Peru · Textile / Weaving

Chinchero Backstrap Loom Weaving and Natural Dyeing

Awana (the backstrap loom itself); pushka (drop spindle); pallay (the woven geometric symbol/pattern system)

A pre-Hispanic Quechua textile tradition centered on Chinchero, in Cusco's Sacred Valley, in which women hand-spin alpaca, llama, and sheep wool on a drop spindle, dye it using entirely natural insect, plant, and mineral sources, and weave it on a body-tensioned backstrap loom into pieces whose specific colors, borders, and geometric pallay symbols identify the wearer's home community. Threatened by the mid-20th-century arrival of industrial fabric and chemical dye, the tradition was deliberately revived from the 1970s onward by an informal group of Chinchero weavers meeting in the courtyard of Nilda Callañaupa Alvarez's family home, formalized in 1996 as the nonprofit Centro de Textiles Tradicionales del Cusco (CTTC), now partnered with ten weaving communities across the region.

Risk level: Endangered · Not UNESCO-inscribed; Peru is a State Party to the 2003 ICH Convention

Geographic Center
Chinchero and the Sacred Valley, Cusco region, with the Centro de Textiles Tradicionales del Cusco (CTTC) network extending to ten partner communities: Accha Alta, Acopia, Chahuaytire, Chinchero, Mahuaypampa, Huacatinco, Patabamba, Pitumarca, Santa Cruz de Sallac, and Santo Tomás
Community / Ethnic Group
Quechua communities of the Cusco region
Estimated Origin
Pre-Hispanic; the Inca empire maintained dedicated state textile centers given cloth's central political, social, and ritual importance, and pre-Columbian Andean weaving techniques and design vocabulary are documented to have continued largely unbroken into contemporary Quechua practice; sheep were introduced as an additional fiber source during 16th-century Spanish colonization, alongside the pre-existing use of native camelid (alpaca and llama) fiber
Cultural Function
Woven cloth historically functioned as a central vehicle of Inca and Quechua political, social, and ritual communication, used to give thanks to deities and maintain balance between rulers and people; contemporary textiles continue to encode community identity — each community maintains its own distinct color palette and pallay pattern vocabulary, so that a wearer's home village can be identified by the specific weaving worn
Primary Materials
Alpaca, llama, and sheep wool; regulated vicuña wool is also used in the broader Cusco regional tradition for the finest pieces
Primary Tools
Backstrap loom (awana), tensioned by a strap around the weaver's lower back against a fixed anchor point; wooden drop spindle (pushka) for hand-spinning
Process Overview
Shear and clean raw alpaca, llama, or sheep wool using a saqta-root lather; hand-spin the cleaned wool into yarn using a wooden drop spindle (pushka); dye the spun yarn in boiling water using natural insect, plant, or mineral sources with natural mordants, achieving the desired color intensity through extended boiling; twist and wind the dyed yarn into color-palette balls; weave on a backstrap loom (awana), using body-controlled tension to execute intricate, community-specific pallay geometric patterns and borders.
Traditional Applications
Woven cloth as a marker of political, social, and ritual status and community identity in Inca and subsequent Quechua society; community-specific patterns and colors identifying a wearer's home village
Contemporary Applications
Fine woven goods (textiles, apparel, bags) sold through CTTC's Cusco museum shop, the US National Textile Museum, and international craft-based businesses; hands-on educational tourism workshops (the "Textile Route Tour") teaching visitors the full process from wool-washing through weaving; youth education programs specifically countering generational disengagement from the craft
Notable Practitioners
Nilda Callañaupa Alvarez, born 1960 in Chinchero, an indigenous Quechua master weaver who learned the craft from her mother; from the 1970s she led an informal group of Chinchero women weavers who met in the courtyard of her family home to recover old designs and earn independent income through the tourist market; in 1996, together with fellow Chinchero weavers and international supporters, she founded the Centro de Textiles Tradicionales del Cusco (CTTC) and has served as its director since; holds a master's degree in tourism from the National University of Saint Anthony the Abbot in Cusco; author of two books and co-author of a third on Cusco regional textile traditions, including a 2007 survey covering nine Cusco communities; represented CTTC at the Smithsonian Folklife Festival in 2015; other named CTTC co-founders include Elizabeth and David Van Buskirk, Maria Tocco, Christine and Ed Franquemont, Yolanda Jaime Callañaupa, Yenny Callañaupa, Flora Callañaupa de Hendrickson, Betty Doerr, and Tim Wells
Key References
Wikipedia ("Nilda Callañaupa Alvarez"; "Center for Traditional Textiles of Cusco"); The Explorers Club 50 ("Nilda Callañaupa"); The Kindcraft ("Cusco's Center for Traditional Peruvian Textiles," on the Bauhaus design-influence connection); Insight Vacations / Luxury Gold ("Keeping the Old Ways Alive: Center for Traditional Textiles of Cusco," direct founder interview); TreadRight ("Centro de Textiles Tradicionales del Cusco"); Awamaki ("Andean Artisan Techniques and Backstrap Weaving"); RAP Travel Peru ("Textile Route Tour," on saqta, pushka, and pallay terminology); Zoomeboshi ("Masters of the Loom: the Weavers of Chinchero"); In From The Outpost ("Ancient Alpaca Weaving with the Women of Chinchero," on the planned airport concern)
Verification Status
Desk-Researched

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