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The Guna (formerly spelled Kuna) are an indigenous people that migrated from Colombia and the eastern Darién rainforests to the San Blas Archipelago off the northern coast of Panamá several hundred years ago.
The term mola (MOE-lah) can refer to the entire traditional blouse that a Guna woman wears or, more commonly, to the intricate front and back panels of the blouse. The panels of a mola are constructed using a complicated reverse appliqué technique. Multiple layers of different colors of cloth are assembled, then carefully snipped and stitched together to reveal complex and labyrinthine designs. The reverse appliqué technique is sometimes supplemented by traditional appliqué. Even a simple mola requires many hours to complete, and the mola has become a symbol of Panamanian national identity.
The Guna economy, in addition to fishing and agriculture, is largely dependent on sales of molas and other craftwork, as well as tourism to their autonomous regions. The San Blas Islands are a Caribbean paradise, one that is threatened, however, by rising sea levels.
The larger molas date from 2005 and 2009, and the smaller from 1975.
Click this link to view a video of a Guna woman making a mola.
This beautifully handcrafted mola features a vibrant and intricate design showcasing a bird and plant motif. At the center of the mola, bold lines and vivid colors create a plant with three blossoms. On either side of the center blossom, twin birds appear, facing one another across the blossom.
The entire mola is crafted using a reverse appliqué technique. The primary background color is a deep red, with multiple accent colors including orange, yellow, green, white, pink, and blue. These bold colors are skillfully used to highlight the plant and birds, making them stand out against the dark backdrop. The image of the plant, flowers, and birds are all connect and they are outlined in black, which makes them stand out in the colorful image.
Geometric patterns of short vertical lines in yellow, white, turquoise, orange, and blue are arranged around the edges of the panel, creating a border that frames the central imagery. The composition involves symmetrical elements with contrasts between bright colors and darker tones, giving it a lively yet harmonious feel. The bird and leaf designs represent traditional symbols often found in Guna art, adding cultural significance to this piece.
This striking mola features a bold, symmetrical pattern composed of swirling lines. The design is centered on two large, rounded figures that mirror each other. The upper portion of each design features what appears to be mirrored birds' heads with circular patterns in their upper half. These patterns depict abstract eyes, with concentric rings of vibrant colors including white, orange, turquoise, green, yellos, red, blue, and purple. These concentric circles create a sense of depth and draw the viewer's attention to the upper portion of the design.
The lower portion of each figure showcases maze-like, curved lines that descend into tooth-like patterns filled with deep pink and blue hues. These patterns may represent bird wings or even fish tails. These curves create a dynamic flow throughout the panel, leading the viewer’s eye from the top to the bottom in a continuous loop.
The background of the mola is a solid black, which contrasts with the orange and red outlining the figures. Small triangular shapes adorn the corners, filled with colors like white, green, and blue, balancing the symmetry of the design.
The contrasting colors in this piece give the it an energetic and vibrant feel, drawing from traditional Guna reverse appliqué techniques. The overall effect is geometric yet organic, using curves and circles to create a mesmerizing rhythm across the panel.
This vibrant mola features a central image of a swordfish in mid-motion, captured with bold, flowing lines and vibrant colors. The swordfish, angled diagonally from the lower right to the upper left, dominates the piece with its long. The fish's pointed bill, resembling a sword, extends toward the upper-left corner of the image, giving the design a sense of movement and energy. The body of the fish and its large fins are intricately segmented into multiple layers of brightly colored appliqué, with may colors, including hues of bright red, purple, yellow, green, brown, blue, orange, and white that create a striking contrast against the dark red background. The details on the swordfish's body showcase the skillful use of reverse appliqué, with layers peeled back to reveal geometric shapes, stripes, and smaller patterns that mimic the natural scales of the fish. The eye of the swordfish is an expressive focal point, emphasized pink, gold, and white, adding life and intensity to the creature.
Surrounding the swordfish is a maze-like pattern of sharp, triangular shapes and winding lines in bright orange and black that wave around the background and frame the fish. These geometric patterns add depth and complexity to the overall composition, drawing attention both to the central figure and the craftsmanship involved in the intricate design. The combination of cultural significance, artistic skill, and detailed craftsmanship makes this piece a vivid representation of Guna artistry.
This mola features two stylized fish, each prominently displayed on a deep red background. The fish are positioned diagonally, with one near the upper left and the other near the lower right of the panel, both swimming in the same direction. Each fish is outlined in bold, thick yellow color that is further outlined with deep blue that accentuates their forms and give them a dynamic, flowing appearance.
The bodies of the fish are filled with solid red appliqué, which contrasts sharply with the bright yellow and is surrounded and dark blue border. The fish are further highlighted by subtle stitching details, adding texture and depth to the design. The simple, abstract shapes used for the fish evoke a sense of movement and balance between the two creatures, harmonizing with the rest of the composition.
Around the fish, small vertical appliqué elements in blue and yellow are scattered across the background, adding visual interest to the empty spaces. The overall feel of the design is more minimalistic compared to other molas, yet it retains a bold and vibrant aesthetic that draws attention to the central figures. The craftsmanship of the reverse appliqué technique is evident in the clean lines and precise shapes, making this piece a striking example of traditional Guna art.
This artwork features a mola design painted onto a feather, depicting two stylized turtles. Each turtle is outlined in bright yellow, creating a strong contrast with the dark background of the feather. The upper turtle faces left, while the lower turtle faces right, forming a balanced composition along the vertical axis of the feather.
The turtles are decorated with vibrant colors, typical of Guna mola designs, with intricate geometric shapes and patterns inside their shells. The interlocking shapes, including reds, whites, blues, greens, yellows, and oranges, fill the bodies of the turtles, drawing attention to the detailed craftsmanship.
At the top of the artwork, the phrase "Kuna Yala" is handwritten, paying homage to the Guna people's heritage and their traditional autonomous region in Panamá. The feather is framed against a white background with dark navy and white double matting, surrounded by a warm, natural wooden frame, enhancing the organic feel of the piece.
At the bottom, a handwritten inscription reads "Diaz - 05, Mola de Tortugas," underscoring the fusion of traditional Guna mola artistry with the unique medium of the feather.
If you frequent thrift stores or antique malls in Texas (or are dragged unwillingly through them by someone else!), you have probably seen midcentury Mexican feather art like the items displayed here.
While these pieces were cheap souvenirs, they are the descendants of an ancient and fascinating craft: plumería, or featherwork.
Plumería was widely practiced among the Nahua cultures; however, the best craftsmen lived in the Amantla neighborhood of Tenochtitlán (now Mexico City) and were called amantecas. The best amantecas lived in the royal palace itself and had 300 workers to manage their aviaries!
After the Spanish conquest, amantecas were encouraged or forced to create religious plumería. Instead of headdresses, capes, shields, and other wearable items, they created religious paintings with feathers.
Plumería diversified into ladies’ handheld fans, family crests, and other items until it slowly died off in the 19th century. The pieces displayed here were created in the mid-20th century, probably using dyed poultry feathers. Some of the birds represented do not actually exist!
Top image: Chimalli ahuizotl, or Aztec feather shield. Chimalli means shield; the ahuizotl is a mythical creature.
Bottom image: The Mass of St. Gregory. Oldest known featherwork with a Christian theme. Made for Diego de Alvarado Huanutzin, nephew and son-in-law of Moctezuma II, to present to Pope Paul III in 1539.
Source: https://theeyehuatulco.com/2019/10/29/from-ancient-culture-to-antique-kitsch-mexican-feather-art/
This image shows two examples of midcentury Mexican feather art, mounted in wicker frames. Each piece features an image of a bird crafted from real feathers, as well as hand-painted background elements that represent branches and flowers.
The piece on the left depicts a long-tailed bird perched on a thick, painted branch. The bird has a black, gray, and white head and body body, and an elongated tail with shades black and brown. The background is light tan and features delicate green, orange, yellow, and bluw floral accents.
The piece on the right shows another bird, perched on a tree branch, against a dark black background. The bird has a dark brown head, a brown chest, and a back and long tail in blue tones. In the background, the painted tree branch features greenery and red flowers.
The wicker frames surrounding each piece are intricately women, adding texture and framing the delicate artwork.
This image features two more examples of midcentury Mexican feather art, both framed in rectangular wicker frames with woven handles at the top and bottom, meanig these pieces were likely created as serving trays. Each piece highlights a bird made from a vibrant array of feathers against a dark background.
The piece on the left depicts a somewhat faded bird on a painted perch. The bird is made up of feathers in shades of blue and yellow, and it has a tufted crest painted on its head in white. The bird has red and black accents on its tail feathers. The painted perch is surrounded by small green plants and flowers, and a small, flowering tree appears on the left side of the image.
The piece on the right shows a bright red and black bird with a sharp yellow beak and long, flowing tail feathers. The bird is perched on a painted branch with colorful pink and blue blossoms scattered around it. The background is black, which enhances the vivid colors of the bird and the flowers.
The wicker frames complement the natural textures of the feather artwork.
This image displays two pieces of midcentury Mexican feather art, each showcasing a vibrant bird.
The artwork on the left features two large birds with elegant, long tails, and tufted crests. They are both sitting on a painted branch, one perched slightly above and behind the other. Their feathers are faded shades of blue and lavender, with darker accents on the wings and tails. The tails are particularly striking, with eye-like red and black patterns reminiscent of peacock feathers. In fact, the two birds likely represent peacocks. The background is black, allowing the birds to stand out vividly. This piece is framed in a simple wooden frame, adding to the focus on the intricate featherwork.
The artwork on the right presents a single bright red bird with a prominent crest and a long tail. The bird is perched on a painted branch amidst colorful, stylized foliage in red, green, and yellow. The background is light beige, contrasting with the bird's striking red plumage. The level of detail in the feathers, particularly in the bird’s chest and tail, is notable, drawing attention to the vibrant hues.
Both of these pieces are fine examples of the feathered artform.
This image features two pieces of midcentury Mexican feather art, each framed with a deep red border. Both artworks depict colorful birds perched on painted branches, surrounded by soft, wispy, painted foliage.
The piece on the left showcases a bird with a dark purple body and head, a blue-green crest of feathers on its head, a dark red chest, and a long, elegant tail tin a brighter shade of purple. The bird is perched amidst soft purple, white, pink, and green painted foliage, which appears misty and textured. The background is light beige, and the rich tones of the bird contrast nicely against the softer background.
The piece on the right features a bird with a striking red head and a body of deep red and black feathers. Its tail is full and layered, creating a sense of movement in the artwork. Like the first bird, this one is perched on a painted branch, surrounded by clusters of trees in shades of purple,white, pink and green. The background is also beige, which helps the dark and vivid feathers of the bird stand out.
These two pieces are have identical foliage and are also framed identically, so it is likely that they were sold as a set or are part of a series by the same artist.
This is a replica of the Disc of Mictlantecuhtli, a piece of Mesoamerican art found in the Pyramid of the Sun in Teotihuacan in 1963 located just 25 miles northeast of present-day Mexico City. The disc depicts Mictlantecuhtli, the Aztec god of death and ruler of the underworld. The meaning of the work is unclear. However, because it was discovered in the Pyramid of the Sun, it is possible it alludes to the Death of the Fourth Sun; we presently live in the era of the Fifth Sun, according to Mesoamerican beliefs.
Not a replica of any known artifact, this dagger was produced by modern-day indigenous people the Totonac at El Tajin, a pre-Columbian archaeological site in Veracruz, Mexico. As the Mesoamerican peoples did not work metal, they worked obsidian extensively to produce sophisticated weaponry, tools, decorative objects, mirrors, and more.
This statue depicts a replica of the Disc of Mictlantecuhtli, the Aztec god of death. The disc features a prominent skull in the center, symbolizing Mictlantecuhtli. The skull has deep, hollow eye sockets and nose, evoking a sense of death and the underworld. The skull’s tongue is extended downward in a rectangular shape. The faux stone of the piece is tan in color, while the tongue is a faded red. Surrounding the skull is a large circular border that radiates outward like a fan, with ridges and sun-ray patterns carved into it, giving the piece a dramatic, sun-like appearance. The material of the disc appears rugged and aged, enhancing the ancient feel of the object.
This image shows a modern-day replica of an obsidian dagger crafted by indigenous Totonac artisans. The dagger's blade is made of smooth, dark, reflective obsidian, with irregular cuts and a sharp, leaf-like shape. The blade’s glossy, almost mirror-like surface contrasts with its rugged and jagged edges, showcasing the style of the ancient Mesoamerican's craftsmanship. The handle of the dagger is a detailed, vibrant blue-green sculpture featuring a human figure with intricate headdress and armor-like adornments. The figure is likely a representation of a deity or a significant cultural figure, exuding strength and reverence.
While frequently called a “calendar,” the Aztec sun stone actually depicts a complex system of counts including a 365-day cycle and a 260-day cycle which together form a 52-year calendar round. The four creator gods are depicted in the center and are surrounded by 20 emblems representing the twenty days of each calendar. This cycle of days was counted 13 times for the 260-day sacred calendar and 18 times for the 365-day agricultural calendar. Because 18 x 20 is only 360, the extra five “nameless” days were considered unlucky.
The so-called Aztec death whistle is well known for sounding like the screams of a dying person when blown at full voice. However, this may simply be a coincidence! The original whistles found were much smaller and found within a temple devoted to the wind god Ehecatl. According to at least one account the whistle sounded like “the weird wind of night when it hurries through the streets.” Scholars theorize hat since it was impossible to summon the wind, these whistles were used to mimic the sound of the wind in ceremonies honoring Ehecatl.
This image shows a detailed replica of the Aztec Sun Stone, often referred to as the Aztec Calendar. The stone is circular and intricately carved, featuring various symbols and figures central to Aztec cosmology. At the center is the face of Tonatiuh, the sun god, with a tongue shaped like a blade, symbolizing sacrifice. Surrounding this central figure are four squares representing the four previous eras or "suns," and the outer circle is decorated with intricate patterns, glyphs, and representations of the 20 days of the Aztec month. The overall design is elaborate, with a sense of ancient craftsmanship.
This image shows a replica of the Aztec Death Whistle, which resembles a skull with deep eye sockets and a prominent, slightly open mouth. The whistle is dark and stone-like, with a textured surface giving it an ancient, worn appearance. Above the skull's head is a narrow, ridged extension, likely the mouthpiece of the whistle. The sides of the skull feature curved, decorative elements that evoke wind or breath, symbolic of its connection to Ehecatl, the Aztec god of wind. The whistle has an eerie and mysterious aura, fitting with its reputation for producing a haunting sound.
The term casco viejo or casco antiguo simply means “old quarter” or ”old town.” Panama City’s Casco Viejo was designated a World Heritage Site in 1997.
Panama City was founded on August 15, 1519. In January 1671, Welsh pirate Henry Morgan sacked the city, which was destroyed. It is unclear whether the city was destroyed by Morgan’s forces or if the sitting governor ordered it be set on fire before Morgan arrived.
In 1672, a new city was constructed. It was built on a peninsula isolated by the sea and a defensive system of walls. Today, it is known as Casco Viejo and preserves the first institutions and buildings of the modern city of Panama.
Through gentrification, Casco Viejo has recently become a tourist hotspot filled with restaurants, boutique hotels, and nightclubs.
This image displays two watercolor paintings depict scenes from Casco Viejo, Panama, capturing its historical charm and vibrant atmosphere.
The image on the left offers a street-level view down a narrow, cobblestone road lined with colonial-era buildings in cool shads of blue and lavender, perhaps meant to depict the shadows in narrow streets. These buildings feature red tile roofs, balconies with plants, and detailed facades, showcasing the town's Spanish colonial architecture. The focal point is a large building at the end of the street, distinguished by its yellow tower rising toward the sky. The use of warm colors in the buildings at the end of the street contrasts with the buildings that line the street, drawing the gaze to the towered building.
The image on the right depicts another street scene, where the viewer looks down a slightly wider road. Similar colonial buildings with balconies line the street.The cooler colors on the left side of the street suggest shadows, which are reinforced by the hand-drawn shadows of the buildings on the roadway. The colors here are softer, with light blues and greens complementing the warm pinks and yellows tones of the buildings on the right and capturing the tranquil yet vibrant essence of the neighborhood.
This image is a vibrant watercolor painting framed in a wooden frame. The painting captures a picturesque street view within Panama's Casco Viejo. The perspective is from street level, looking down a narrow road lined with colorful, colonial-style buildings with details like balconies and tiled roofs. On the right, a building with a bright yellow facade and detailed trim catches the eye. The painting employs vibrant colors, including aqua blue, pink, turquoise, yellow, orange, and red for the buildings, and uses shadows and light to create a sense of depth and texture, reflecting the unique style in the historic district. The road, shaded in hues of brown and gray, leads towards a vanishing point flanked by multicolored buildings, suggesting depth and perspective. The sky is depicted in a light wash of blue, enhancing the lively yet historical ambiance of the scene.
Diablico sucio translates to “dirty devil.” People dress as diablicos sucios for both Carnaval, celebrated before the season of Lent begins on Ash Wednesday, and for the holiday of Corpus Christi, celebrated 60 days after Palm Sunday. Both celebrations are Catholic, but have since incorporated African and indigenous elements in Latin America.
Diablicos sucios represent the unbaptized or unconverted, while diablos limpios, or “clean devils,” represent the baptized or converted. At parades or festivals, the two sets of devils may have a symbolic battle representing the fight between good and evil. In some towns, diablicos sucios are known to whack onlookers with sticks!
Source: https://coronadoconciergepanama.com/diablicos-sucios-panama/
This image shows an illustration of a figure dressed as a Diablico Sucio, a traditional figure in Panamanian festivals. The character wears a vibrant costume, featuring horizontal red and black stripes. The figure's multicolor mask is elaborately decorated with large, colorful feathers extending from the head, including vivid shades of green, blue, yellow, and red that add an exaggerated and striking element. The devil-like mask itself also has exaggerated features, including a large red, blue, and yellow animal-like muzzle with sharp white teeth, bright red and blue eyes, and red horns. The dancer also wears a deeply yellow cape and sandals.
In the background, there is a brown stone tower resembling a historical structure, with green palm trees around it, suggesting a cultural or regional setting. The sky behind the figure is a light blue, providing a warm and sunny atmosphere. The artwork is framed with a rich red mat and a light wood frame with a natural, textured grain, adding to its ornate presentation.
This outfit is a pollera (poy-YAIR-ah) from Panamá; more specifically, it is a pollera montuña con basquiña. The basquiña is the white blouse, which differentiates this pollera from other Panamanian styles; the skirt is in the montuña style.
Many Latin American countries have a pollera as their traditional dress for women, but this design is unique to Panamá. The pollera is currently only worn to perform traditional dances at festivals and heritage celebrations.
If you’re thinking the word pollera sounds like the word pollo, or chicken, you’re right! The pollera originated with the very full hoop skirts of 16th- and 17th-century Spanish fashion. The shape was said to resemble a chicken coop; it is also said that the full skirts are useful for herding chickens. (Can chickens even be herded?!)
The pollera consists of a blouse and pollerón, or long skirt. It is accessorized with slippers, lots of gold jewelry, and tembleques, or ornate beaded headpieces. The word tembleque comes from the verb temblar, to tremble or shake. The wearer’s natural hair is often supplemented with false braids.
Polleras de lujo, or luxury polleras, feature intricate lace and embroidery, as seen in this picture.
Image: Portrait photo of Panamanian woman in white pollera de lujo with light and dark blue embroidery and lace. She wears copious amounts of gold jewelry and an ornate gold headpiece with tembleques.
Click this link to view a video of traditional Panamanian dance.
This image features both a close-up and wide-angle view of a mannequin displaying a traditional Panamanian pollera montuña con basquiña. The white blouse, or basquiña, is intricately designed with lace panels running vertically down the front. The blouse is buttoned and features delicate lace cuffs and a lace hem along its bottom edge. Additionally, a strip of lace is inset in the sleeves at the wrists. The white babric is thin and delicate. The full skirt, known as a pollerón, is a deep red fabric with a small floral pattern, adding to the traditional look. The mannequin is accessorized with a long gold necklace, ending in a cross pendant.
This image shows a mannequin head adorned with traditional Panamanian accessories. The mannequin has long braided hair in a traditional style, which is accented with bright red ribbon ties at the ends. The head is decorated with large, ornate white beaded headpieces called tembleques. These headpieces resemble intricate flowers that are entirely made of white beads, which are traditionally worn as part of the pollera outfit. The mannequin is also wearing gold earrings with a sun-shaped design and blue accents.
This image features two distinct elements. On the left, a framed photograph depicts a young woman wearing a traditional Panamanian pollera outfit. She is smiling and standing with her arms extended, showing off the full red skirt of her outfit. The white blouse, or basquiña, is adorned with lace details, and her hair is braided and decorated with elaborate white tembleques. The background shows a street festival with people gathered, some in traditional attire.
On the right, there is a small handmade doll dressed in a miniature pollera. The doll has braided black hair, decorated with purple ribbons, and a smiling face with bold black eyes. The doll's outfit includes a red skirt with floral patterns and lace trim, paired with a white blouse. The word "Panama" is visible on a tag attached to the doll's skirt.
