Discovering the Origins of Rare Textiles at Museo De Las Américas

by Yadira Quintero and Laura Beacom

Museo De Las Américas in Denver, CO, has a growing collection of over 4,000 objects, including approximately 600 textiles, consisting of a wide variety of historical and contemporary garments with accessories, tablecloths, handicrafts, and other housewares. Museo also has assembled textile arts such as molas, cuadros, and tapestries, as well as dolls and other objects made using embroidery or other fiber arts.

Many of the textiles were in need of care and analysis. They require specialized archival storage, and the images and records of the artifacts needed updating as well. Museo had several pieces with no known information, and researching and documenting their origins was a priority of an internship funded by a Dean F. Failey Grant from the Decorative Arts Trust.

For example, a Matachines danza costume (figure 1) was donated in 1994 by the Denver Museum of Nature and Science. We learned that this attire originates from Saltillo, Mexico. It comprises a feathered headpiece (not pictured), a pink satin long-sleeve button-up shirt, an embroidered vest, and an embellished and embroidered skirt. Danza de los matlachines (or matachines) is a traditional dance that is still performed in Latin communities throughout the Americas. The dance varies by region and changes depending on which saints or religious figures are significant to the local community. Most commonly, the dance honors the Virgin de la Guadalupe, although some sources connect it to the veneration of San Miguel the Archangel.¹ The dance likely originated before the arrival of the Spanish, and then, during colonization, was modified to integrate preexisting rituals with Christianity.²  The vest usually is embroidered with the image of Guadalupe, but the example in Museo’s collection is unique because it displays an image of an eagle on the front and a flower on the back.³

We also examined Museo’s skeleton suit (figure 2). We have no information about the origins, maker, or purpose. The garment is classified as a Dia de los Muertos costume but was created long before that tradition became popular. The garment was more likely worn for dances that require a costume representing the character of death. The skeleton suit is made from leather, resembles coveralls, and has been painted to show skeletal bones. Sewn to the front of the costume are six hand-carved and painted wooden skulls. The garment is complete with a carved and painted wood mask of a skull that is embellished with horse hair. It is possible that this costume may have been used for La Danza de los Moros y Cristianos, also known as the Danza de los Pilatos. This dance is a re-creation of the historical conflict between the Christians and the Moors in Spain.⁴ Dancers typically wear masks and costumes that represent the two groups, although more characters may be present depending on the region where the dance takes place. The Moors may be represented through different forms including devils, pirates, clowns, or skeletons.⁵

Over the course of the internship, Museo received a large donation of textiles from Guatemala in varying designs (figures 3 and 4). These brocaded textiles were made by Maya artisans using a backstrap loom.⁶ Maya textiles commonly use patterns and symbols representative of their mythology as well as the local flora and fauna. Dyes are made out of natural materials including insects, plants, animal parts, and minerals found in rocks, clay, or other ground materials. Some symbols are difficult to identify, but the double headed eagle is a design that holds multiple meanings including good and evil, past and future, or heaven and earth.⁷ Each textile created is unique despite similar colorings, patterns, or motifs.

These items were documented and photographed and received basic conservation treatment that will greatly improve their longevity. This project was a considerable step towards the goal of publishing Museo’s collections catalog online for the public to enjoy beginning in spring 2025.

1. Martinez Saldana, Tomás, and Alejandra Nunez Pintor. “Danzas y Matachines En Bustamante Nuevo León.” Perspectivas Latinoamericanas 4 (2007): 107–23.
2. Trevino, Adrian, and Barbara Gilles. “A History of the Matachines Dance.” New Mexico Historical Review 69, no. 2 (April 1, 1994): 105–26.
3. Sanchez, Citlalli, and Pablo Zubieta. “Matachines. The Dancers of the Virgin of Guadalupe.” Omnes, December 12, 2022.
4. Martín, Fernando Oscar. “Danza de Moros y Cristianos: Atlatlahuca, Tenango del Valle, Estado de México, México.” Plural. Antropologías desde América Latina y del Caribe, no. 2 (2018).
5. Second Face Museum. “Latin American–Second Face.” Accessed September 30, 2024.
6. Sarceno, Sylvia. “Traditional Guatemalan Textiles.” n.d.
7. Urizar Avila, Mimi. “The Huipil: An Everlasting, Indigenous Cultural Emblem.” Phalarope.Org, February 1, 2021.

Yadira Quintero is a Masters student in Museum and Heritage Studies at the University of Denver and completed an internship working with the textiles in the collections at Museo De Las Américas. Laura Beacom is the Curator of Collections at Museo.

A print version of this article was published in The Magazine of the Decorative Arts Trust, one of our most popular member benefits. Join today!