Weaving pattern on loom, 2024. Textile and photograph by Ollin Ramirez
Backstrap loom weaving is a traditional textile art practiced in the Maya and Andean regions of Central and South America. This form of weaving predates the floor (or treadle) loom introduced by the Spanish during colonization. Weaving was, and continues to be, a social tradition practiced by women of all ages. Women are the weavers of the households, in charge of producing garments for personal and ceremonial use.
Belt, chumpi, Pre-Inca. Alpaca, 3 1/4 x 69 in. (8.3 x 175.3 cm). Fine Arts Museums of San Francisco, gift of Mr. Herbert Fleishhacker
In the Andes, the traditional costume is tied around the waist with a belt known as a “chumpi.”
Women rely on other women to learn to weave. Girls as young as five learn by playing on a toy loom and spinning yarn scraps. Rather than direct instruction, weavers learn through observation, imitating the posture, movements, and tool choices of their mothers, grandmothers, and friends.
What exactly is backstrap loom weaving?
Backstap weaving is an inexpensive and accessible technique for producing textiles. The equipment is simple: wooden sticks (acting as the loom) and the weaver’s body.
Backstrap loom, 2024. Textile and photograph by Ollin Ramirez
The loom
One end of the loom is a bar with a cord on the sides that allows it to be attached to a wall, or around a tree or post. The other end is a bar with a backstrap that goes around the weaver’s waist to create tension in the threads. Between these end bars are the shed rod, the heddle stick, and the batten. These arrange and rearrange the threads so the next thread can pass through. Some open up space, others interlock the threads, and some keep them together.
The body
The second element is the body. Weavers work on their knees, supporting the loom with their backs. Their movement controls the behavior of the threads. If the weaver leans forward, the threads go slack, allowing them to pass the threads and create a design. If they lean back, the tension reveals the desired pattern. This constant bending and balancing strains the body, as a regular weaving session can take anywhere from an hour to a whole afternoon. A garment can take months to complete.
The how
The basic materials are yarn, natural or artificial dye, and wood to carve and smooth the loom bars.
The first step is setting up the loom. A series of wooden sticks are laid out next to each other on a horizontal surface. These are the support beams. The yarn is tied to one stick and crossed over to the next one, passing back and forth and interlocking in the middle. This process is done several times until the weaver reaches their desired thread count. This process is called “warping” because it sets up the vertical (warp) threads on the backstrap loom. The warping is then transferred to the end bars and is ready to be secured with the wooden tools.
The weaving begins by passing horizontal threads called “weft” through the warp threads. Depending on the region and weaving style, some strands are picked up by hand to create the designs. The weaver separates the front and back threads to interlock the weft. Weavers can create front-facing or double-sided designs.
Woman’s shawl, 20th century. Wool; three-color complementary warp weave, 33 5/8 x 31 5/8 in. (85.4 x 80.3 cm). Fine Arts Museums of San Francisco, gift of Steve and Gail Berger
Weaving today
The time-consuming nature of backstrap weaving creates a challenge: balancing daily work and weaving for personal use. At the same time, the rise in the cost of living has made it difficult for women to justify spending months sourcing materials and weaving a piece that, while culturally significant, presents a cost for the household. As a result, weaving cooperatives have emerged. These community enterprises provide weavers with a platform to market their textiles at a fair price, both in person and in global online markets. Cooperatives also provide a space for socializing and education of the art. As the women weave together, they learn new techniques and patterns. The communal space fosters creativity and pushes the boundaries of what a textile can look like. The cooperatives also serve as centers for tourism, where visitors can learn about the process and the labor behind it.
Weaving pattern on loom, 2024. The five colors are representative of thunder, done using the brocade technique known as “pepenado.” Textile and photograph by Ollin Ramirez
The colorful textiles produced through backstrap weaving bind regions and generations together. Each piece carries the individuality of the weaver, reflecting their body, skill, and commitment to the survival of the art.
