED
8-NEW MOLA BIRD PANAMA STICH ART HANDMADE HAND SEW
9-HAND STICHED MOLA KUNA PANAMNA FOLK ART WALL DECOR 11 COLORS
10-KUNA INDIAN HAND MADE SEWN....ART PANAMA.
11-KUNA INDIAN SAN BLAS ... MOLA PANAMA HAND SEWN MOLA
12 ETHONOGRAPHIC VINTAGE KUNA MOLA GEOMETRIC APPLIQUE TEXTILE NATIVE
13AUTHENTIC VINTAGE KUNA NATIVE MOLA FROM SAN BLAS PANAMA 12 X12
14-PANAMA KUNA INDIAN ART, BEAUTIFUL MOLA HAND-SEWN UNIQUE VINTAGE.
15-COLLECTIBLE CULTURE ETHINIC LATIN AMERICA PANAMA
Kuna * Otras denominaciones de la lengua cuna, tule Denominaciones del pueblo tule, kuna, yule, bayano a mayor parte del pueblo tule se encuentra ubicado en Panamá, en las comarcas Kuna Yala, Madungandí, Wargantí y Wala. En Colombia se encuentra actualmente en el resguardo Caimán Nuevo, en el departamento de Antioquia, y en el resguardo Arquía, en el departamento del Chocó, bordeando el golfo de Urabá, al noreste del país. Anteriormente poblaban otras zonas, que abandonaron a causa de la presión durante las épocas de colonización durante el siglo XX, y de la presencia de grupos armados en sus territorios ancestrales.
En Panamá se pueden encontrar alrededor de 60.000 personas pertenecientes a este pueblo, mientras que en Colombia se encuentran 1.719, distribuidas así: 512 en el municipio de Nuguía, en el Chocó, y 1.204 en los municipios de Necoclí y Turbo, en Antioquia. La lengua kuna, que pertenece a la familia lingüística chibcha, cuenta con variedades dialectales que corresponden a la distribución geográfica del pueblo en las zonas mencionadas, en Colombia y Panamá. El pueblo tule está conformado en su mayoría por personas jóvenes, pues el 73,3% de su total lo constituyen menores de 24 años; el resto se distribuye en generaciones mayores, en las cuales el 3.3% hace parte de la población mayor de 60 años.
Este pueblo, de manera excepcional, ha logrado mantener sus valores culturales propios vigentes, entre estos, por supuesto, la lengua, que posee índices de vitalidad altos, aunque presenta leves diferencias si se comparan los departamentos que habita, pues en Antioquia el 93.9% es hablante de la lengua, mientras que en el Chocó lo es el 82.1%. Aunque en este porcentaje no se está teniendo en cuenta la población menor de 5 años, esto nos indica que el kuna es una lengua viva hablada por todas las generaciones. El 56,4% de los integrantes de este pueblo no tiene ninguna formación escolar, y el 23,7% no ha terminado la primaria. Esto se debe, en gran parte, a que ese proceso de formación se ha iniciado recientemente –alrededor de dieciséis años–, por lo cual los porcentajes más elevados de población escolarizada o en proceso de escolarización son los que corresponden a menores de 29 años. Aun así, sin importar el nivel educativo alcanzado, los tule siguen hablando su lengua. Un elemento adicional es que las personas con más formación escolar adquieren mejores competencias para hablar español, como se ha dicho, sin que esto afecte el uso de su lengua nativa. Del total de la población, solo el 19% habla castellano; en cambio, cerca del 42,4% no lo entiende ni lo habla. A este porcentaje se le puede sumar la población que lo entiende, pero que no lo habla o lo hace con dificultad. Esto muestra un panorama en el que un bajo número de indígenas tule no posee conocimientos, o los posee muy limitados. Las personas que más formación escolar han tenido, que están entre 15 y 29 años, son las que mejor conocen la lengua mayoritaria, aunque en esa situación -también se hallan individuos de esa misma edad, que no hablan ni entienden el castellano, y que, como es de suponer, no han tenido acceso a la educación escolarizada. Esto nos indica que la escuela es un lugar importante de aprendizaje del castellano. Un porcentaje cercano al 36% posee capacidad para leer y escribir en la lengua indígena, y es, de nuevo, la población más escolarizada la que ha adquirido estas destrezas en kuna, lo que muestra que esta lengua es enseñada en los espacios escolares, y que las personas con formación escolar adquieren conocimientos de lecto-escritura en kuna durante su proceso de formación escolar. Asimismo, el porcentaje de personas que sabe leer y escribir en castellano es cercano al 54%, lo que se explica si se tiene en cuenta el bajo nivel educativo de la población en general. Con respecto al conocimiento que del castellano y del kuna tiene el pueblo tule, se puede ver que un porcentaje cercano al 37% solo habla kuna, es decir, no tiene ningún conocimiento del castellano; por el contrario, el 1% de la población del pueblo kuna es hablante solo de castellano, sin ninguna competencia para hablar ni entender el kuna. Asimismo, del total de la población, el 20% puede usar bien tanto el castellano como el kuna, esto es, posee conocimientos equilibrados en ambas lenguas. El resto habla muy bien kuna, y puede entender castellano o hablarlo muy poco. Lo que se evidencia es que hay una clara predominancia hacia el kuna, y que quienes pueden hacer uso del español lo hacen sin que la lengua indígena se vea afectada. Aunque la situación de la lengua kuna es alentadora, no se puede dejar de lado el hecho de que es en las generaciones de los hijos y nietos donde se encuentra ese pequeño número de personas que solo habla castellano sin tener ningún conocimiento del kuna, y que en Antioquia la cantidad de niños y jóvenes que no saben hablar kuna es menor que en el Chocó. Esta relación se torna relevante, pues, aunque el número de personas jóvenes que no habla la lengua no es significativo, puede ser el inicio para que la misma empiece a perder hablantes, por lo que se debe estar alerta ante esta situación. La mayoría de personas adultas manifestó que había aprendido el kuna en su hogar, y el castellano al tener acceso a la escuela primaria. Con relación a jóvenes y niños, también la mayoría aprendió primero el kuna en su hogar y luego el castellano. De igual manera, muy pocas personas manifiestan haber aprendido al mismo tiempo el kuna y el castellano. Esto nos muestra que el hogar es un espacio importante para la transmisión de la lengua tradicional del pueblo tule, y la escuela un espacio importante para el aprendizaje de la lengua mayoritaria. Es claro entonces que la población tule que maneja ambas lenguas aumenta en la medida que avanza la formación escolar. La importancia de la lengua indígena en el hogar está soportada por el uso en las interacciones que se dan entre los distintos miembros de la familia y la comunidad. En las familias se emplea de modo cotidiano el kuna, aunque unas pocas personas afirmaron que utilizaban ambas lenguas en el hogar. Asimismo, la lengua preferida en interacciones con líderes, autoridades tradicionales, promotores de salud y maestros, es decir, cotidianamente, sin importar las características del interlocutor, es siempre la ancestral del pueblo tule. Los pocos espacios en los que no se emplea el kuna son aquellos que no hacen parte de la cultura de los tule, como ceremonias religiosas y fiestas no tradicionales. Aunque no hay una mala actitud de los tule hacia su lengua, se puede ver que existen serias divisiones con respecto al uso y la enseñanza de la misma en la escuela, pues cerca del 50% considera que allí debe enseñarse tanto el kuna como el castellano; las demás opiniones se dividen entre los que consideran que el kuna debe ser enseñado en primera instancia, y una pequeña proporción que afirma que primero debe ser enseñado el castellano porque garantiza un mejor futuro para sus hijos. Sin embargo, sigue siendo el kuna la lengua de preferencia de los tule, incluso en el contexto escolar. Así, aunque el kuna se usa en la mayoría de las actividades y espacios del pueblo tule, con respecto a los medios de comunicación es poca la presencia que ha hecho la lengua. La mayoría de los indígenas tule afirma solo poder escuchar programas radiales en castellano, a pesar de que le gustaría que existieran en la lengua indígena. Los miembros del pueblo tule reconocen que su lengua cuenta con gran vitalidad, pero también consideran que hay aspectos en los que se debe tratar de fortalecer. Uno de ellos es la identificación de palabras que provienen del castellano, que se están introduciendo en el kuna, para poder buscar equivalentes en este último o crearlas, de ser necesario, sobre todo, para nombrar aquellos elementos que, igualmente, son ajenos a la cultura, como los correspondientes a nuevas tecnologías o productos alimenticios que llegan de otras zonas. También consideran importante que se creen materiales en la lengua, y que se capaciten maestros para que se pueda alfabetizar en la lengua nativa, por supuesto, abordando las áreas de conocimiento, pero teniendo en cuenta el pensamiento y la cultura indígena. Dado el gran número de hablantes con los que cuenta en todas las generaciones, puede decirse que la lengua de los tule no se encuentra en peligro, pero debe tenerse presente que hay una fracción pequeña de población infantil que no la conoce, lo que puede ponerla en posición de vulnerabilidad si no se inician procesos de fortalecimiento en los puntos mencionados, y que los miembros de la comunidad han reconocido como debilidades
PLEASE CONFIRM STOCK OF THE REFERENCES AND PRICE PER UNITLos Kuna, Cuna o Guna.son un pueblo amerindio localizado en Panamá y Colombia. Su idioma hace parte de la familia lingüísticachibcha. En lengua kuna, se autodenominan como dule (Se pronuncia Tule) que significa "persona". (Por ejemplo, andule 'yo,' we dule 'esa persona.')(Según las convenciones lingüísticas de este pueblo indígena su nombre se debe escribir Gunadule en la grafía aprobada en 2010 por el Congreso General de la Nación Gunadule, aunque su pronunciación se mantiene como ha sido tradicionalmente: suena Kuna Tule según la fonética de la lengua española.1 )Su civilización ha salido en los medios masivos en 2014 al ser uno de los primeros pueblos que podrían ver afectada da manera drástica su vida milenaria por el cambio climático.From Wikipedia, the free encyclopediaThe mola forms part of the traditional outfit of a Kuna woman, two mola panels being incorporated as front and back panels in a blouse. The full costume traditionally includes a patterned wrapped skirt (saburet), a red and yellow headscarf (musue), arm and leg beads (wini), a gold nose ring (olasu) and earrings in addition to the mola blouse (dulemor).[1]In Dulegaya, the Kuna's native language, "mola" means "shirt" or "clothing". The mola originated with the tradition of Kuna women painting their bodies with geometrical designs, using available natural colours; in later years these same designs were woven in cotton, and later still, sewn using cloth bought from the European settlers of Panamá.Development of the style
Molas have their origin in body painting. Only after colonization by the Spanish and contact with missionaries did the Kuna start to transfer their traditional geometric designs on fabric, first by painting directly on the fabric and later by using the technique of reverse application. It is not known for certain when this technique was first used. It is assumed that the oldest molas are between 150 and 170 years old.As an inspiration for their designs, the Kuna first used the geometrical patterns which have been used for body painting before. In the past 50 years, they also started to depict realistic and abstract designs of flowers, sea animals and birds.Depending on the tradition of each island, Kuna women begin with the crafting of molas either after they reach puberty, some even at a much younger age. Women who prefer to dress in western style are in the minority as well as in the communities in Panama City.Molas have such an importance for the Kuna and their traditional identity that they can be made responsible for the independent status of the Comarca San Blas. After the attempt of the Panamanian government to "westernize" the Kuna in the beginning of the 20th century by forbidding their customs, their language and their traditional dress, a huge wave of resistance arose. This resistance movement culminated in the Kuna revolution of 1925 where, after heavy battles, the Panamanian government had to make the concession of giving the Guna people the right to govern their own territory autonomously.Construction
Molas are handmade using a reverse applique 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 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.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 colors; some molas also incorporate patches of contrasting colours, included in the design at certain points to introduce additional variations of color.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 on the best molas being close to invisible. Although some molas rely on embroidery to some degree to enhance the design, those which are made using only the pure reverse-applique technique (or nearly so) are considered better.Molas will often be found for sale with signs of use, such as stitch marks around the edges; such imperfections indicate that the mola was made for use, and not simply for sale to tourists.[1] A mola can take from two weeks to six months to make, depending on the complexity of the design.Molas in Kuna Culture
The traditional costume of a Kuna 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.The artistry of a mola reflects a synthesis of traditional Kuna culture with the influences of the modern world. Mola art developed when Kuna 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 cartoons, as well as traditional themes from Kuna legends and culture.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 Kuna women.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
- general artistic merit of the design and color combination.
When Kuna women tire of a particular blouse, they disassemble it and sell the molas to collectors.Since mola panels have been worn as part of the traditional dress of a Kuna 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.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 displayed or used together for the greatest impact.Mola panels have many uses. They can be framed as art or made into pillows, place mats or wall hangings. Some people even make them into bedspreads or incorporate them into quilting projects.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 may be purchased in Panama or in Colombia.The mola blouse is an important symbol of Kuna culture.ONLINE STORE
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