1 Cecilia Vicuña ord & Thread W read is read and th W ord is language. th e th - Non r body. linea ssociated to A line a other lines. A w ritte n risks becoming linea r, ord once w but w ord and th rea d ex ist o n another dimen sional plane. Vibratory forms in space and tim e. in Acts of union and separation. * The w ord is silen ce a nd sound. The th d, fullness and em ptin ess. rea *
2 The w ver sees her fiber as the p oet s ee h er w ord. ea s th s th e h and, as th e w ord feel d feel e to unge. The th rea in th e d ouble s ense Structures of feeling of sen sing and signifying, ord and th read feel our passing. the w e th * Is th e w ord th e c onductin g th rea d, or does th rea d conduct th e w - ord making? d to th e centre o f mem Both lea ay of uniting and ory, a w connectin g. A w ord carries another w ord as threa d sea rches for threa d. A w ord is preg nant w ith other w ords and a th read contains other th rea ds w ith in its inter ior.
3 Meta phors in sion, th e w ord and th e th rea d carry us ten ond bey w us, th e im morta l threa hat unites ding and speaking, to fiber. * to th read and th e th To speak is d w eaves th e w orld. rea * In th ndes, th e l anguage i tself, Q uechua, is a cord of e A tw isted straw, tw o people m d. aking love, different fibers unite e fibers, to ve a design is pallay To w raise th ea p ick , to them up. To rea d in Latin is legere , to pick up. ea ver is both w ea ving and w riting a tex t The w that th e community can read. xtile is an alphabet o f knots, colors and An ancient te directions that w e c an no longer rea d.
4 Today th ea ving no only "rep resen t," they th em selves e w are g of th e A ndean cosmogony. (E. Zorn) one of th e bein * , llijllas, aksu s, w inchas, chusp as and Ponchos is chump are b eings who feel a nd ev ery bein g w ho feel alks covered in s w signs. "The b ody given entir ely to th e function of signifying." Ren é Daumal tile is "in th A tex f bein g tex tile": awask a . e state o And one w ord, acnanacuna designates the c lothing, th e language and the in strumen ts for sacrifice ( for signifying, I w ould say). *
5 And th e en e movem ent h as a name and a ergy of th lluq'i, direction: eft, paña , to to th e r ight. e l th a mea ning and th e tw isting of th e th rea d A direction is knowled ge and in formatio n. transmits The l o movemen ts of a fiber should be in ast tw n: oppositio a fiber is m o strands lluq'i and paña. ade of tw A w ord is both root a nd suffix : tw o antithetic al mea nings in one. The w e th rea d beh ave as processes in th e ord and th cosmos. The p rocess is a language a nd a w oven design is a process re - presen elf. ting its "An axis of reflec tio n," says M ary Frame: "the s erpentin e attr ibutes are im ages of the f abric structure,"
6 The tw isted strands become s ts erpen rossing of darkness and light, a diamond star. and the c a w chnique, a reciprocal action eftless te "Sprang is whereb y th e inte ents w ith the f ingers rworking of adjacent el em elf duplicates its nd below th e w above a ." orking area ing th e w ea ve produce in th e f The f ingers enter ibres a m irror image o f its m ovem ent, a symmetr y th at reiter ates "the c oncep t of complem en th at imbue s Andea n th ought." tarity * sed rea The th hen it is relea d dies , but comes alive i n w the loom: sion gives it a heart. the ten Soncco, is hea rt and guts, stomach and conscience, mem ory, e s judgem t and rea son, th e w ood's core, th en tem 's cen tral
7 fiber. The w o rd and th e th rea d are th e h ea rt o f th e community . In order to dream, th e diviner sleep s on fabric m ade of wik'uña.