By Museo Textil de Oaxaca
Textile Museum of Oaxaca
Santiago Niltepec, situated in the eastern part of the Isthmus of Tehuantepec, is one of the last places in Oaxaca where indigo is still cultivated and produced. Although we are unaware of when this endeavor began, the colonial name of the town translates as “Hill of Indigo,” from which we can deduce the historical importance of this craft.
Threshing the indigo seed (2014-01-13) by Fidel UgarteMuseo Textil de Oaxaca
To reconstruct the regional history, more research of primary sources is needed, but thanks to the study done by Laura Machuca Gallegos (2007) we know that there was an upswing in the international demand around 1800 as well as indigo production in Niltepec and neighboring towns, like Tapanatepec and Zanatepec. In the year of 1826, the principal activity registered in Niltepec was the cultivation and production of indigo, reserved primarily for external markets. Due to its location on the old Camino Real (the trade route that connected Central Mexico – Oaxaca – Guatemala) and given its proximity to the Dominican plantations that relied on the labor provided by communities of African descent; Niltepec was considering in the 18th Century a town of “mulatos [of mixed race], which still retained elements of the old indigenous society such as the cabildo [local council], community chests, and confraternities” (Machuca Gallegos, 2007: 75).
Threshing the indigo seed (2014-01-13) by Fidel UgarteMuseo Textil de Oaxaca
Although the sources also indicate that indigo was introduced in the region towards the end of the 1780s by the cornel Miguel Bejarano (a Spanish merchant) and by Juan de Castillejos (a Creole merchant) (ibid.: 60), this probably referred to the commercialization of indigo. Other authors refer to the fact that indigo was always cultivated locally, but at a minor scale, since Pre-Columbian times (see Contreras Sánchez, 2010). Whatever the case may be in Niltepec, we should note that the species of indigo that Don Octaviano Pérez cultivates (Indigofera suffruticosa) is undoubtedly endemic to Mesoamerica and has very deep and wide roots in the region.
Indigo (Indigofera suffruticosa) (2013-06-25) by Fidel UgarteMuseo Textil de Oaxaca
Indigo in Oaxaca
Octaviano Perez received us with a smile and a curious look from beneath his hat made from palm. It had been a long trip to arrive at Niltepec, in the district of Juchitan, to meet some of the last people dedicated to the cultivation of indigo in Oaxaca. Through an arduous and methodical process this plant-derived dye, also known as jiquilite, is transformed into blue rocks with which it is possible to dye a myriad of blue tonalities. Traveling in a group of friends, we met with Octaviano and his family, Doña Arcelia and Jose Angel, to uncover the secrets of this plant that yields from the color of a midnight sky to the color of a clear and vibrant horizon.
Planting indigo (2013-05-06) by Fidel UgarteMuseo Textil de Oaxaca
Planting indigo with a "coa" (Mexican foot plow) (2013-05-06) by Fidel UgarteMuseo Textil de Oaxaca
Land prepared for indigo planting (2013-05-06) by Fidel UgarteMuseo Textil de Oaxaca
Field of indigo (2013-09-30) by Fidel UgarteMuseo Textil de Oaxaca
The harvest
Natural dyes are among the chief interests of the Textile Museum of Oaxaca (MTO). Thus, we relish listening to the histories of people that have preserved knowledge in this respect, from generation to generation, protecting the cultural traces that never cease to amaze us. Even though it is true that it is difficult to work with these dyes, it is also true that this activity offers an irresistible attraction for brilliant minds in the form of a challenge. Don Octaviano exemplified this point when, after we asked him why he continued to cultivate indigo, he responded, “Because it is difficult. Not just anyone can do this.”
Beginning the indigo harvest at dawn (2013-09-30) by Fidel UgarteMuseo Textil de Oaxaca
Harvesting indigo (2013-09-30) by Fidel UgarteMuseo Textil de Oaxaca
Steeping and beating vats
Preparing the indigo planto for fermentation in the steeping vat (2013-09-30) by Fidel UgarteMuseo Textil de Oaxaca
Preparing the indigo planto for fermentation in the steeping vat (2013-09-30) by Fidel UgarteMuseo Textil de Oaxaca
Preparing the indigo planto for fermentation in the steeping vat (2013-09-30) by Fidel UgarteMuseo Textil de Oaxaca
Compresion of indigo leaves before hydrolysis (2013-09-30) by Fidel UgarteMuseo Textil de Oaxaca
Fermentation by hydrolysis
Fermentation of indigo leaves (2013-09-30) by Fidel UgarteMuseo Textil de Oaxaca
Indoxyl solution (2013-09-30) by Fidel UgarteMuseo Textil de Oaxaca
Final phase of fermentation that creates an indoxyl solution (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Separación del tinte
Indoxyl solution produced after indigo fermentation (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Indigo leaves after fermentation (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
In 2013 and 2014, the MTO witnessed this process to obtain indigo: from the planting of the seed to the solidification of the indigo paste into cakes. Shortly after, Don Octaviano and Jose Angel visited this city to participate in the first Congress on Mesoamerican Textiles (TEXTIM) organized by the MTO, where they engaged in a dynamic conversation about the implications of their work. Since then, their dyeing cakes have traveled and have been appreciated in other cultures, like the Nahua women of Hueyapan, Puebla; the Andean people of Cusco in Peru; and among the Mapuche women from the extreme south of the Americas.
Mallets for beating (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Oxidation of indoxyl solution by beating (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Oxidation of indoxyl solution by beating (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Beating vat (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Oxidation of the indigotin solution (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Adding the agglutinating agent
In Niltepec, a natural glue is added to solidify the dye using the fruits of the tree known locally as Gulabere’, which is at least two different species in the genus of Cordia. This natural gum is also used for school work (Guie’ gui’xhi stinu Guidxi Rialle Bi: Plantas representativas de la Ventosa, Oaxaca, 2015).
Fruits of the tree known locally as "Gulabere" (Cordia sp.) (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Beating the indigotine slurry (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Beating the indigotine slurry (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Indigotine slurry (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Indigotin slurry (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Tomás López (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Drying and the indigo paste
The indigotine slurry (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Drying area (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Tools for drying (2013-10-01) by Fidel UgarteMuseo Textil de Oaxaca
Dye bundle ready for transport (2013-09-30) by Fidel UgarteMuseo Textil de Oaxaca
Residual waters filtered by the cloth (2013-09-30) by Fidel UgarteMuseo Textil de Oaxaca
Drying the indigotine slurry (2017) by Nicholas JohnsonMuseo Textil de Oaxaca
Formation of the dye into paste (2017) by Nicholas JohnsonMuseo Textil de Oaxaca
Collecting the indigo paste (2013-09-30) by Fidel UgarteMuseo Textil de Oaxaca
This exhibit represents a photographic memory of our visits with the family of Don Octaviano, where their work in transforming the indigo plant into dye can be appreciated and valued.
Placing the indigo paste on tiles for the final drying (2013-09-30) by Fidel UgarteMuseo Textil de Oaxaca
Don Octaviano drying indigo paste in the sun (2014-11-04) by Fidel UgarteMuseo Textil de Oaxaca
Drying the indigo paste (2014-11-04) by Fidel UgarteMuseo Textil de Oaxaca
Credits of the exhibit shown at the San Pablo Cultural Center in Oaxaca (2020):
Curation, texts, and museography: Nicholas Johnson and Hector Meneses
Photography: Fidel Ugarte and Nicholas Johnson
Installation: Laura Santiago, Eva Romero, Tonantzin Collazo, and Víctor Robles
Graphic design and production: Abraham Hernández
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Presidency: María Isabel Grañén Porrúa
Direction: Hector Meneses
General curator: Alejandro de Ávila
Administration and accounting: Yazmín García and Verónica Luna
Textile research: Noé Pinzón
Collections: Eva Romero, Jesús Aguilar, and Nicholas Johnson
Educational services: Adriana Sabino and Gema Peralta
Conservation: Laura Santiago
Community outreach: Gema Peralta
Communication: Salvador Maldonado
Graphic design: Abraham Hernández
Store: Monserrat Ruíz
Maintenance: Alma Salinas, Ruth Leyva, Manuel Matías, Víctor Robles, and Conrado López
Special thanks: Don Octaviano Pérez y familia, Tomás López, Pedro González, Paulino López y Tito Vera
