Mexico, Tenancingo Degollado, : Rebozos of Tenancingo

This is my poor translation of a talk by Professor Julio Cesar Dominguez of Chiapas given in Tenancingo in 2010. Señor Dominguez's talk inspired me to explore my own town and discover its treasures.

"JULIO CESAR DOMINGUEZ DIAZ:
TENANCINGO is the town where this enduring Mestizo symbol of Mexico endures, The rebozo.
Some examples: The rebozo that Maria Elena Marqués used in the film "La Perla", and
Three rebozos from Tenancingo were used in the film "Tizoc"
Professor Dominguez states that The "punta" or rapacejo done in Tenancingo is the finest and most beautiful in the country.
Julio Cesar Dominguez Diaz holds a PhD in Anthropology and has specialized in textiles, mainly in the rebozo from Tenancingo. He began his talk by saying that "the current social models, are affecting us all as a nation. It is important then to identify where our problems are, including the fall of reboceria in Mexico which comes at a time when people think that buying in large commercial chains gives a certain status, without realizing such that these chains do not sell rebozos, even though some of these chains retain their "Mexican space". National markets are suffering because, Mexicans are ashamed that these beautiful textiles make them look too indigenous. There is no sense of cohesive identity, comfort stemming from what makes us look more modern.
Dominguez Diaz, an expert in semiotics and semiotics, the science that studies signs and symbols within social life states that "our cultural centers" (casas de cultura) that one finds in most pueblos must assume an attitude towards local-regional culture where it is understood that there is also a world that exists beyond our common space and once we understand that outside world and how it operates we are naturally lead to really assess what exists in our closer environment, that is something such as the rebozo.

We are not far from a time when our rebozo will be imitated by foreigners "almost" perfectly, and as always, Mexicans who are always late for an appointment, will witness a flood of imitations by foreign textiles manufacturers and only then will authorities begin to think about taking up a position of respect, so it is vital that at this moment, traders, authorities and anyone who is involved in the creative process to begin battle, to impose Mexican fashion upon the world, and although the Chinese may make an identical rebozo as ours, there is however a creative element in our craft that will always give us the certainty that this piece was made in Mexico. More so even if the Chinese could mimic the rebozo, they still lack all the historical background. Time does engender something “deeper” into the process.

Therefore it is important to use the rebozo, but it is important go further, to learn the historical cultural recognition of the product, and in the case of the rebozo, it has more than five hundred years of history behind it. "

     A disciple of Umberto Eco, at the University of Bologna, Italy, states that the "the rebozo is one of the purest expressions of a beautiful marriage as it is made in two very different ways, loom (otate) or backstrap . The treadle loom is entirely European, but also carries another characteristic that is the punta or rapacejo which was taken from the rapacejo of Manila de Manton and this clearly shows the complex mixing of three cultures into one."

     Today we must sell the story of Mexico and Tenancingo using the rebozo, which by the way has one of the most beautiful rapacejos or puntas in the country, owing to intercontinental commercial interchange, which highlights the enormous capacity of the indgenous and mestizo craftsmen to outdo the the characteristics of the manton of Manila, from where most likely the rebozo rapacejo was derived. That is our mission, to bring the creative excitement of the Tenancinguense to light, to discuss what it is in her people that could have created this. People will want to see and hear about what's here in Tenancingo and as a result there will be a significant economic benefit, social development and a product identification not only as a city but as a country, as Mexico is not only a country of traditions and customs, but is of uses, customs and traditions, and this is her wealth. The semiotic language that revoles around the rebozo is very broad ... "

In the State of Mexico 60% of the residents to not know that in Tenancingo high quality cotton rebozos are made of especially great artistic value. In Tenancingo, there is a range of more than 450 different designs of cloth that could catch on in the world and actually infinite range of fringes, including the aromatic rebozo, for it is the magical aroma that makes it mystical, and the reservist... and so many more ... "

The identity of Tenancingo is tied to the rebozo. As Amalia Urbina Urbina once said to me, "When I leave the house I always put on my rebozo. I do not feel comfortable without it." When a woman throws a rebozo over her shoulder, she is instantaneously elegant.

Tenancingo is many things, a commercial place populated by industrious people, without a single owner,, we are all a little poor but we are proud,, and we should be proud for making rebozos, something inseparable from being mexican,,, beautiful, sensual, and colorful.