Upcoming screenings and lectures
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CURRENT
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February 29, 2012
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Friends of the Helen Louise Allen Textile Collection
Private Showing at Wisconsin Institute for Discovery
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March 8, 2012
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Friends of the Art Museum of the Chinese University of Hong Kong
Private Showing
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April 17 - 20, 2012
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3rd Mexican International Film Festival
Hong Kong, China
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September 19 - 22, 2012
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September 19 - 22, 2012
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March, 2013
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Fashion and Textile Museum of London
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On-going showings as s part of Rebozo Exhibition
London, UK
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Sept, 2013
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Franz Mayer Museum
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On-going showings as s part of Rebozo Exhibition
Mexico City, Mexico
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Dec, 2013
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Museo Textil de Oaxaca
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On-going showings as s part of Rebozo Exhibition
Oaxaca, Mexico
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Related exhibitions
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July 6 – November 2012
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Tormentas y Sueños
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Museo Textile de Oaxaca
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Oaxaca, Oaxaca Mexico
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March 25 � May 20, 2011
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Deseos
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Elaine L. Jacob Gallery
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Wayne State University, Detroit, MI
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April 22 - July 28, 2011
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Esperanza
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Gordon Parks Gallery
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Metropolitan University, St. Paul MN
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In conjunction with:
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Surface Design Association International Textile Conference
Past Events
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Nov. 3 - 6, 2011
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MADISON AREA EVENTS IN CONJUNCTION WITH VISIT BY ZAPOTEC WEAVER ERASTO ¨TITO¨ MENDOZA:
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Tito Mendoza is one of Oaxaca's finest weavers. Originally from Teotitlán del Valle, Tito was a weaver for the world renowned La Mano Mágico. Lila Downs has commissioned numerous pieces from Tito which are used in her performances and PR. His work ¨Aires Zapotecos¨ was a finalist in the VI International Biannale of Contemporary Textile Art Tito and his wife Ale now own the store El Nahual in the historic center of Oaxaca. More information about Tito and his work can be seen at:
http://elnahualfolkart.blogspot.com/
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Friday October 7th 5:00 pm
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Centro Hispano
http://micentro.org/
810 Badger Road
Madison WI
Screening (in Spanish with English subtitles)
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Visiting Zapotec weaver, Tito Mendoza who is featured in the film will be at the event to show his work and to talk about his art.
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Monday October 10th 7:00 pm
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Madison Weaver`s Guild
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Oakwood Village on Mineral Point Rd
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(Westmoreland Room in Heritage Oaks Building)
Screening (in English)
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Visiting Zapotec weaver, Tito Mendoza who is featured in the film will be at the event to show his work and to talk about his art.
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Tuesday October 11th 3:30 pm
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University of Wisconsin-Whitewater
University Center room 266
Whitewater, Wisconsin
Screening (in Spanish with English subtitles)
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Visiting Zapotec weaver, Tito Mendoza who is featured in the film will be at the event to show his work and to talk about his art.
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Friday September 23
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1:00 pm
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September 22 – 23
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July 13 and July 16
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June 10, 2011
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April 29, 2011
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UW - Madison Alumni Weekend Events
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Lecture: Behind the Scenes of Woven Lives: Spinning the Tale
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Film Screening of Woven LIves (English)
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For more information:
gevans@vidasentretejidas.com
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April 23, 2011
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World Premiere and Celebration
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Univesity of Wisconsin-Madison
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For more information:
UW LACIS
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November 16, 2010
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Latin American Caribbean and Iberian Studies
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University of Wisconsin-Madison, Madison Wisconsin
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Lecture: Behind the Scenes:
Vidas Entretejidas/Woven Lives
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September 6, 2010
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First Encounter of the Ibero-American Textile Network
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San Jos�, Costa Rica
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Lecture:
Vidas Entretejidas: Pre-release Presentation
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Across many cultures, gathering together to watch a documentary about traditional weaving turns passive viewing into a shared act of cultural appreciation. When a film exploring Zapotec traditions is paired with a lecture, audiences gain context that visual storytelling alone cannot provide. The screening becomes a doorway into Oaxacan villages, where backstrap looms, hand-spun yarns, and cochinilla-dyed threads are part of daily life. Discussing the artisans afterward allows viewers to ask about techniques, generational teaching, and the relationship between ancient textile knowledge and contemporary design. Such events often inspire participants to seek out handcrafted cloth in their own communities.
Scheduling a screening of a film about Zapotec weavers requires a space that honors both the subject matter and the audience's comfort. Venues such as cultural centers, university halls, and textile museums tend to work well, since they already attract audiences interested in art, craft, and cultural history. The room should be dark enough for clear projection without feeling sterile, and the sound should be calibrated so quiet village scenes and conversations in the field remain audible. After the screening, a brief discussion gives community members a chance to reflect on what they saw and connect it to their own experiences with cloth.
Lectures paired with textile screenings offer a chance to explore the deeper history of weaving traditions that have survived for thousands of years. A presenter can trace how the integration of ancient techniques with newer technologies has shaped contemporary textile art, while also addressing what the future may hold for Zapotec communities. Visual examples such as photographs of looms in use, close-ups of natural dyes, and sketches illustrating pattern development enrich the spoken narrative. Audiences often leave with a renewed appreciation for the patience and skill required to produce even a single length of cloth by hand.
For institutional hosts, organizing a viewing often involves coordinating with the film's producers, arranging licensing for private or educational showings, and promoting the event to relevant audiences such as students, artisans, and textile enthusiasts. Building a small panel discussion around the screening deepens engagement, particularly when participants represent weaving collectives or academic textile programs. Providing materials such as printed program notes, pattern samples, or images of the looms featured in the film can extend the learning experience beyond the room. These thoughtful touches help a documentary screening feel like a true cultural event rather than a simple projection.
Beyond scheduled events, the ongoing life of a textile documentary depends on continued conversation among viewers, scholars, and craftspeople. Online discussions, follow-up lectures, and regional gatherings in places such as Australia and New Zealand create opportunities for global audiences to share their own weaving histories and ask questions about Oaxacan traditions. Such exchanges reinforce the documentary's central message: that cloth carries stories of identity, landscape, and human creativity. Whether the conversation happens in a museum auditorium or a community workshop, the film continues to do its work one gathering at a time.
