A class in an old Mayan art form has inspired second-year Master of Design student Trinity Leon to research how modern technology can engage younger generations to learn and preserve the art of backstrap weaving.
“My mother is Guatemalan, and my great-great-grandmother used to weave on a backstrap loom,” Leon said, to explain her interest. “I took a weaving class with Batz and learned that this tradition is slowly fading, as fewer people are weaving, which inspired me to focus my research on preserving this heritage.”
Backstrap weaving is not unique to Guatemala, “what makes it special is the cultural significance it has in Guatemala,” she said. “It is unique in its origins, techniques, and symbolism. Different regions in Guatemala also have their own set of symbols and distinct patterns.”
Backstrap weaving uses a simple device consisting of parallel sticks holding in place vertical base threads that are held taut and cross-woven with horizontal threads running parallel to the sticks. One end of the loom is attached to a post or tree via a rope, and the other is connected to the weaver’s body through a strap that wraps around the back, giving the technique its name. A shuttle is used to pass the thread through the layers. This method of weaving is difficult to learn. “The backstrap loom itself is complex, but the challenges start well before weaving,” Leon said.
A photo of Trinity Leon
“For example, spinning yarn from raw cotton and hand-dyeing it with natural materials is a time-consuming process. Then, prepping the thread on a warping frame requires precise patterning. Even a small misalignment in the crisscrossed threads can distort the entire final piece. When I began weaving, I quickly learned that even missing a single thread could disrupt the whole pattern, and fixing mistakes often meant starting over,” she said.
“The process is high-stakes, and mastering it demands hands-on practice. Learning by watching alone isn’t enough, you have to learn the subtle actions, like pulling the thread with the right tension and positioning your body for loom stability.”
Leon said she has found support for her research through a Connected Minds scholarship and the Social and Technological Systems (SaTS) Lab, and her supervisor, Shital Desai, has been incredibly supportive, providing resources and guidance for her research. Her thesis is titled, “Threads of Tradition: Leveraging Technology for Intergenerational Knowledge Transfer in Mayan Textile Preservation”.
Trinity said she is partnering with Batz Asociación in Guatemala to co-create with Indigenous communities in San Juan La Laguna to understand how young people learn to weave and what the barriers are in the knowledge transfer.
One of the barriers for handing the knowledge on to new generations appears to be the time it takes to weave. “My findings so far suggest that the process is very time-intensive, which doesn’t appeal to younger generations, who tend to be more drawn to technology,” Leon said. “My field research aims to identify the best digital tools for the community, with the hope that a digital platform can engage younger generations and spark their interest in learning and preserving this knowledge.”