As featured in Mexican filmmaker Gabriela Domínguez Ruvalcaba's lyrical documentary, the Tsotsil (also known as Tzotzil) women of Chiapas don't do anything the easy way. In a lifestyle centered around sheep, they don't even use electric clippers, but rather large hand shears—one woman holding the sheep down while the other does the shearing. Afterward, they boil the wool in a large oil drum, hang it out to dry, and twist the fiber into skeins of yarn.
From time to time, the women acknowledge that they're on camera, but they don't seem especially perturbed by it. At the halfway point, they go on a long walk down a dirt road with their dog, Canelo ("Pony"), and eight of the sheep. While the sheep graze to their hearts' content, the women, dressed in long skirts and embroidered blouses, work on sewing projects.
For all their hard work, they seem happy, though they recognize that women in nearby San Cristóbal de las Casas lead very different lives. As one puts it, "Sometimes it seems that there is more distance than I would like there to be between different ways of living." Nonetheless, they believe that discrimination against the Indigenous has been decreasing—possibly because more young people in Chiapas now speak Spanish, unlike their elders who received less education and spoke primarily Tsotsil.
Though Ruvalcaba (2014's La Danza del Hipocampo) doesn’t identify any of the women by name, the end credits clarify that the five pastoras (shepherdesses) consist of a mother, Doña Sebastiana, and her daughters. Aside from a forest ranger and a motorcyclist, no men appear in the film. In mentioning her father, one daughter begins to cry, indicating that he has passed away.
In filming these women, who seem to genuinely enjoy her presence, Ruvalcaba—who also co-edited the film—takes her time to document the many textures and sounds that make up their lives (she spent three years filming). Natali Montell’s cinematography consistently elevates the film as she captures mist rolling over hills, fluffs of wool floating through the air like snowflakes, and impossibly tall trees swaying so gently that at first, they don’t appear to be moving at all. Arcadio Martínez-Lanz Durán’s minimalist electronic score, which Ruvalcaba uses sparingly, complements the visuals without ever overwhelming them.
Just when it seems as if the women work solely with sheep, Ruvalcaba reveals that Doña Sebastiana’s daughters also work in hotels in town—an indication that herding alone isn’t enough to cover their expenses. Before going off to work, one applies eyeliner and trades her traditional clothing for a more modern outfit. It’s as if she’s living a double life. Ruvalcaba also documents the making of tortillas, the braiding of hair, and the sharing of photographs, often focusing solely on their hands.
Ways to Traverse a Territory infuses the ethnographic documentary with artistic flair to present women who live in harmony with nature. Gabriela Domínguez Ruvalcaba always treats her subjects with respect, admiration—and even a little awe. Highly Recommended.
Why is this an important Indigenous women documentary for cibrary collections?
Ways to Traverse a Territory offers a rare, intimate glimpse into the lives of Tsotsil women in Chiapas, Mexico, making it a standout Indigenous women documentary. Libraries curating resources on Indigenous cultures, women's labor, or rural life in Latin America will find this film especially valuable for patrons interested in cultural preservation and gender roles in traditional societies.
How can this ethnographic documentary be used in anthropology courses?
This film is an ideal teaching tool for cultural anthropology and ethnographic documentary classes. With its patient observation, non-intrusive lens, and emphasis on traditional lifeways, it helps students explore themes of gender, labor, tradition, and adaptation in Indigenous communities—especially relevant for those studying visual anthropology or Indigenous knowledge systems.
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