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Wounaan and Emberá Baskets

Processing the Materials

Once the palm fibers have been obtained they must be processed.  First they are dried and bleached in the sun and split to the appropriate thickness.  The chunga fiber used for the sewing material is then colored with natural plant dyes.  Decorative baskets require fibers of many colors and the Wounaan and Emberá artisans are continually developing new and vibrant colors from rainforest plants.  Some women have gardens of dye plants while others must search in the forest for leaves, roots, bark and other materials to color the palm fibers.  Urban women usually buy fibers that have already been processed back in the Darién villages and are ready to be made into baskets.  Fiber processing is time consuming and requires a great deal of skill and knowledge as well as access to a variety of dye plants and space to carry out the procedures.

Nahuala fibers
Nahuala fibers

Dyeing the chunga fibers involves complex recipes to obtain the desired colors.  Black requires boiling fibers with shavings of cocobolo wood, then burying them in mud for several days.  The mud from mangrove wetlands is said to give the best results.  Yuquilla root (tumeric) provides shades of yellow and gold.  The "pucham" (Arrabidaea chica) leaf is a common and useful dye material since it combines with other substances to produce a variety of colors. The dried leaves of pucham with ashes produce a rust brown; used alone it gives a soft violet-pink shade. The "solimon" plant ( probably a Justicia species) is also used in various combinations to produce colors such as blue, green, purple and gray.  Teak leaves give rust with slight cooking and a purple brown with more cooking.  Another common dye material is the fruit of the "jagua" tree (Genipa americana) which is used for traditional body painting and provides a blue-black color.   The bark of "jobo" (Spondias) has been discovered to produce a pleasing tan.  

Chunga fibers
Dyed chunga fibers

Wounaan and Emberá women utilize many different plants and recipes to produce the colors and shades of their decorative basketry.  It seems that there is no color that can't be found with natural plant dyes although occasionally store-bought dyes might be used for an elusive but necessary shade in a particular basket's design.  Store bought dyes are the exception rather than the rule however as the artisans realize that collectors value natural plants dyes over commercial dyes.  They are actively researching new plant dyes to add more shades and colors to their palette.


Sewing the Basket

Although Wounaan and Embera women know a variety of basket making techniques, they are best known for their elegant and artistic coiled baskets.  Coiling is defined by Virginia Harvey in The Techniques of Basketry as:

the technique of stitching over a foundation and attaching rows of work together as the stitching progresses to form the basketry structure.  The two elements used are the foundation, or core, and the sewing material.  The foundation forms the base over which the stitching is done, and the stability of this element holds the shape of the work.  Successive wraps over the foundation are made with the sewing material which fastens back into or around one or more of the foundations or catches into the stitches of the former row to hold the work together.

In Wounaan and Emberá basketry the fibers of the nahuala plant are used for the foundation while strands of the finer chunga palm are used as the sewing material.  A basket begins at the bottom with the artisan forming a spiral shape with the nahuala and chunga fibers.  Baskets often have complex bottoms and  the artisan might  put her "signature" design there, perhaps a turtle or butterfly, that will identify the basket as her work.  Some baskets have such beautiful bases that they are best displayed upside-down or hanging on a wall so that this part of them can be appreciated. 

Large geometric basket

As the artisan adds rows to the basket she must  pay careful attention to the shape and emerging design of her work.  Since the actual form of the basket is a spiral, achieving a symmetrical shape is quite difficult and the mark of a skilled basket maker.  The maker must also keep track of the various strands of colored chunga fiber as she counts stitches and chooses the appropriate colors at the appropriate times so that her design develops according to the pattern she has in her head. 

The finest baskets incorporate a foundation of very thin nahuala with slender strands of chunga sewn very tightly around the nahuala.  Other baskets, although still attractive, use fibers of larger diameter.  If a woman needs money she might make a quick basket of coarser weave to sell immediately while a finer basket in progress waits until she has more time to complete it. 

Wounaan and Emberá basket makers employ two types of coil stitching.  In the "diente peinado" stitch the chunga strands are sewn to the top two foundation coils in such a manner that the surface of the basket has a smooth, silky finish.  In the "escalera" weave the coils have an attractive corrugated surface with each coil appearing well defined.  Both stitches require patience and skill with the finest baskets crafted from the thinnest materials.  Basket borders, the finishing touch, are evolving from simple horizontal lines of one or two colors to complex patterns that complement the main design of the work.  Most baskets are made in some variation of a vase shape but plate baskets and wall plaques are also made using the same coil techniques

Sewing a basket
 Sewing a basket in a Darién village