Qom artisans from Santa Fe (which we Criollos often mistakenly refer to as Tobas) migrated from Chaco in different waves since the late 1980s.

In many cases, women are the heads of their family economies, sustained mainly through the commercialization of handcrafted objects. This is where Qom basketry comes into play. Made from the weaving of the Caranday palm -a vegetal fiber native to Chaco-, the craftsmanship of this people is a symbol recognizable throughout the country.

The fact that the Qom have left their home territory and settled in other cities has not led to a break with their roots. On the contrary, they have been able to strengthen and resignify their identity as urban aboriginal people, while keeping their production current and contemporary.

The Qom fabric changes with the history of its people, whilst affirming their collective identity at the same time. Qom fabric and pieces are easy to recognize, even if they have been made in different places and times in history.

The constructive logic of Qom objects could be compared to that of dialogue. In the weaving process, artisans start with a preconceived idea of what they want to produce. On their part, the shape and texture of the palmas comes into play as a contrary force. The result of this negotiation are the objects, which are "designed while they are made." That is why it is said that every artisan weaves each object with her own language.

Industrial Design Thesis, Universidad del Litoral.

Milagros Trucco, Industrial Designer. truccomilagros@gmail.com

Clara Bolzico, Industrial Designer. Bolzicoc@gmail.com