Professional Documents
Culture Documents
Figure 3. Left, Roman canteen covered with esparto found in Cartagena (Cartagena Museum, photo by Carlos Fontales). Right,
same piece, same technique, 2000 years later (Yeste, Albacete).
Figure 4. Detail of stitching.
Technique
The raw material used is pounded esparto
grass. This is prepared by soaking in water for
one month. During this time, the leaves ferment, losing the pectins which bind the fibres.
The esparto is then dried and pounded with a
wooden mallet, thus softening and enriching
the fiber.
To make a calabaza, a needle is used to thread the tip of one esparto leaf. According to
Mara Garca, from Elche de la Sierra (Albacete
province), a special stitch is used called punto
de ojal (buttonhole stitch) in Spanish. Thanks
to Juan Beteta from the town of Yeste
(Albacete), we have been able to preserve the
knowledge necessary to make this unique piece. Juan is the last known craftsman who still
makes these canteens, using a technique which
he learned from an old shepherd from Yeste
known as manos de seda (silk fingers).
Once the calabaza is finished, it must be water-proofed with pine tar (pez in Spanish).
To do this, the pine tar has to be melted and
slowly poured into the canteen, spreading the
tar along the inside surface. The pine tar must
not be too hot, otherwise the esparto may
burn. Once the tar has solidified, the canteen is
water-proofed.
Pine tar was made in pegueras, which were
tar ovens located on slopes in open areas. These were filled with pine heartwood (tea in
Spanish), a raw material from which pine tar
was obtained following a process of dry distillation by fire.
Acknowledgements
Many thanks to the people who have participated in this project: Juan Beteta from Yeste, Paco Moreno from Nerpio, Isaac Garca from La
Puebla de Don Fadrique (Granada). Very special thanks to Juan Beteta who taught us this
technique, which we have reproduced in the
Esparto Workshop of the Folk University of Albacete, where Daniel Garca, Alfonso Mansanet
and others have made new pieces.
References