ANC-NCCA Dayaw Episode 4: “Hinabing Kasaysayan ng mga Kababaihan”.
Summary
TLDRThis script delves into the rich heritage of indigenous weaving, highlighting the intricate knowledge and skills passed down through generations. It emphasizes the significance of hand-woven textiles beyond their aesthetic appeal, recognizing them as a symbol of cultural pride and survival. The narrative celebrates the role of weavers as community leaders and knowledge holders, detailing the labor-intensive process from creating threads and dyes to the complex weaving techniques. It also touches on the challenges faced by weavers and the efforts to preserve and adapt these traditions for future generations, including the economic potential of weaving as a cooperative endeavor.
Takeaways
- 🌿 Indigenous people possess a deep knowledge of their land, which includes relationships with nature, songs, epics, and survival skills.
- 🎨 Hand-woven textiles are more than just designs; they represent a complex system of knowledge involving thread production, dye-making, and intricate weaving techniques.
- 🧵 Weavers, particularly in traditional societies, are not only artisans but also leaders and keepers of community knowledge, including spirituality and healing.
- 🌱 The process of weaving is physically and mentally demanding, requiring concentration, strength, and creativity to transform raw materials into intricate textiles.
- 🏺 Textiles serve various purposes, from clothing to trade goods, and are used in rituals and as symbols of prestige and social rank.
- 🏅 The government and organizations like the NCCA honor weavers for their contributions to preserving traditional weaving techniques and cultural heritage.
- 🏞️ Weaving is a sustainable and viable source of income, with cooperatives forming between weavers and entrepreneurs to create economically stable communities.
- 👵 The art of weaving is passed down through generations, with older weavers teaching younger ones, ensuring the continuation of this craft and its cultural significance.
- 🌈 Innovation is essential for the survival of weaving traditions, as weavers adapt their designs to meet modern tastes and market demands.
- 🌐 Weaving is a symbol of community strength and unity, with the interweaving of threads representing the bonds that hold communities together.
Q & A
What is the significance of the word 'daya' in the context of the indigenous people mentioned in the script?
-The word 'daya' captures the pride of the indigenous people and represents their heritage, which includes their knowledge, survival skills, and connection to nature.
What is unique about hand-woven textiles in the modern era of machine manufacturing?
-Hand-woven textiles are unique because they embody a system of knowledge that involves creating threads, dyeing them with natural materials, and weaving them on a loom, which requires physical strength, mental alertness, and imagination.
What roles did skilled weavers traditionally play in their communities?
-Skilled weavers, often matriarchs, were sought for their counsel, knowledge of medicinal herbs, connection with the spirit world, and intuition for trade, playing vital roles in family and community life.
How does the backstrap loom used by indigenous weavers differ from modern looms?
-The backstrap loom is a vertically laid-out, complex system that requires concentration, manual dexterity, and the weaver's back to provide tension, making it different from modern looms that are often mechanized and do not require the same physical engagement.
What are the challenges faced by weavers when producing hand-spun threads and organic dyes?
-The challenges include the need for knowledge in agriculture, botany, and chemistry, as well as the arduous tasks of spinning threads and creating dyes from natural sources like bark and herbs.
How have the government initiatives, such as the NCCA, contributed to the preservation of weaving traditions?
-Government initiatives have honored weavers who have embodied their traditions, like the Gawad Manila and Bayan, ensuring the survival of weaving practices and recognizing the cultural significance of their craft.
What is the significance of the Ibaka textile and the weavers who specialize in it?
-The Ibaka textile is an exceptionally difficult fiber to produce and weave, and those who specialize in it, like the Bugaboo T, Belize, Mondaya, and Subhana, are recognized for their technical skill and artistry, preserving a unique cultural heritage.
How do weavers like Angelina Bulay use the 'Ike' technique in their weaving?
-The 'Ike' technique involves tie-dying specific portions of threads to resist dyes, creating intricate patterns and designs. Weavers like Angelina Bulay use this technique to produce highly valued textiles with complex and symbolic motifs.
What are the economic implications of weaving as a cooperative effort in communities like Arevalo?
-Weaving as a cooperative effort allows entrepreneurs and weavers to form business relationships, creating economically stable communities where weavers are paid by the piece for their work, thus providing a viable source of income.
How do weavers adapt traditional designs to modern tastes while maintaining cultural significance?
-Weavers adapt traditional designs by incorporating modern trends and colors while preserving the essence of the traditional patterns. This balance ensures the survival of the craft by meeting market demands without losing cultural identity.
What is the symbolic meaning of the weaving process in terms of community strength and unity?
-The weaving process symbolizes a closely knit community, with the interweaving of threads representing the strong bonds between individuals. The role of the mother in the weaving process is particularly significant, as it mirrors her role in maintaining the community's unity.
Outlines
🌱 The Wisdom of Indigenous Cultures
This paragraph emphasizes the deep knowledge indigenous people have developed over generations, particularly in their relationship with nature. It highlights their rich cultural heritage, such as songs, technology, and weaving, that connect them with the natural world. By learning from their traditions, we can reconnect with our roots and find direction for the future. The concept of 'daya,' symbolizing pride, is central to this message.
🧵 Master Weavers and Their Enduring Craft
This paragraph focuses on two renowned weavers, Saline C'monon and Angelina Bulay, who were recognized for their exceptional skill in producing intricate handwoven textiles. It explains the complexity of the weaving process, from preparing fibers and dyes to setting up looms. These women were not only artisans but leaders in their communities, embodying a combination of technical mastery and cultural preservation. Their contributions ensured the survival of traditional weaving techniques like 'Ikat,' a process involving the dye-resistance of threads.
🦎 Traditional Symbols in Ifugao Weaving
This section details the unique motifs in Ifugao weaving, as practiced by master weaver Angelina Bulay. Her designs incorporate symbolic representations like the lizard, rice sheaves, and mountain ranges, which hold deep meaning within Ifugao culture. The paragraph also mentions Angelina's revival of a rare textile called the 'OS spin into one' blanket, once considered lost to history, which she brought back to life with her weaving skills.
🌪 The Evolution of Weaving Traditions
This paragraph explores the ongoing evolution of weaving traditions in the Philippines. It describes how communities like those in Ilocos have adapted traditional designs to meet modern tastes and market demands, using innovative techniques and new color schemes. The narrative also touches on the role of older weavers in passing down their expertise to younger generations, ensuring that the craft continues to thrive and adapt in a rapidly changing world.
🧶 Weaving as a Community Symbol
This section reflects on weaving as a symbol of community strength and unity. It highlights how the interweaving of threads mirrors the interconnectedness of families and society, with the mother figure playing a central role. The paragraph also draws a parallel between weavers and early computer programmers, emphasizing the intuitive knowledge and skill required to produce intricate patterns. Despite challenges like war and poverty, weaving endures as a source of pride and cultural identity for many communities.
Mindmap
Keywords
💡Indigenous
💡Heritage
💡Weaving
💡Backstrap Loom
💡Dyes
💡Prestige
💡Traditional Knowledge
💡Matriarch
💡Ike Technique
💡Cooperative
💡Cultural Survival
Highlights
The importance of learning from indigenous people's deep connection with nature and their survival skills.
The significance of hand-woven textiles as a complex system of knowledge involving thread production and dyeing with natural materials.
The physical and mental demands of weaving on a backstrap loom, requiring concentration, strength, and creativity.
The role of weavers as leaders in traditional societies, combining knowledge of agriculture, botany, and spirituality.
The cultural significance of textiles in rituals, trade, and as symbols of prestige and social rank.
The government's recognition of weavers through the NCCA's Gawad Manila awards, ensuring the survival of weaving traditions.
The technical skill and artistry required to produce Ibaka textiles, a difficult fiber known only to certain highland groups.
The Iike technique of tie-dying threads for weaving, creating complex and integrated textile designs.
The legacy of weavers like Deline and Saline Cameroon, whose knowledge and techniques are passed down to younger generations.
The revival of traditional weaving techniques like Iike in Highland Mindanao, once nearly extinct.
The symbolic motifs in Ifugao textiles, representing community values and the natural environment.
The economic potential of weaving as a cooperative effort, creating business relationships and stable communities.
The adaptation of traditional weaving designs to modern tastes and market demands in Ilocos.
The challenges faced by weavers in sourcing native materials, such as the difficulty in obtaining native cotton.
The significance of the kousaka design, reflecting the whirlwind's volatility and the experience of the weavers.
The role of women as the backbone of the weaving community, symbolizing the strength of family and community bonds.
The比喻 of looms as early computers and weavers as early programmers, highlighting the creativity and knowledge behind weaving.
The threats to the preservation of weaving traditions, such as war, poverty, and apathy, and the resilience of weavers in the face of these challenges.
Transcripts
there is much to be learned from people
who have lived in this land much longer
than we have a knowledge that manifests
itself not only in the relationships
with nature there are songs and epics
there technology and to Asians but in
their very survival only by being aware
of this heritage of the indigenous can
we find not only our roots but our
direction
their pride and ours captured in one
word daya
when you take a look at a piece of hand
woven textile what do you see a design a
motive a pattern in this day and age of
machine manufactured fabrics there is
much more than just an eye-catching
design to be fascinated with there is
this whole system of knowledge that
allows a woman or a man to produce his
or her own threads color these with dyes
made from bark and herbs and lay out the
warp and the weft on a backstrap loom
with an intended design that exists only
in their minds eyes there is this
physical strength and mental alertness
of Weaver's Houma sipped long and
straight as their backs provide tension
for the loom what emerges seemingly from
their very bodies are textiles there are
sources of dial our knowledge our pride
in traditional societies the craft of
eating was associated with women of
knowledge spirituality and healing
skilled Weaver's were matriarch sought
for their counsel
their knowledge of the forest and its
medicinal herbs
their connection with a world of the
spirits their intuition for trade in
short the Weaver was a female leader who
played vital roles in family and
community life the challenges of weaving
on a backstrap loom require intense
concentration long hours of
uninterrupted work mental fortitude and
yes imagination this loom is a common
instrument used by indigenous Weaver's
all over the archipelago and Southeast
Asia despite the seeming simplicity of
the vertical layout it is an amazingly
complex system that requires
concentration and manual dexterity the
Weaver must sit with her back providing
the tension that packs the warp and weft
threads together
her hands pulling up ahead all sticks
that control the layout of the design
and this is just the weeding process the
production of hand spawn threads and
organic dyes were equally arduous tasks
that required a knowledge of agriculture
botany
and chemistry as weaving was considered
a gift of the deities in many
traditional societies the weaver also
needed to be able to discern the will of
the spirits would given to the community
this precious gift the textiles produced
were not only used for dress textiles
were signifiers of prestige and social
rank within the community taken outside
they were valued trade goods that were
war turned into other communities in
rituals special textiles were used to
communicate to the spirits in death and
in birth bodies were wrapped in specific
and symbolic fabrics
the government through the initiatives
of the NCCA
has honored weavers who have embodied
the best of their traditions and
guaranteed their survival
two of these recipients of the gawad
Manila Khan and Bayan specialized in
weaving of Ibaka textiles the Ibaka
fiber is an exceptionally difficult
fiber to produce and to leave the
weaving of it is practiced by the groups
of highland mindanao the Bugaboo T
Belize mondaya subhana
and blonde
Selene c'mon on was a youngin draggable
woman
it was specialized in the dense weave
with patterns from ethnic templates
long dual i-80 bully had mastered the
production of the large-scale
traditional design suffer people in all
their dazzling complexity both women
were recognized for both their technical
skill as well as their artistry both
produced their own fibers dye doobies
according to their knowledge of herbs
and natural materials both set up their
own looms and laid out the threads both
were proponents of the iike technique of
weeding it up is the process of
tie-dying specific portions of a bunch
of threads so that the tied portions
resists any dyes when laid out for
stringing on the lunar the raw threads
look like nothing more than abstractions
but in the positive and negative
portions lie the blueprint of a textile
that when finished can only be described
as complex whole integrated
and nothing short of amazing
both women after receiving their awards
continue their dual life missions to
continue weaving and to pass on their
knowledge to younger women of their own
communities
sadly both from Deline
in Saline Cameroon have passed on but
her handiwork and their wisdom they are
in the hands of younger women
near bond away the Weaver
Angelina bully works quietly in her home
assisted by her son and daughter her
forte is Iike three days a technique
that is still very much alive in
Highland Mindanao but was almost extinct
among the Cordillera people until the
last half of the 20th century Iike
textiles for the most highly valued by
the if account of the harvest enemy
janitor and missus it otaku and you know
an unconnected Tomica happy
boomerang beside not a plastic thread a
dinner or an ahkam mother was very if a
cow a cat weaving begins with a moon to
doom or the hand rolling of the threads
in the Mumbai upstage the threads are
laid out to form the pre-work
then the most difficult stage Moomba
boon or tying the warp so that it can
resist the dice the dice used combined
salt mud and the bark and leaves of
specific trees red for example is the
product of Nara bark Tomas Oksana Malaya
after the died friends have been
air-dried they are then rewarmed and set
up on the beam
only when the warp and weft are
precisely laid out can the process of
weeding for more have all the do
the motives of Angelina's work
incorporate the symbols that
ifugao recognize the lizard a totemic
animals of ancient origin the mortars
and rice sheaves that signify bounty the
mountain ranges that make up their home
her signature masterwork though is a
reproduction of the OS spin into one the
ECOT blanket first woven but no longer
produced by the II scene I would never
biscaia this blanket was traded by the
ec9 into offical territory and became
much valued as a death shroud known as a
Canadian in Angelina's work the motifs
of a rare textile once thought vanished
now lives again
Karina LeBlanc is 14 acara
casita foggy Nagappa namah namah namah
vowel parameter my Europe data points
and recognition for Paris the journey :
sound successful man in history life
in Ilocos or in the town of hawaiian
weavers both young and old take their
own weaving traditions into the future
the spare Striped bin and better designs
of the Ilocos crescents is there for
them but your elements are being added
because the market for hand-woven
textiles from the Ilocos demands
innovation in color in texture in
fashion in a bill the term for hand
woven fabric from Ilocos mirrors
destroyed simplicity as well as the
resilience that characterized the inner
panel the new Loosed is very different
from the back strap the frame looms are
large enough to sit on and are operated
by the feet of the weaver as well as by
the hands it is known as the Beverly
Magdalena de Mayo is 91 years old she's
been weaving all her life in her
hometown of pignoli
Ilocos Norte in 2012 she was awarded the
gawad vanilla cannon by an her
outstandingly fine Abell weaving the
award was given in recognition of her
ability to produce die and weave native
cotton into in a valley
sadly she now is experiencing difficulty
in getting a good supply of native
cotton and must work with a commercial
carrier but still Nana Magdalena goes on
winning the signature weave of the
region is a pinnacle a double edged
blanket wheel the design is
characterized by an optical illusion of
vibrating spheres squares and cruci
forms the kousaka's or whirlwind design
is a been appalled variant influenced by
a neighboring thing young of Abra the
design has been likened to op art
because of the seeming vibrations and
movement that echoes the volatility of
the whirlwind and to create the
whirlwind
it takes the experienced artifact the
quiet calm of older Weaver's passing on
their visions and their knowledge to
their younger counterparts
weaving as a continuation of a tradition
as a resurgence and revival of lost
knowledge as an expression of one
sculpture
now what about weaving as a viable
source of income as a cooperative effort
that allows entrepreneurs and weavers to
work together to create business
relationships and economically stable
communities
in Arevalo alone
the signature weed is called hub loner
weavers here worked with entrepreneurs
and financiers from within their
communities to form informal
cooperatives where textures are
literally the fabric on which their
lives depended mrs. Cecilia Hassan
Villanueva is one such entrepreneur who
empowers the weavers I do not know how
to give I just manage but I am the one
making I did maybe giving them the
design the color and what item to weave
because I am the one attending to the
customers so I adjust to what my
customers like or what are they
interested like the bearings for men I
also make Oh Lord Baram
I supply them the materials they loom
and I give them the design and then once
they finish they bring it here and I pay
them by the piecework and their their
pace depends on what kind of work if it
is so intricate so they have a higher
pay
it's a simple one it depends on what
kind of item I order
for me I think we will not will not die
I am optimistic that it will go on you
know I have a weaver
she died already she told me the wing
will not stop it will continue
in Barangay taman taka in Cotabato City
by Albea one pop of inner ol weaving
talks about the practical concerns when
traditional designs must conform to
modern tastes surely a challenge that
any reading tradition must undergo to
survive we usually use the D traditional
designer but Legree mixed-income a young
Canadian latest trend Leon
Micheline in an arena mignon in adapt in
limine most of the traditional designs
Ernest did they call up one just like
this after you Cena one-on-one an
amendment designs no this this time is
no parcel on it one of the oldest design
but in the non design in friend the
polar may do not mix mushiya fabric
color for this design Marone green
golden yellow and then we have the blue
one let me show you mix colors know
which star Technica is from 1996 but
then in the commercials a bomba see we
only had that the time piston loom
Blanca male orb ladling in love with
salmon Palestinian organized Casilla way
back with more women see usually single
mothers separated mothers and then
single ladies Imam Muslim try people
coming in the sense that you are eating
organization is composed of try people
actually officers detour will me being
the founder founding president Madoka
Seattle a big animal Chris
Isana weaving is a very strong symbol
it's very good symbol of the community
because the way the threads in intersect
the wharf and the wolf law symbolize a
closely knit community and if the mud is
the mother is the woman who maintains
the sense of the material because the
family is basically mother and child
there cannot be any any stronger bond
and the mother and child connection you
will note how strong a community is
depending on the tightness of the
weavers the more micro is the
interweaving
pattern stronger the sense of community
and the more you'll find that the mother
is the one that really unites that
really burns the community
I'd like to think of the looms as the
early computers and of the weavers as
the early programmers guiding their
efforts were nothing more effective than
feminine intuition shared knowledge and
imagination
sadly other factors like war and
violence poverty and marginalization
even apathy our constant threats to the
preservation of this ancient feminine
power and yet these Weaver's endure and
continue strong women leaders survivors
proud carriers of dial our knowledge our
pride
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