In the 20^th century, tourists began visiting traditional towns and villages of Guatemala, spurring the revival of certain artforms such as traditional pottery, but also encouraging the development of new crafts and artforms that would provide a stable income for local artisans.  Among these new artforms were small figures made of paper and straw, clothed in scraps of traditional handmade cloth, and secured to a wooden base; these figures eventually developed into faithful renditions of local people wearing traditional clothing and engaging in traditional activities.  The popularity of these figures and their clothing has also had the effect of engendering pride in the people of these communities, which has led to the revival of more artforms, to the development of new forms of folk art, to more community members choosing to make and wear traditional dress, and to passing on knowledge of these traditions to younger generations.  Researched by Elizabeth Ferguson and Ngozi Ekeke

These four female figures all wear traditional, hand-woven Guatemala Maya clothing, including a long, striped skirt; a huipil, or popover blouse, that is either tapestry-woven with a design or embroidered with a design; and a wrapped cloth headdress with a twisted yarn band used to secure it on the head.  In addition, some of these figures engage in traditional activities, including carrying a basket on top of the head, presumably going to or from market; carrying a baby in a cloth wrapper; or weaving at a traditional backstrap loom.  Researched by Elizabeth Ferguson and Ngozi Ekeke

Like the four female Guatemalan figures, these two male figures also wear traditional clothing consisting of simple, woven, ankle-length pants, a long-sleeved shirt, and a woven cloth apron that is secured with a cloth belt.  While one figure wears a traditional woven straw hat, the other wears a wrapped cloth headdress.  Because each figure also carries a backpack with a bedroll mat attached to it, both of these figures appear to be traveling.  Researched by Elizabeth Ferguson

For more information, you may contact the researcher(s) noted in the title of this exhibit entry, or Dr. Billie Follensbee, the professor of the course, at BillieFollensbee@MissouriState.edu