"Mola" is the Kuna word for "clothing".  However, among non-Kuna it has come to mean the elaborate fabric art that Kuna women traditionally use to decorate their blouses. These blouses are not just worn on special occasions or for traditional ceremonies. Nearly everywhere in Kuna Yala, as well as elsewhere in Panama, molas are part of the everyday costume of the Kuna Women. In addition to the molas, the women wear beaded "sleeves" (they are too big to be considered just wristbands) on their forearms and lower legs. These beads, like the molas, form elaborate geometric designs. To complete the Kuna dress, a piece of fabric forms a skirt and a scarf is worn on the head. Often a fair amount of gold jewelry is worn as well, including a nose ring. Traditionally a dark line is drawn down the center of the nose and a fairly bright orange "rouge" is applied to the cheeks. Girls have their children's locks cut in a ceremony when they reach puberty, and henceforth Kuna women keep their hair reasonably short. There is no mistaking a Kuna women in traditional costume for anyone else, and this outfit is worn with great pride.

For the sake of simplicity, I will use the term "mola" to refer to the fabric art. Of course, this is technically incorrect, but is in keeping with how the word is used by most people in English, including the Kuna women when they are selling their artwork.

The origins of mola design are reproductions of traditional geometric body paint made from plants and minerals used by the Kuna in times when they wore less clothing. Supposedly, when the nuns and priests arrived they told the Kuna women, who traditionally wore only a skirt, that they had to cover their breasts. The women started painting the same designs on their blouses that they used on their bodies. Later, as their skills with needle and thread improved, they started using multiple layers of cloth for the designs, starting what we now know as mola art. 

Molas are made using what is called "reverse appliqué" technique. The mola is constructed of several layers of differently colored cloth, with the top layer cut out in patterns to reveal the layer underneath. The second layer, in turn, is also cut out  in the same pattern, but narrower, so the third layer shows.  Molas can have as few as two layers or as many as five, although three layers is most commonly seen. When incorporated into a blouse, two molas of similar and complimentary design are used, front and back.

Each of the images of molas below can be clicked to open a larger perspective in a seperate window.

In addition to this, Kuna women also make other fabric art using appliqué techniques: the figure is cut out of cloth and sewn onto the base fabric, sometimes building up a number of layers. Compared to the traditional molas, these frequently use much more variety of colors, are often not symmetrical, and are more realistic in their depictions. Kuna also use both appliqué and reverse appliqué techniques on various other items, such as decorations on factory made tee shirts, oven mitts, purses, and ball caps. I bought a child's elephant mask made in appliqué style. In Ustupu I saw some beautiful vestments that the wife of a local pastor made for her husband using this technique.

Here are some images of non-clothing items.  I generally do not buy these as they are made mainly for the tourist trade and are not traditional Kuna art, but if I do not see a mola I like, I will sometimes buy a small item so as to not have wasted someones time (yeah, I am an easy mark!). The birds above are actually four different pieces, show together here for simplicity. The  two below have been made into potholders.

Traditionally, molas are made by women; however, there has been a tradition of transgender males (called "omegit" in Kuna) who also make molas, and are frequently considered some of the best. Sometimes this role was given to the youngest son in a family without daughters, so the mother would have someone to help her with chores and keep her company. Today this role is chosen by boys rather than by the parents. In the Western San Blas there are two men who are generally refered to as "master mola makers" and are usually spoken of as representing the finest of the artform: Venancio Restrepo, and Lisa Harris. Both sign some of their finer molas in embroidery, the only ones I am aware of who do so. I will say that I have seen other molas whose workmanship is as good as anything Lisa or Venancio do. But, it is not just the workmanship that earns these two praise, but their designs, which are more complex than what is generally seen.

Lisa identifies totally as a woman, dresses as a woman, and prefers her chosen name instead of her given name. Venancio does not dress as woman or use a woman's name, at least that I have seen. But, he does have a fair amount of effeminancy in his manner in addition to being rather shy and reserved, and does perform a traditional woman's role by making molas. I have heard him refered to as omegit by others in his village. I also know, from having helped him repair the launch he uses to visit the more remote anchorages favored by cruisers that he is not as delicate as he appears to be. Mostly, I think, Venancio sees himself as an artist, and enjoys making beautiful molas unlike anyone elses. I think he likes the attention and praise his molas earn him, as well as the money that he earns to help support his extended family. He  seems most comfortable when he is talking about his work.

Back to the molas themselves. The simpliest molas are two layers with basic geometric patterns. The bottom layer is a solid piece of cloth, while the top layer is cut out in the geometric pattern desired and hemmed and sewn onto the bottom layer. I do not have any examples of these, but they are still made and sold in Kuna Yala (the Kuna territory, basically equivalent of a US Indian reservation). I do not have any examples of these.

The next step up in complexity of molas would have three layers but still in a simple geometric pattern. While occasionally other colors are used, traditionally the layers would be black, burgandy, and orange, or maybe yellow, but the order is left to the artists discretion. Usually, any mola whose design incorporates only geometric patterns is called a "traditional"  or "antigua" mola. These designs are still very common on women's blouses as well as for sale.

This first mola, from Rio Sidra, is very traditional. While simple in technique, it is, in my opinion, very elegant and of  good workmanship. Note the use of the traditional colors for the three layers exclusively and the lack of embroidery. While basically very balanced, it does not attempt to be perfectly symetrical. The thickness of the visible layers is reasonably consistant and the geometrical pattern is rather complex. The stitching is not as tight as on some molas. This is visible from the back. Wide stitches increases the amount of "pucker" of the fabric.

From this starting point, mola design and construction made a number of changes, any combination of which might be observed in a particular mola. One change is that, as the geometric designs became more complicated, sections of the top layers became "islands", that is, seperated from the rest of the upper layers. These sections, even though made from the original cloth, are in effect, sections of applique in the midst of the reverse applique. As the patterns get even more complicated, sometimes these "islands" of appliqué begin to utilize varying bright colors in place of the original layer, adding lots of pizzazz to to the Mola. This example shows many colors used in small pieces, but note the three main layers are the traditional burgundy, orange, and black. This mola also has a few simple lines of embroidery, another innovation in modern molas. The workmanship of this mola is excellent, as seen in the smooth, symmetrical patterns and consistent widths of the parts of the layers that are revealed. While traditional molas are usually symmetrical in design, they often do not use colors symmetrically.

This traditional mola by Lisa shows strong use of colors. The repeating triangles, a symbol frequently seen in molas, represents the mountains in Kuna Yala according to Lisa. Note that while the basic mola is simple, incorporating only two main layers (orange and black) the workmanship is excellent as shown by the consistent widths of each visible layer and the straight, even, consistent shapes.

 Over time, in addition to geometric patterns, Molas began depicting animals. Most common would be a pattern that includes two birds (turkeys, parrots, and others are all used, either rather realistically or sometimes more abstractly), but various other animals are also sometimes used. I have seen horses, elephants, various marine animals, among others. Two are used to maintain the symmetry.  This particular mola is rather small, and the quality of workmanship is not the best. But, do you buy a painting because of the brush technique the artist uses, or because you "like" the painting? I liked the light, whimsical aspects of this design, it was inexpensive ($5) and looks good in a small space that was blank aboard Fellow Traveler. Note the significantly greater amount of embroidery to embellish the fish. This mola has two main layers, black and orange, that form a frame or matte for the majority of the design, which is appliqued on.

In addition to animals, there are molas that depict either daily events in Kuna life, or, in the case of this example, Kuna mythology. This mola depicts a lunar eclipse, during which, depending on which version of the myth one tells, the moon is stolen (sometimes "eaten") by a rabbit or a dog. This mola depicts a dog. While this basic design is fairly common, there are some unique aspects of this particular mola. It is the only "eclipse" mola I have seen that depict faces on the moon. If I understood the mola maker (a young woman who was staying at Chichime Cays), they depict the faces the Kuna see in the moon (in effect, like our "man in the moon"). The plants depicted on the mola are nicely done, IMO. Also, note the brightly colored small triangles that dot the mola: this is a design element that is frequently seen. Following tradition, this mola uses burgandy, orange and black as the three main layers. The yellow is also a common color.

This Mola, by Lisa, is a scene out of Kuna daily life. Well, maybe monthly or so. It depicts a chicha pot with chicha fermenting inside of it. The green is the fermentation. The creatures on either side at the top are monkeys, waiting to drink the chicha (I admit, drinking chicha made a monkey out of me!) Note the fabric layers cut with pinking shears, no doubt an innovation that began soon after the first Kuna traded some coconuts for a pair of pinking shears. This is a technique that is fairly common, and while it is no doubt dificult to sew all the little zigzag edges, I must admit it is not a style I like. I prefer the smooth, flowing, clean lines such as in the first mola above. Again, note the colorful triangles.

This  mola by Venancio, depicts  a still life subject: fruit which is depicted somewhat abstractly or primatively. The pineapple on the lower left is easily recognized, as are the bananas. There is no attempt at symmetry, but there rather a more modern approach to balance. It is a good example of one of the ways Venancio is taking mola design and  in new directions.  Molas, like most art, is very much a personal taste decision. Sometimes I like Venancio's more creative forays into the unknown. Sometimes I like the simple, traditional designs.

This mola, while clearly inspired by the geometric traditional molas, is thoroughly modern and original in its techniques. It does not attempt symmetry, and I am a little puzzled as to whether the lack of parallel lines was intended or not. It is has almost a graffiti look to it, reminiscent of a Keith Haring painting to me. It is by Venancio

This mola was a gift from Venancio to me for helping him repair the boat he uses to reach the anchorages cruisers normally frequent. By taking his molas to the buyer, he no doubt sells significantly more than if he just waited in Mormake Tupu for people to stop by. It should be illustrating a childrens tale, I think, what with the ducks and other  birds on the anchored boat, the fish in the water (and on the fishing pole!) and even a turtle. This might end up as a present to the first of my nephews to have children as it would look nice in a young kid's room.

This mola, by Venancio, shows just how different his molas can be, depicting a fish in his environment. The image, while simplified, is not particularly abstract or primative. The reverse appliqué is used only as a frame or matte for the subject, which is mostly done with appliqué and embroidery.  The workmanship is the best I have seen, as evidenced by the extremely narrow yet precise and consistent lines drawn by each layer of fabric and the tiny, close stitches holding it all together. While I do generally prefer the traditional designs, I found this one striking and it is prominently displayed on my bulkhead in the saloon as fine art should be.

Below is a gallery of other molas I or friends have bought. Click on the thumbnails to enlarge them. Hold the cursor over the thumbnail for basic information.