From Part to Whole: Developing an Appreciation of Kuna Molas as Collectibles

Abstract

In the Kuna language the word mola is polysemous, with meanings which include cloth, a rectangular panel of appliquéd cloth and a complete blouse. A pair of mola panels joined together with a yoke and sleeves form a mola blouse, thus the word mola means both part and whole of an item of clothing. Sewn and worn by Kuna women and girls, molas have become identified with Panama and mola panels have become the quintessential tourist souvenir. Parallels are made between the meaning and iconic role of the Kuna mola and art forms from other indigenous cultures. Individual mola panels are found in the collections of major ethnographic, art, and textile museums and there are many private collectors in the US, Europe, Japan and Australia. The role of the mola blouse as part of the dress ensemble of Kuna women is frequently not appreciated, since complete mola blouses form a small part of many collections. The display of mola panels as artworks in ethnographic and art museum exhibitions promotes their intrinsic aesthetic qualities and contributes to distancing them from their role as a component of dress. The meaning of molas may be considered to be polyvalent: Kuna women who sew and wear molas and Kuna communities may derive various meanings; there may be various meanings attributed to specific designs; and outsiders may derive different meanings. The attraction of molas to the Western eye is explored in terms of Kuna ethnoaesthetic principles and choice of iconography, as well as aesthetic appreciation. Molas may be interpreted as early examples of craftivism and contemporary collectors are attracted to their handmade qualities.

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