MAKIYKUMANTA
July 13 - July 1810:00 am-5:30 pm
Potomac Atrium
National Museum of the American Indian
4th & Independence Ave, SW Washington, DC
Master Crafters | Artisans | Musicians | Folk Dancers | Gastronomy | Special Speakers
Maximo's Website
Delia was dedicated to craftwork since she was a child. At first she worked on sewing and embroidering skirts, but after 1968 she began to carve gourds which, after 1970, became her full time focus. Her skill and command of the tools of her trade have brought her recognition and various prizes both in Peru and abroad.
Gourd sculpting or carving is done completely by hand using a series of different carving tools, some electric, wide, fine, and very fine, all used to create different effects, including black backgrounds, charred and dyed in order to express the customs, occupations, festivals and traditions in the Valley of Mantaro in Peru.
Máximo Laura
Grand Master and AMAUTA of Peruvian Handcraft, is an internationally acclaimed tapestry weaver. He is recognized as one of South America's pre-eminent textile artists and is considered the pride of Peru, his country of birth. He works as a consultant, designer and lecturer in Art and Contemporary Andean textile design. His work can be found in collections worldwide and has been exhibited in 72 solo shows, and in numerous group shows. He has won awards in both national and international competitions, including a UNESCO Prize for Latin America and the Caribbean, “From Lausanne to Beijing” International Fibre art Biennale (CHINA), Handweavers Guild of America - HGA Award for excellence (USA), International Triennial of Tapestry in Lodz (POLAND), among others. He is the co-founder of the Iberoamerican Textile Network (REDTEXTILIA). He is a member of the American Tapestry Alliance (ATA) and the European Textile Network (ETN). Laura has a studio in Lima (Peru).Maximo's Website
Pablo Seminario
Pablo Seminario (1948) was raised in Piura, a city in northern Peru that is known for its rich heritage in ceramics. He studied architecture at the University of Ricardo Palma in Lima where he developed different projects and designs, and later received his bachelor’s degree. In 1979 he travelled to Cusco, drawn there by a curiosity that even he did not understand. Once again he found himself surrounded by the ceramics of ancient cultures that seemed to catch his attention as a child. This opened a new chapter in his life—investigations, studies, and countless attempts at making a huaco (Replica of a Pre-Colombian ceramic). When he finally succeeded, he found it was not enough, so he set out to create his own artistic expression. In 1981, after meeting fellow-artist Marilu Behar, the two decided to move to Urubamba, a town in the Sacred Valley of the Incas. At that point Seminario disappeared from his family and friends. He is seen selling ceramics in one market after the other, or in the street, each time with something new. As the years passed, more and more creations came to life in his workshop—murals, sculptures, ceramics, decorative art, furniture, and jewelry, each full of life, experience, and passion. Later came recognition in the form of expositions, trips, and a 10 piece commission from the Museum of Pre-Colombian Art in Cusco. In 2008, the Field Museum of Chicago acquired 40 of his pieces for a collection of Contemporary Native American Art. Today Seminario can be found in his workshop gallery, working with more than 50 people as they learn and develop the Seminario style, or as it is known by some, the Urubamba style.Nilda Callañaupa Alvarez
Nilda Callañaupa Alvarez was born in Chinchero Cusco, Peru in 1960. She speaks Quechua, Spanish and English, and is an accomplished spinner, weaver and knitter. She has a master degree in Tourism from San Antonio Abad University in Cusco. From 1970 to today, Nilda has been involved in many aspects and projects of Cusqueñan textiles. She gives many Andean weaving workshops, lectures, panels, convergences, and symposiums in the United States, Canada, Australia, Italy and South America. Now she is the Director of the Center for Traditional Textiles of Cusco. The Center for Traditional Textiles of Cusco (CTTC) is a non-profit organization established officially in 1996 in order to help preserve Incan textile traditions and to provide support for weaving communities. Working with the Center, Quechua weavers and their families in the region of the former Incan capitol are engage in skill-building, community networking and market development. By researching and documenting complex styles and techniques of Incan ancestors, the Center helps to ensure that 2,000-year-old textile traditions will not be lost for future generations.Delia Maria Poma de Nuñez
Delia Maria Poma de Nuñez comes from the country town of Cochas Grande, in the Huancayo district of Junin. She was born on the 15th of August in 1956. Both her parents were artisans belonging to QEPS, including her father who wove blended blankets and made mate burilados (carved gourds). Delia is married to Ciro Nuñez Hospino, and is the mother of three children, Elvis, Etson, and Delia Consuelo.Delia was dedicated to craftwork since she was a child. At first she worked on sewing and embroidering skirts, but after 1968 she began to carve gourds which, after 1970, became her full time focus. Her skill and command of the tools of her trade have brought her recognition and various prizes both in Peru and abroad.
Gourd sculpting or carving is done completely by hand using a series of different carving tools, some electric, wide, fine, and very fine, all used to create different effects, including black backgrounds, charred and dyed in order to express the customs, occupations, festivals and traditions in the Valley of Mantaro in Peru.
