Exploring Culture Through Art: Benton Museum’s Curator Visits Spanish Classes

Students in Spanish 2 Honors were treated to a fascinating visit from Matt Marshall, Curator of Education at the UConn William Benton Museum of Art, who brought with him a vibrant look into the world of Molas, a traditional textile art form created by the Guna (also spelled Kuna) people of the San Blas Islands in Panama. During his visit, Marshall led students on a journey through time, exploring how these intricate fabric panels evolved from ancient cultural expressions into globally recognized art.

Marshall explained that Molas are hand-sewn textiles that carry deep cultural significance. The tradition originated with body painting, where Guna women decorated their skin with geometric designs, animals, and natural motifs. As outside influences arrived—particularly from European missionaries introducing Western clothing—the Guna transformed their body art into fabric-based designs stitched into blouses, keeping their traditions alive while adapting to change.

“Design is going to take hours or days for these molas to be created,” Marshall told students. “It’s a tradition that’s multi-generational—mothers teaching their children so the craft continues.”

Students learned how colonization and trade shaped Mola design. With new materials like cotton cloth and needles arriving through trade routes, the Guna began crafting elaborate, multi-layered textiles. Early designs were purely geometric, but by the 1940s, Molas began to include animals, plants, and human figures, reflecting both the Guna worldview and the growing influence of the outside world. Marshall showed examples of how Guna artists incorporated new imagery—from circus posters and comic books to political figures and logos—while preserving traditional hand-sewing methods. Even when new subjects appeared, the technique remained pure: handmade, symmetrical, and precise.

By the 1960s, Molas gained attention as a folk art form. Guna women began selling them to tourists, turning their artistic skill into a source of income and empowerment. “The women who were most skilled became very powerful in their communities,” Marshall noted, emphasizing the dual role of art as both cultural identity and economic opportunity. However, the popularity of Molas also led to mass-produced imitations, prompting Panama to pass legislation in 1984 protecting authentic Guna-made Molas as cultural heritage.By the late 1980s and 1990s, Molas had become a national symbol of Panamanian pride—a way to express unity and resistance, particularly during times of political tension. Today, they remain both a cherished traditional craft and a respected art form worldwide.

Marshall also shared the fascinating story of Elizabeth and Theodore Hans, who in the 1960s began collecting Molas while living in Panama. Their collection—eventually totaling over 16,000 pieces—became one of the most significant in the world. In 1993, Theodore Hans donated 100 Molas to the Benton Museum, creating one of the largest and most studied Mola collections in the United States.

After the history lesson, students designed their own Molas, drawing inspiration from their personal stories, interests, and identities—just as Guna women do. Marshall encouraged students to think symbolically and geometrically: “If you like an animal or a sport, represent it, but reduce it to its simplest geometric shapes,” he said. “Remember, every color and every cut tells a story.”

Students worked with limited colors, no shading, and strong lines—reflecting the constraints of traditional fabric work. Marshall also reminded them that mistakes in Guna art are embraced, not erased—a philosophy that teaches resilience and creativity. The visit blended art, history, and cultural appreciation—a perfect complement to the Spanish curriculum’s focus on Hispanic cultures worldwide. Through Marshall’s engaging storytelling and hands-on project, students gained a deeper understanding of how art preserves identity and culture.