Dayaw Season 3 Episode 1 - Hinabing Lakas

Summary

The third season of 'Dayaw' delves into the rich tapestry of Philippine weaving traditions, showcasing the skill and resilience of indigenous weavers. From the use of natural materials like cotton, silk, and pineapple fiber to the backstrap loom technique, the series explores the cultural significance and artistic diversity of weaving. It also highlights the challenges faced by weavers and the efforts to preserve and promote this ancient craft, ensuring its place in modern times.

Takeaways

• 🌳 Traditional artisans and craftsmen use a variety of materials, from plant fibers to precious metals, to create cultural expressions.
• 🌟 The chosen materials of indigenous craftsmen embody their knowledge and culture.
• 📚 The first two episodes of the third season of Dayal focus on the fibers of distinct cultures and the resilience of the weavers.
• 🎓 Professor Norman SP's book 'Journey of a Thousand Shuttles' is a comprehensive guide to Philippine weaving traditions.
• 🕰️ The oldest material evidence of weaving in the Philippines dates back to 2600-2100 BC.
• 🌐 Southeast Asia has many weaving traditions, with the backstrap loom being a common technology used by various cultures.
• 👗 The backstrap loom is characterized by the weaver's body movements, which are integral to the weaving process.
• 🌈 The Kalinga people are known for their use of ground with young airing bone design and similar color schemes to other cultures.
• 📏 The Yakan people of Basilan are renowned for their dense, tightly woven fabrics with unique motifs for each garment.
• 🧵 Weavers in Abra have shifted from backstrap looms to box-type looms, but still replicate old designs using natural organic materials.
• 🌿 The revival of natural dyes like indigo is important for preserving traditional weaving techniques and cultural heritage.

Q & A

What materials are used by traditional artisans and craftsmen in the Philippines?

Traditional artisans and craftsmen in the Philippines use a variety of materials including barks, fibers of plants, hardwood, paper, clay, precious metals, and light.

What is the significance of the materials chosen by indigenous craftsmen?

The materials chosen by indigenous craftsmen are significant as they embody their knowledge and culture, and are integral to their creations.

What is the focus of the third season of Dayal?

The third season of Dayal focuses on textiles, wood, stone, gold, ivory, fibers, metal, clay, and paper, showcasing the craftsmanship and cultural expressions of various materials.

How does the backstrap loom contribute to the creation of textiles?

The backstrap loom is a traditional weaving tool that uses the weaver's body weight and pressure against the threads to create textiles. It is a vital part of the technology used in weaving and is shared by many indigenous peoples in Southeast Asia.

What is the significance of the 'Bunton cloth' in Philippine textile history?

The 'Bunton cloth' is significant in Philippine textile history as it provides material evidence of early textile practices in the Philippines, dating back to the 14th to 15th centuries.

What are the unique characteristics of the textiles produced by the Kalinga people?

The Kalinga people are known for their textiles that feature ground witness pair entire moon forms, thickly woven designs, and sometimes similar color schemes to the Kadam red, white, and a bit of elo.

What is the Yacon of Basilan known for?

The Yacon of Basilan is renowned for their dense, tightly woven fabrics with different names and motifs associated with each specific garment.

How has the weaving tradition in Abra shifted over time?

The weaving tradition in Abra has shifted from using back strap looms to box-type looms with the introduction of treadles or pedals, which provide a more convenient working method.

What is the importance of natural dyes like indigo in the weaving tradition?

Natural dyes like indigo are important in the weaving tradition as they are part of the ritual, spiritual belief, and the use of natural organic materials. The revival of these dyes is a mission for some weavers to maintain the authenticity of their craft.

How does the industrial revolution impact traditional weaving?

The industrial revolution has led to traditional weaving patterns and materials being regarded as inputs for contemporary design, with some weavers becoming mass producers of repeated patterns.

What can be done to support weavers and their traditions?

Supporting weavers can be done through cooperatives, trade fairs, expositions for exposure, grants, financial and technical assistance for materials, and by patronizing their work and learning more about the tradition.

Outlines

00:00

🎨 Artisanal Craftsmanship and Cultural Expression

The video script begins by celebrating the diverse range of materials used by traditional artisans and craftsmen, from natural fibers to precious metals. It emphasizes the cultural and knowledge systems embedded in their creations. The narrator introduces the third season of the show 'Dayal,' promising to explore various materials such as textiles, wood, stone, gold, ivory, fibers, metal, clay, and paper. The focus is on the indigenous craftsmen who embody the knowledge and traditions of their communities. The first two episodes will highlight the expressive fibers and the resilience of weavers from distinct cultures. The script mentions Professor Norman SP, an expert on weaving traditions in the Philippines and Southeast Asia, and her book 'Journey of a Thousand Shuttles.' It discusses the history of weaving, the materials used, and the techniques involved, such as backstrap loom weaving, which is a traditional method shared by many cultures in Southeast Asia.

05:01

🌐 The Backstrap Loom: A Universal Weaving Technique

This paragraph delves into the specifics of the backstrap loom, a weaving technique used by indigenous peoples in Southeast Asia. It describes the loom's components, including the wooden bars and how the weaver's body movements are integral to the weaving process. The script discusses the cultural significance of this technique and how it produces iconic textiles. It mentions various groups that have mastered backstrap weaving, such as the Cordillera de Fuga, the Bontoc, the Konkani, and the Kalinga. The paragraph also explores the design similarities among these groups and the unique characteristics of each, such as the use of tiny white beads by the Gaddang and the preference for certain color schemes. The script also touches on the cultural importance of these textiles and how they reflect the weavers' social status and cultural identity.

10:06

👗 The Art of Weaving in the Philippines

The script continues with a focus on the weaving traditions in the Philippines, particularly the production of exquisite textiles like the cinnamon cloth, which is known for its fine and dense weaving. It discusses the various garments associated with different names and motifs, such as the wraparound skirt and the head cloth. The techniques used include supplementary warp design patterns and the pick-up design technique, which is similar to tapestry weaving. The paragraph also highlights the resilience of weavers in Basilan, who continue to produce high-quality textiles despite armed conflict and civil unrest. It also mentions the production of table runners and the influence of other weaving traditions, such as those from the Lao people.

15:07

🌿 Natural Dyes and the Revival of Traditional Weaving

This section discusses the shift from traditional backstrap looms to box-type looms in Abra, Philippines. Despite this technological change, the weavers still replicate old designs using natural, organic materials. The paragraph emphasizes the importance of natural dyes, particularly indigo, which was a significant export to the West until the 19th century. It mentions the revival of indigo and other natural dyes by an ethnic man and his community, highlighting the spiritual significance of these materials. The script also touches on the use of other natural fibers like silk, banana, and abaca, which are considered sacred due to their association with the spiritual world.

20:08

📚 Preserving Weaving Traditions and Cultural Heritage

The script introduces Magdalena de Mayo, a weaver who has spent decades preserving the tradition of weaving in Ilocos Norte. She was awarded the Gawad Manila and has a museum dedicated to her work. The paragraph discusses the importance of passing on the knowledge of weaving to future generations and the use of various fibers like silk, banana, and abaca. It also mentions the spiritual beliefs associated with weaving and the influence of the Industrial Revolution on traditional weaving patterns. The script emphasizes the need to support weavers and the importance of preserving the cultural heritage of weaving.

25:08

🌟 Supporting Weavers and Strengthening National Identity

The final paragraph discusses ways to support weavers, such as through cooperatives, trade fairs, expositions, grants, and technical assistance. It emphasizes the importance of patronizing the work of weavers and learning about their traditions to ensure the continuation of weaving. The script concludes by stating that supporting weavers is not only about preserving a vital craft but also about weaving a stronger national fabric that embodies the beauty, inspiration, and pride of the Filipino culture.

Keywords

💡artisans

Artisans are highly skilled workers who make things by hand, often with a high degree of artistry. In the context of the video, artisans are traditional craftsmen who use a variety of materials to create cultural expressions. They are integral to preserving the heritage and techniques of weaving and other crafts, as they embody the knowledge and skills passed down through generations.

💡weaving

Weaving is a textile craft where threads are interlaced to form a fabric or material. The video focuses on weaving as a traditional art form practiced by indigenous communities in the Philippines and Southeast Asia. It showcases the process, techniques, and cultural significance of weaving, including the use of natural materials and the creation of intricate designs.

💡indigenous

Indigenous refers to the people or things that are native to a particular region or country. In the video, the term is used to describe the native craftsmen and their practices, emphasizing the unique cultural heritage and knowledge systems they represent. The video highlights the importance of preserving these indigenous traditions and the role they play in maintaining cultural identity.

💡loom

A loom is a device used in weaving to hold the warp threads in place while filling threads are woven through. The video discusses different types of looms such as the backstrap loom and the box-type loom, illustrating how they are used to create various textile patterns and designs. The loom is a central tool in the weaving process and symbolizes the technological and cultural evolution of the craft.

💡textiles

Textiles are materials made by weaving, knitting, or felting fibers. The video explores the creation of textiles from various materials like fibers, metals, clay, and paper. It emphasizes the artistic and cultural significance of textiles, which are not only functional but also carry symbolic meanings and aesthetic values within different societies.

💡cotton

Cotton is a soft, fluffy staple fiber that grows in a boll around the seeds of the cotton plant. In the video, cotton is mentioned as one of the primary materials used by Filipino weavers. It is significant because it is a natural, sustainable resource that has been traditionally used to create textiles for clothing and other uses.

💡backstrap loom

The backstrap loom is a traditional weaving apparatus used by indigenous peoples in Southeast Asia. The video explains how it operates, with the weaver's body weight and pressure playing a crucial role in the weaving process. This loom is significant as it represents a shared technology that connects weavers from different cultures across the region.

💡indigo

Indigo is a deep blue dye derived from the Indigofera plant, historically used to color textiles. The video discusses the revival of indigo and other natural dyes as part of a mission to return to traditional, organic materials in weaving. Indigo is highlighted for its historical importance in trade and its cultural significance as a symbol of social status in some communities.

💡silk

Silk is a natural protein fiber, some of the most luxurious fabrics in the world. The video mentions silk as one of the fibers used by weavers in certain regions of the Philippines. It is significant as it represents a high level of craftsmanship and is indicative of the diversity of materials used in weaving traditions.

💡natural dyes

Natural dyes are colorants derived from plants, insects, or minerals. The video emphasizes the use of natural dyes like indigo in traditional weaving, reflecting a commitment to sustainable and culturally authentic practices. The return to natural dyes is part of a broader movement to reconnect with indigenous knowledge and values.

💡cultural expression

Cultural expression refers to the ways in which communities communicate their shared beliefs, customs, and values through various forms of art, including weaving. The video showcases how weaving serves as a form of cultural expression, with each textile telling a story and reflecting the identity and traditions of the weavers.

Highlights

Traditional artisans and craftsmen use a wide range of materials to create cultural expressions.

Indigenous craftsmen embody knowledge through their chosen materials.

The third season of Dayal explores the creation of beautiful objects from various materials.

Weaving is a significant cultural practice supported by the community.

Professor Norman SP's book provides a comprehensive guide to Philippine weaving traditions.

Ancient weaving techniques and materials are still practiced in the Philippines.

The backstrap loom is a traditional weaving method used by many cultures in Southeast Asia.

The body movement of the weaver is integral to the backstrap weaving process.

The backstrap loom produces a wide range of iconic textiles across different cultures.

Kalinga weavers are known for their use of ground with young airing bone design.

The use of tiny white beads is a characteristic feature of Gaddi weaving.

Yakan weavers of Basilan are renowned for their dense, tightly woven fabrics.

The cinnamon cloth has the highest warp count in Philippine textile weaving traditions.

The use of natural dyes like indigo is being revived by certain communities.

Weavers in Abra have shifted to using box-type looms while maintaining traditional designs.

The revival of natural dyes is tied to ritual, spiritual beliefs, and the use of organic materials.

Indigenous weavers use materials from the natural environment, considering them sacred.

Traditional weaving patterns and materials are now being used in contemporary design.

Supporting weavers can strengthen the national fabric and preserve cultural knowledge.

Transcripts

[Music]

from the simplest to the rarest of

materials from the Bark's and fibers of

plants to the densest of hardwood

from paper and clay and precious metals

to the most wondrous substance a minded

light expressing itself in a torrent of

world

these are the materials for which our

traditional artisans and craftsmen have

built solid and grounded traditions

fragments of a nation waiting to be made

whole

by men and women who bring an entire

culture and knowledge system into their

creations these are the chosen materials

of indigenous craftsmen they were the

embodiment of dialed our knowledge

[Music]

welcome to the third season of dayal in

the next six episodes we will unfurl

textiles caress the surfaces of wood and

stone relish gold and ivory

we will watch as beautiful objects are

made from fibers metal clay and paper

will meet the minds that make of all

these materials the expressions of a

culture I have always taken a very keen

interest in weaving and inner Weaver's

in supporting our indigenous Weaver's I

support the community of Filipinas who

are vessels of an ancient yet dynamic

knowledge knowledge that is made new

every time warp and weft are laid out to

create a textile in this season's first

two episodes we hold up to the light the

expressive fibers of distinct cultures

as well as a strength and resilience of

the weavers who make these into a

tapestry of life

[Music]

[Laughter]

[Music]

professor Norman SP show has spent much

of her life and career studying the

weaving traditions in the Philippines

and Southeast Asia

her book journey of a thousand shuttles

the Philippine weed is a comprehensive

guide to the history the fibers that

dyes and the techniques that make

Philippine reading a tradition with many

variations many faces many unique

manifestations traditions we would say

are just indicated by the presence of

spinder wars in the Philippines now this

were unearthed in Cagayan and this was

over dated 2600 to 2100 BC when it comes

to technique it's possible that this

must have been just plain weaving

techniques now but when we talk about

material evidence of finished textile in

the Philippines we would refer to the

Bunton cloth not this Bunton cloth or

pieces of this are made of linen when we

say linen this come from the bust fibers

now that would include probably even

banana fibers because the sheath of the

banana fibers can be considered as linen

so in that month on cloth we say Bunton

because if this were found in an island

known as Bunton off from blown and these

are dated 14 to 15 centuries those would

be the material evidences of early

practice in the Philippines

but for Southeast Asia there are lots of

weaving traditions

threats are laid out to form a matrix of

warp and weft though we like to think

that it is the hands of the Weaver that

creates a textile the weight of her body

and the pressure from the lower back is

opposed against the threads is a vital

part of the technology thus the name

backstrap Lou

there are two important wooden bars not

the one that is pressed close to the to

the Weaver's body that one is that cloth

beam and that's where you have the

rolled in there would be the woven cloth

not the woven part of the textile at the

other end

no would be another bar this time it's

not split into two but just a wooden bar

of the same thickness as the one here

close to the body of the winner and it's

Veronica hangs on again on one

characteristic of backstrap weaving is

that to open and close the warp

it's the torso of the Weaver that moves

when the tours of the Weaver moves

forward nella loosen up in wall so it's

easier for the head else to be raised

and for the Weaver to insert the beater

and then vodka once inserted push back

on poor Sonya and therefore Pamela

marina man for beating in the web

[Music]

shared by many indigenous peoples in

Southeast Asia the backstrap loom is a

source of many iconic textiles groups

that make use and have mastered this and

have come up with really exquisite

textiles using simply backstrap would be

all over cordillera de fuga as the bondo

the Konkan i the haedong and even the

Kalinga though it may look simple and

even primitive the range of designs

produced from this loom by so many

Weaver's from all over the world is

proof of its Universal a shared

technology that binds many Weaver's from

many different cultures all over the

world just as it binds the weavers of

the cordelia mentally Anglo similarity

in terms of the use of some kind of

ground with young airing bone design or

sometime like parent element forms you

could see that in special cloths of the

Kalinga

mainly for the upper class and then also

for specially lock cloth for the katana

they are so fond of coming up with that

ground witness pair entire moon forms

thickly woven in that sense there is a

similarity and then also some in the

upper Kalinga region the color scheme

would be similar to the color scheme of

the Kadam red white little bit of elo

[Music]

aside from the all-over pattern and the

ground with another characteristic

textile of the Kalinga would be that of

lower Kalinga area like in the bargain

you can learn it's they have green red

green and yellow for the wraparound

skirt instead of weaving the

do the embroidery you seems thick yarn

to come up with mountains and river

design

one characteristic of Kedah

which is only seen among the gada the

use of tiny white beads this are all put

together just like bundle or a bunch and

then this are meant to decorate the end

part of their edges of the belt or seam

of their blouse or their shirt because

both men and women use upper garments

but I Wasi for the women and cotton for

the men not the upper garments and on

the edge of these upper garments there

would be several tiny beads attached to

those hem and edges of the upper garment

they also use Perrin red and yellow tiny

pom-poms not attached to their woven

garments those would be the

characteristic features of gang which

cannot be seen in other Cordillera

cultures there seem to be a kind of

giving valuation to all this trade beads

we don't see them produced in the

Philippines

some of them Mediterranean type of beads

now so this are given so much importance

in Gaudin dressing up

[Music]

you

[Music]

the yacon of Basilan are renowned for

their dense tightly woven fabrics each

with a different name and motif

associated with each specific garment

and its usage in museums and private

collections all over the world there are

separate panhead cloths hold pride of

place that the akan Weaver's are still

producing exquisite textiles today

is a tribute to a resilience and skill

the tasks withstood armed conflict and

civil unrest

the young Weaver's made cinnamon both

the men and the women wear trousers and

the cinnamon is the greatest warped

count all over Philippine textile

weaving traditions it has the most

number of warp in a two inch cloth of

that cinnamon there would be not just

one hundred warp yarns but would be 300

or 500 warp yarns not such that for one

foot similar manner cloth probably one

would have more than 1,000 warp yarn so

they have the finest and a sexy weaving

and in their single lumen they make

supplementary warp design patterns like

hourglass knot or what we call try

smarter design and thiamine form or what

we call the matamata designing rice

grain design well the women other than

wearing trousers they also over the

trousers would be a wraparound skirt

which they call the pin and to pan that

wraparound skirt exhibits flower and

leaf designs now but a little bigger

than the pennant open hourglass and

diamonds now so but this time instead of

warp splintery warp design technique it

is supplementary web design technique

being used here the most beautiful of

all would be their Secotan on their head

cloth that one it's done in

Supplementary web technique but it's

called pick up design technique and it's

closely similar to what we could call

tapestry weaving in that supporting and

head cloth there would be a central

design is Olivia a triangular square the

whole composition would be symmetrical

balance and symmetrically

generally this would all be geometric

forms

I'm supporting an PO my sang Mata

Milliman mata me Waldo for London 24 for

Libby Sabine kalamata you die a moon

Jana Gana mana means oppressor

damn it poggle Bato Bobby De Anza cowboy

pose la vida Tosa sunshine Lorena -

salud gulp asana

it'll be beaten beaten Marilyn it'll go

men

if the baby Simula for money but was

knocked up was pneumonia Hannity - in a

partial plan veto

no one sits in one salon but Lucy noir

and man fun bag on the side going on

painting pinning am me nowadays they are

can Weaver's produce a lot of this table

runners no Alan manga two feet in length

and maybe one foot in width now

sometimes longer ones would be used as

shoals now so the design technique used

there would be very similar to the

design technique of the Lao people and

the thigh so this is something like a

combination of warp float in the web

supplementary design now un poco say and

you know Pournami lava coming on loom

Philippa we important I mean some young

blood that ferret for Methuselah nothing

to do and I'm Michelle Imperato do like

Bali only mengapa monkey no Adi for

delawanna bleep facility' in a

coma gawa the post you know true and

Priscilla Scylla and over in a

tournament on village spur AMA

moment a new customers and traditions

know Morocco and Vanessa Whedon's

knockin Alan bomb on Miquita Oliver

I appreciate Neil Young go enemy

momentum pala Ghana from Okita element

is a Filipino it's a bomb under my

appreciate

[Music]

the thing young of abra used to weave

there be Nicole the nappa and chameleon

textiles on back strap looms but today

the weavers have shifted to the box type

blue or the history books the very first

pair the loom the whole thing is framed

with hard wood now and it is square or

box frame de Lumina but the important

part of that would be the treble or the

pedals now so instead of the body the

Widder moving forward and backwards to

open and close the warp sheds it would

be the travels or the pedals that would

bite by pushing them down up and down

somehow there would be the opening and

closing of the valves aren't sneh the

Weaver as they say would have more

convenient working method in the

backswing our visit to the weavers of

pena rubia in abre reveals that despite

the shift in technology the old designs

are still faithfully replicated

the thingy enough Abra are famous for

their large-scale blankets the Pinelli

and the Napa and be Nicole motives have

become almost iconic as these have been

appropriated by fashion and lifestyle

designers but it is a weeding tradition

that has much to do with ritual

spiritual belief and above all the use

of natural organic material

the revival of indigo and other natural

dyes is the mission of one ethnic man

and his community

he go Nagas wanna pounamu la semana

holoband Poonam ilaha illa-llah -

attendee - summary need not to be a

total now in PO for a raid upon our

teens about Coco lying in the blue

Nakula lanka see my Tumtum and longing

in because a dope in a cooler and muy

and non-clinical on sing hallelujah holy

teen moon and tube Toby para uncool a

young do me Papa howleen

it's okay haha indeed young I know I

ended up in Indianapolis in La Laguna

more than per capita Anoka see an indigo

PO contending Musa Lockean and pump

okapi - okapi - okapi / young indian

Binaca maganda pasa in Laguna cool

aconitine the Honda Honolulu benevolent

pocket oppose pika in rahabaan' na haha

in a national even a poor young Elena

Maggie Ginn's Lucia

[Music]

Agata was a top AHA neenah menasha angle

summer giggling kool-aid Lola Hokkien

our living history indigo it was one of

the important exports to the west to

Europe and even to Mexico until the

later half of the 19th century in

production yes guru as a commercial or a

cash crop mature it boom Abajo but the

local rivers continued to use it

especially that somehow as I said para

there is a kind of value given to

natural deep blue hue para to them

usually find women or men wearing the

deep indigo this would be people higher

social class it had a value somehow

expressive of the higher social status

of the person wearing

in the neighboring province of Ilocos

Norte in the barangay

of Loompa and big pika in panini Weaver

Magdalena de Mayo continues to weave and

more importantly teach young leaders

[Music]

she spent a good part of nine decades

preserving and enriching the tradition

of weaving in a bed for her life's work

Nana Madalena was awarded the highest

distinction

given 12 rock artists she was proclaimed

he received him of the gawad manila

common violin in 2005 a leading center

in a museum housing her handiwork have

since been open to further preserve the

tradition she has worked so hard to keep

alive

[Music]

[Applause]

[Music]

so far we've only explored the world of

weavers who work with cotton but what

about Weaver's who work with other

fibers like in a clan in antique and

other areas in Western Visayas and in

low neon and parts of region one in the

Cordillera in many areas of the country

we find weavers adept at working with

silk with banana and even with Pia Mia

we don't have any record at all how we

got to get those son say it once nah but

it's possible that since we have very

active trading relations with China it's

possible that we got the silk forms from

East Asia through train

[Music]

it is the finest of all fibers it's

really even finer than that of an strand

of hair it's very distinctly Philippine

because the fiber can be gathered only

from a type of pineapple which is what

the pineapple plant which grows only in

the Philippines and in particular this

is the red Bisaya variety the pineapple

the Ibaka and cotton those are the top

three fibers used in the Philippines

[Applause]

Filipino Weaver uses materials coming

from the natural environment and its

materials like grass and then leaves

thread from Pina banana fiber cinema

Ibaka and all of these are regarded as

sacred why because they contain a spirit

we regard these things as part of our

everyday life we commune with them and

they're not just dead objects that's why

when we were trying to get inspiration

from nature the inspiration is from a

spiritual world the Moga Tivoli's

there's a belief in the spirit or an

actual spirits applying designs for the

Weaver

that's why do you have because of dream

rivers and meat is very important in

this regard simply because the moment

you suffer lies as addition it means

that it's a very important part of

everyday life you have to consider the

weaving as a whole and we preserve the

original nature of these questions as

much as possible this is how we were

really traditional weaving material that

we find among our indigenous peoples our

traditional peoples with the onset of

the Industrial Revolution well we have

now come to regard traditional weaving

patterns materials assess well an input

for contemporary design this is the

reason why many of our rivers have

become simply mass producers of patterns

that they repeat and repeat and repeat

[Music]

[Music]

with such a rich tradition in a

continuing heritage of weaving

expressive fibers into even more

expressive textiles how can we support

our Weaver's in my own capacity I've

always tried to see how the products can

be viable more marketable sources of

income for the local community through

cooperatives through trade fairs and

expositions where they get more exposure

through grants and financial and

technical assistance that ensure that

Weaver's get the right material that

they go on weaving that they pass on the

knowledge for me there's is such a vital

craft that says so much about the

strength and the skill of a Filipina and

in her efforts to ensure the continuance

of weaving by patronizing the work and

learning more about the tradition are we

not also weeding a stronger national

fabric a fabric that contains all the

beauty and inspiration that come with

dial our knowledge our pride

[Music]

[Applause]

[Music]