Bolivia Tourism: ASUR Textiles Museum of Sucre
The ASUR Indigenous Art and Textiles Museum of Sucre, Bolivia is currently located at the top of a hill high above the city, half a block from the Recoleta Church plaza and the Mirador city overlook. The museum features hand-loomed weavings by women of the nearby town of Tarabuco and other textile artists who weave at the museum so tourists can actually watch as they make their beautiful creations.
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BOLIVIAN INDIGENOUS ART - Inca Pallay - Introducing The Organisation (english)
Inca Pallay is an Indigenous Arts Association located in Bolivia. We support more than 200 weavers living in communities around Sucre. Visit our shop in Calle Audencia No. 97, Sucre, Bolivia!
incapallay.org
2007 Bolivia Dia 102 Sucre, Museo Arte Indigena, Tissus Traditionnels, by HabariSalam
Les Tissus traditionnels boliviens au musée. Traditional Tissue.
BOLIVIAN INDIGENOUS ART - Inca Pallay - Manera de trabajar (español)
Backgrounds of the Inca Pallay Indigenous Art Association
2007 Bolivia, Tarabuco, Petit Musée du Tissu, près de Sucre, Museo Paño
A Tarabuco, musée du tissu traditionnel bolivien...En la actualidad el mercado de Tarabuco es uno de los más auténticos de Bolivia...
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Tarabuco, Traditional music and dance..MP4
Sunday market at Tarabuco near Sucre, Bolivia. We happened to be there while there was an annual cultural fair happening.
Top 10 Best Things To Do in Sucre, Bolivia
Sucre Travel Guide. MUST WATCH. Top 10 things you have to do in Sucre. We have sorted Tourist Attractions in Sucre for You. Discover Sucre as per the Traveler Resources given by our Travel Specialists. You will not miss any fun thing to do in Sucre.
This Video has covered top 10 Best Things to do in Sucre.
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List of Best Things to do in Sucre, Bolivia
House of Liberty Museum - Casa de la Libertad
Museo del Tesoro
Plaza 25 de Mayo
Church of San Felipe Neri (Oratorio de San Felipe de Neri)
Dinosaur Tracks (Cal Orck'o)
Museum of Indigenous Art ASUR
La Recoleta
Cretaceous Park
Simon Bolivar Park
General Cemetery
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1940s Bolivia Industry, Textiles, Weaving
From the Kinolibrary Archive Film collections. To order the clip clean and high res or to find out more visit Clip ref KLP54
1940s Bolivia Industry, Textiles, Weaving
Made in Bolivia - Designreportaje
Driven by the fact that contemporary art, culture and graphic design from Bolivia is not yet part of the international dialogue; I decided to devote the final project of my studies to the promotion of Bolivian contemporary art and design.
After an 8 weeks research stay in my home country, followed by 5 intense month of work, my bilingual (Spanish/German) book MADE IN BOLIVIA was ready.
It aims to give a state of the art overview about the vital contemporary designers and artists scene as well as a general documentation and reflection of the development of graphic design and contemporary aesthetics and their message in Bolivia.
My book shall be a door of communication, a source of information and of course an invitation for international curators to include Bolivia to their points of interest.
get involved + spread the word
VERONICA CERECEDA
El lenguaje de los tejidos andinos
Verónica Cereceda explica que los textiles andinos contienen un lenguaje personal y social que está en constante proceso de cambio
Fernando Arispe Poespel
安第斯纺织品语言
维罗尼卡Cereceda解释说，安第斯纺织品包含个人和社会的语言总是不断变化的
费尔南多Arispe Poespel
Tradition of Bolivia weave
Tradition of Bolivia weave made by Cholita.
La tradición de tejer Bolivia realizada por Cholita.
ボリビアの伝統的な生地の織り方。
Textiles of the Boruca
Doña Sonia, a member of the indigenous Boruca tribe of Costa Rica, came to CPI Monteverde to demonstrate how she makes textiles to create her famous handbags, backpacks, tablecloths, and other hand-made items.
ASOCIACION ARTEINDIGENA INCA PALLAY español 1
Conoce sobre la cultura Yampara y Jalq'a en Bolivia
2013 Prince Claus Award to Carla Fernández
2013 Prince Claus Awards Committee on Carla Fernández
Carla Fernández (1973, Saltillo Coahuila) is a fashion designer and cultural historian who is documenting, preserving, revitalising and bringing to contemporary relevance the rich textile heritage of Mexico's indigenous communities.
Combining her passion for beautiful clothing and a deep respect for the artisans and communities who produce traditional textiles, she founded an ethical and sustainable business that includes a fashion label and a unique mobile design studio, Taller Flora (Workshop Flora). Travelling throughout the country, Fernández works closely with hand spinners, weavers, embroiderers and garment makers to document their age-old techniques and processes such as backstrap-loom weaving, natural dyeing, embroidered motifs and unique geometric structuring, pleating and folding. Then, working collaboratively, they adapt and transform these concepts to make striking contemporary clothing.
The business produces both a high quality fashion collection of refined, singular modern design and a commercially produced prêt-à-porter line. They also make appealing and practical clothes for the communities of producers, including a hand-woven indigo-dyed denim popular with village youths. Their range of attractive, comfortable and hard-wearing school uniforms for Oxaca State has led to abandoned factories being re-opened under worker-run management and increased local employment.
Carla Fernández promotes environmentally responsible production processes and the economic development of indigenous artisans and their communities by ensuring that her co-workers are recognised and paid for their intellectual property. She shares her methodology and spirit as a designer-anthropologist through talks, exhibitions and publications such as her book The Barefoot Designer: A Handbook.
Carla Fernández is honoured for creating stunning contemporary fashions by collaborating and adapting traditional techniques and styles; for empowering communities, especially women, by channeling their knowledge and skills into modern design; for reinvigorating Mexico's indigenous textile traditions and establishing a detailed archive as a lasting legacy for future generations; for devising an ethical production model that fully respects the intellectual property rights of indigenous individuals and communities; and for demonstrating the important cultural, social and economic role of textiles and design for a country and community.
The film was directed by Annette de Bock and produced by Brenninkmeijer & Isaacs.