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Gan He village is set against mountainous scenery with very well kep fields and near terraces using almost all available land. We stopped just before the village. People were arrving from a wide area and gathered around to welcome us. There were men with lusheng pipes and with very long (and loud) horns. A group of young girls danced to welcome us and led us into the open square for a performance of music and dancing.
The girls' skirts were long, pleated made of a patchwork of pieces of embroidery, appliqué, different weaves and wax resist and applied onto a dark indigo background with a length of pleated wax resist fabric at the back. It seems that such skirts had previously only been made to be worn at funerals but had relatively recently started to be worn by the girls at important festivals - weddings or funerals - or as dance costumes. The women normally wear trousers not skirts and the costume looks at first sight as if it is purely Bouyei.
We were given demonstrations of winding thread onto bobbins for weaving, making narrow braid on a braid loom, weaving a complex pattern on a back-strap loom and weaving plaid indigo cloth on an upright heddle loom. We saw three women straightening out cotton thread ready to thread up a loom. Women were working at wax resist on a cloth that looked like an unwashed and unbleached cotton which the women told us they washed before waxing and dyeing. As the wax was quite thick it did not fully penetrate the fabric. They were using different wax mixes: one was using a mixture of bees wax and buffalo fat and another a mixture of bees wax, buffalo fat and the resin from the 'god tree' - a maple or 'umber' tree. The mixtures were heated up and the resulting liquid was very dark. We were later taken along a path around the edge of some fields near the village to see one of the 'god trees'.
all text & images © Pamela A Cross
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Copyright © 2012 Pamela A Cross. The contents of this site, including all images and text, are for personal, educational, non-commercial use only and may not be reproduced in any form without the express permission of Pamela A Cross. |
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