Dayaw Season 3 Episode 2 - Hinabing Lakas

Summary

This video script celebrates the rich tapestry of Filipino craftsmanship, focusing on the use of expressive fibers in traditional textiles, baskets, and mats. It showcases the skill and artistry of indigenous weavers, who use natural materials like cotton, silk, and pandan to create intricate designs passed down through generations. The video also highlights the cultural significance of these crafts, reflecting the Filipino people's connection to nature and their community.

Takeaways

• 🌟 Traditional Filipino artisans and craftsmen have a rich history of working with a variety of materials, from natural fibers to precious metals.
• 🌱 The script emphasizes the importance of indigenous knowledge and the use of local materials in crafting textiles, baskets, and other woven items.
• 📍 The second part of 'Expressive Fibers' explores regions like Lake Sebu, showcasing the mastery of weavers working with Ibaka and other local fibers.
• 🧵 Weaving techniques in the Philippines go beyond the conventional, with unique methods like backstrap loom and the use of natural dyes being highlighted.
• 🌈 The script describes the complexity and beauty of traditional textiles, which are not only functional but also carry cultural significance and identity.
• 🌿 The use of natural materials like cotton, silk, and pandan is emphasized, along with the respect for the ecology and the natural state of these materials.
• 🏺 The script also touches on the art of basket weaving and the cultural importance of baskets in daily life and rituals.
• 📚 The importance of documentation and preservation of these crafts is mentioned, with references to scholars who have dedicated their lives to studying and recording these traditions.
• 👵 The passing down of knowledge through generations is a key theme, with the script noting the importance of community and familial传承 in maintaining these crafts.
• 🌐 The global recognition of Filipino weaving techniques, such as the 'Ibaka' style, is noted, showing the international impact of these traditional crafts.
• 🎨 The script concludes by celebrating the lifestyle and community strength that comes from creating and living with these expressive fibers, emphasizing the pride and knowledge inherent in these crafts.

Q & A

What are the materials used by traditional Filipino artisans and craftsmen?

Traditional Filipino artisans and craftsmen use a variety of materials, ranging from the simplest like barks and fibers of plants to the rarest like precious metals. They also use materials like paper, clay, and hardwood.

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

The materials used by indigenous craftsmen are significant as they embody their knowledge and culture. These materials are chosen for their ability to express the identity and life of the people through their creations.

What is the Ibaka textile and where is it traditionally made?

The Ibaka textile is a stunning textile made in the hills of Lake Sebu. It is traditionally woven by master weavers and is known for its intricate designs and motifs that are passed down from generation to generation.

What is the significance of the backstrap loom in the weaving process?

The backstrap loom is significant in the weaving process as it is where the dyed threads are laid out and a semblance of the design emerges. The completion of the weaving process on this loom results in the creation of the integral textiles.

What is the meaning behind the term 'Ibaka' in textile production?

The term 'Ibaka' refers to textiles made from fibers coming from the sheath of the fibrous banana. It is a term used in the textile world, particularly for tie-dye resist style dye techniques, and is derived from the Bahasa Indonesia language.

How is the dyeing process of Ibaka textiles described in the script?

The dyeing process of Ibaka textiles is described as highly skilled and technical. The applica threads are tied and then dyed before being laid out on the backstrap loom. The weavers have mastered the dyeing process, resulting in textiles with well-defined forms and colors that do not spill out of the design form.

What is the significance of the 'habakkuk' in the context of Ibaka weaving?

The 'habakkuk' is a difficult part of meeting Ibaka because it involves processing the Ibaka fiber, which is more challenging than cotton. It requires a high level of technical skill where the threads are tied, dyed, and then laid out on the backstrap loom.

What is the purpose of the finishing process in textile production?

The finishing process in textile production is meant to enhance the texture and appearance of the textiles. It can involve pressing the textiles to make them shiny and pliant, and sometimes rubbing honeybee wax into the woven textiles.

Who are some of the master weavers mentioned in the script?

The script mentions several master weavers such as Barbara, a Tabali weaver, and Celine Taw'aan, who were awarded the Gawad Manila for their dedication and skill in textile weaving.

What is the significance of the 'Palaspas' and 'Banig' in Filipino culture?

The 'Palaspas' and 'Banig' are significant in Filipino culture as they are functional and aesthetically crafted items. They reflect a people's sense of functional beauty and are deeply ingrained into the culture, often overlooked due to their ubiquity.

How does the script describe the relationship between Filipino craftsmen and nature?

The script describes the Filipino craftsmen's relationship with nature as one of respect and preservation. They use natural materials and ensure that the raw state of the material is preserved. They also respect certain times of the year to harvest materials and gather only what is in excess in nature to avoid damaging the ecology.

Outlines

00:00

🌟 Traditional Filipino Craftsmanship

This paragraph introduces the rich tradition of Filipino craftsmanship, highlighting the use of diverse materials such as plant fibers, hardwood, paper, clay, and precious metals. It emphasizes the cultural significance and the knowledge passed down through generations. The focus is on indigenous craftsmen who use these materials to create textiles, baskets, mats, and utensils. The paragraph also mentions the complexity and artistry involved in weaving, particularly with materials like Ibaka fiber, and the cultural importance of designs and motifs that are passed down from generation to generation.

05:01

🌈 Mastery in Textile Dyeing and Weaving

The second paragraph delves into the mastery of textile dyeing and weaving, particularly the production of Hakka textiles. It discusses the precision in dyeing that results in well-defined forms and colors without spilling out of the design. The paragraph also touches on the natural dyeing process, mentioning that skilled weavers like Barbara and others featured do not use commercial dyes, opting for natural alternatives. It describes the intricate designs created by weavers like Celine Tawa Naan and Lang Doula, drawing a parallel to the mythical Phoenix with its detailed plumes. Additionally, it mentions the use of the cut method for embellishment and the influence of Chinese motifs in the Islamic towel, showcasing the indigenization of these techniques.

10:04

🌿 The Ephemeral Art of Filipino Weaving

This paragraph discusses the ephemeral nature of Filipino weaving forms like the Palace pass and the banning, and the scholarly work of Elmer Noches Ada, who has documented over 200 forms. It explores the various uses of these woven forms, from packaging to rituals and games. The paragraph also delves into the historical context of these crafts, referencing a 1613 Tagalog dictionary. It highlights the tactile experience of sleeping on a well-made banning and the cultural significance of the variety of maps and designs found across the islands. The discussion includes the prevalence of mat weaving culture in the Philippines, the natural materials used, and the techniques like the one over one method that are common across different regions.

15:06

🌴 The Richness of Philippine Weaving Traditions

The fourth paragraph continues the exploration of Philippine weaving traditions, focusing on the unique practices in different regions. It mentions the Palawan people and their access to abundant pandan leaves, which are used to create beautiful mats integral to their lives, such as for prayers during Salah. The paragraph also discusses the geometric motifs and symmetrical patterns found in the textiles of the IVA ton of patinas, and the use of colors in their weaving. Additionally, it touches on the tradition of mat weaving in bucegi, where weavers traditionally weave their mats in nearby caves to maintain the humidity of the fibers. The paragraph concludes by emphasizing the metaphorical significance of mats in representing the similarities and differences among the Filipino people.

20:06

🎩 The Versatility of Filipino Fiber Arts

This paragraph broadens the discussion to include other forms of Filipino fiber arts, such as headgear and the vocal, which serves as both a raincoat and a head covering. It describes the use of tough fibers in creating these items, which are not only functional but also culturally significant. The paragraph also mentions the use of geometric patterns and bursts of color to make these items attractive. It concludes by emphasizing the respect Filipino craftsmen have for nature, preserving the raw state of materials to recognize their origins and gathering materials that are in excess, reflecting a lifestyle bound to the earth and community.

25:06

🌱 Living in Harmony with Nature Through Crafts

The final paragraph reflects on the lifestyle of traditional Filipinos who used fibers from nature to create their clothing, baskets, and mats. It highlights how these crafts not only enhanced their lives but also strengthened their communities through the shared experience of creating and living with their handiwork. The paragraph emphasizes the respect for nature, preserving the natural look of materials, and not destroying the ecology by only taking what is in excess. It concludes by celebrating the Filipino craftsmen's lifestyle, which is bound to the earth, community, and ideals of beauty and comfort, lived with pride and knowledge.

Keywords

💡Traditional Artisans

Traditional artisans are skilled workers who practice crafts passed down through generations. In the video, they are depicted as the custodians of cultural knowledge, using natural materials to create works that reflect their heritage. The artisans are shown to be integral to the preservation of cultural practices and the embodiment of indigenous knowledge.

💡Indigenous Craftsmen

Indigenous craftsmen are artisans who belong to a particular region or ethnic group and create items using traditional methods specific to their culture. The video highlights their use of local materials and techniques, showcasing the diversity of Filipino craftsmanship and the deep connection between the craftsmen and their materials.

💡Weaving

Weaving is a textile craft where threads are interlaced to create a fabric or material. The script describes various weaving techniques used by different Filipino communities, emphasizing the complexity and artistry involved. Weaving is presented as a means of expressing identity and a celebration of life, with examples including the Ibaka fiber and the backstrap loom.

💡Ibaka Fiber

Ibaka fiber comes from the sheath of the fibrous banana plant and is used for textile weaving. It is highlighted in the script as a challenging material to work with due to its texture and preparation requirements. The use of Ibaka fiber exemplifies the video's theme of utilizing native resources and the skill required to create traditional textiles.

💡Backstrap Loom

The backstrap loom is a simple, horizontal loom used in various cultures for weaving. The video script mentions it in the context of laying out dyed threads to create a design. This tool is emblematic of the traditional techniques used by indigenous weavers and the craftsmanship involved in creating intricate textiles.

💡Dyeing

Dyeing is the process of imbuing fibers or fabrics with color. The script discusses the mastery of dyeing techniques by Filipino craftsmen, who use natural dyes to create vibrant textiles. This process is integral to the expression of cultural identity and the aesthetic beauty of the crafts.

💡Palace Pass

Palace pass refers to a traditional Filipino basketry craft, often used for packaging or as decorative items. The script mentions the variety of shapes and forms developed by different communities, reflecting the functional beauty and cultural significance of these baskets.

💡Banning

Banning, also known as a sleeping mat, is a woven artifact that is both functional and culturally significant. The script describes the sensory experience of sleeping on a banning, emphasizing the tactile and olfactory aspects of these mats, which are deeply ingrained in Filipino culture.

💡Cultural Expression

Cultural expression in the context of the video refers to the way Filipino artisans convey their heritage, values, and identity through their crafts. The script illustrates how each textile, basket, and mat is not just a product but a载体 of stories, beliefs, and the aesthetic sensibilities of the community.

💡Natural Dyes

Natural dyes are colorants derived from plants, insects, or minerals. The video script emphasizes the use of natural dyes over commercial ones by traditional weavers, reflecting a respect for the environment and the desire to preserve the authenticity of their crafts.

💡Respect for Nature

Respect for nature is a recurring theme in the video, where artisans use materials found in their environment and follow sustainable practices. The script mentions the use of fallen leaves and the importance of harvesting at the right season, indicating a deep connection with and reverence for the natural world.

Highlights

Traditional artisans and craftsmen use a wide range of materials to create grounded traditions.

Indigenous craftsmen use chosen materials as an embodiment of their knowledge.

Master weaver in Lake Sebu creates stunning textiles using Ibaka fibers.

Weaving is a second nature and a means of expressing identity for some.

Ibaka fibers are more challenging to work with compared to cotton.

The dyeing process is a significant part of creating Ibaka textiles.

Designs and motifs in textiles are passed down from generation to generation.

Ibaka fibers can also be considered as linen due to their origin from the fibrous banana.

The term 'ikat' is used worldwide in textile design for tie-dye resist technique.

Many cultures in the Philippines use the 'ikat' technique for their designs.

The dyeing process of Ibaka textiles is highly skilled and precise.

Some Ibaka textiles do not go through a finishing process, maintaining their natural state.

Master weavers are dedicated to their craft, using only natural dyes.

The Phoenix design, symbolizing intricate blooms, is a notable creation in textiles.

Basket weaving and the creation of functional yet beautiful items are integral to Filipino culture.

The Ifugao people of the Cordillera are known for their variety of basket forms.

Palaspas is a traditional Filipino craft that is both utilitarian and decorative.

The term 'palaspas' has evolved to include all types of leaf art in the Philippines.

Banig is a traditional Filipino mat known for its comfort and variety of designs.

The use of natural materials and respect for the environment is a key aspect of Filipino craftsmanship.

Filipino craftsmen have a deep respect for nature, preserving the natural look of materials.

Traditional Filipino lifestyle is bound to the earth, community, and the creation of beauty and comfort.

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]

the second part of expressive fibers

takes us beyond places where cotton silk

and Pina are used and into the hills of

Lake Sebu where a master weaver works

Ibaka in two stunning textiles we also

go beyond our standard ideas of weaving

and fibers as we explore baskets Palace

pass and the under-appreciated jewel of

her weaving tradition the banning of

Basilan mala one in Samarra weaving

fibers from cotton to pandan from silk

to nito into textiles baskets mats and

utensils

it may seem complex and confusing to

modern-day filipinos but for others like

a tabali weaver Barbara or foam and

other Weaver's we feature here weaving a

second nature a means of expressing

identity and celebrating life itself

like the deceased gawad Manila cannon by

an awardee long do like Barbara often is

a Diwali Weaver was master the difficult

part of meeting Habakkuk because it is

difficult first because Ibaka fiber is

worn a bore used to process and to

prepare than cotton and because he

demands a technical position where the

applica threads are tied and then died

before being laid out on the backstrap

loom only when the dyed threads are laid

out on the backstrap loom does a

semblance of a design emerge and only

when the weaving process has been

completed while stunning an integral

textiles emerged designs and motifs all

from the dreams and imagination of the

weaver passed on from generation to

generation

haha can also be considered like linen

because when we say leaning it's

actually fibers coming from the stem so

since the fibers of the Ibaka come from

the sheath of the fibrous banana then

that can also be leaning Superbowl for

textile weaving because it abounds in

well the plant itself abounds in the

Philippine Islands from Mindanao science

even Luzon but even in Tagalog Southern

Tagalog area there have been production

of ibaka textiles the term it cut is

actually a bahasa indonesia term which

of course also being used by Malaysia

and now it's the term used all over the

world in textile world when we talk

about tie-dye racist he cut a style dye

resist that design technique most of the

mindanao cultures in the philippines use

a cut as the design technique the

mondaya they do their designs and their

demise using the he cut technique then

also BOGO before they're in above the

blood I'm further in a ball and they're

then data Bali for dirty Nala in reality

Toledano it can seem to be practiced now

by almost all cultures from north to

south for that Diwali and the bago bow

and also blonde they usually come up

with apocalyptic textiles that are

absolutes texture very pliant smooth

texture well-defined forms no design

forms

meaning the colors it's not crooked or

not not spilling out of the design form

not so it shows that there is highly

skilled in the dyeing itself and also in

the dyeing rivers or the people involved

in the production of this Hakka textiles

have really mastered the dyeing process

itself the dyeing and dyeing plus the

whole process of textile weaving and

even the finishing they go through all

these textiles go through finish except

Paul de man Diana the mondaya and also

sue Burnham they don't they're Ibaka

textiles do not go through a finishing

process for the bongo burglar an

antibody the finishing process would be

something like they would press the move

inhabit our textiles using the back of

the quarry she'll know so that's what

they would press really very hard on the

surface of the living ibaka textiles to

make it shiny pliant and every now and

then they would rub a bit of the

honeybees walks not for the walks

they were pressed or they would apply

that and the woven Texas and then

pressed the surface of that Ibaka

Iike that style with the use of the back

of the colon shell one thing about this

master weaver Stanley Celine Tamerlan

and the lung do life were awarded the

mandala cannon by an honorable they I

really dedicate them textile weavers

very dedicated they never use commercial

die they only use natural dye for a long

do life were some but she is really the

master of designing she can come up with

designs that are so intricate just like

the Phoenix design team one come up with

the Phoenix story you know we all know

that the Phoenix is a mythical bird with

the intricate blooms now depicted with

intricate plumes and that's what she

produced in some of the textiles the

works of Celine tawa naan and Lang doula

barbara often and also hilda also

Tebaldi they're really very good weavers

very smooth surface well-defined the

design for arms is not and shiny and

playa while the animals tiboli used the

cut method to embellish the abaca

textile the islamic towel use embroidery

influenced by Chinese motifs but

thoroughly indigenized

a visual language of appear scrolls and

floral designs embroidered in silk

friends on Saturday this is a distinctly

thousand worth of hobble Tia Heon

embroidery

[Music]

[Music]

perhaps we find ourselves so overwhelmed

with a wealth of textile motifs and

techniques in our own country that we

sometimes overlook the baskets Palace

pass and the humble Bonnie as fine

examples of how expressive fibres are

crafted these are functional yes but

they also express a high aesthetic

standard humble yes dignified of course

and always reflecting a people's sense

of functional beauty

the collection of the towered Museum in

lawang City documents the variety of

shapes and forms developed by the

peoples of the Cordillera here are

baskets for winnowing rice for

transporting seedlings and grains

baskets for storing food and vegetables

each form and type depicts a unique

response of cordially era artisans to

the needs of their community

weaving fibers is so deeply ingrained

into our culture that we often overlook

the crafts that are most enduringly

connected to our own lines perhaps

because the materials and finished

products are ephemeral we often take

forms like the palace pass and the

banning for granted

one scholar elmer noches ada has devoted

his life to studying these forms his two

books palace pass and rara document the

wealth of these ephemeral crafts as well

as the knowledge and skill of the

anonymous craftsmen I have documented

more than two hundred palace pass forms

from all over the Philippines from north

to south and involves different kinds of

fun leaf art from utilitarian to

decorative those colors pass forms that

are used for packaging rice and those

philosophers pawns that are used for

games or toys and those Palace platforms

used in rituals in dances and prayers in

decorating altars and in offertory

12-pulse pass in the present form has

been limited to the pants and a-eight

rights that were been used to but in all

dictionary in the 1613 dictionary of

Tagalog by fathers present Lucar

alice pass was given a very broad

meaning it's not only the pan that is

used to to decorate the churches in the

function they write but it includes also

all the family art that could be made

the leads of coconut tree of burry of

pandan and other leaf material

those of us who have slept on a

well-made banning remember the

experience in tactile sensual terms the

Warrens smoothness of the woven surface

the smell of fibers the touch of the

frayed edges the banette is one of the

few Walden artifacts that most Filipinos

know and respond to instinctively the

variety of maps and designs found all

over the islands is a testament to its

appeal we have a very pervasive math

building culture in the Philippines

almost from north to south we have a

must living tradition it is basically

because we have plenty of natural

materials that lend themselves to math

within the different areas in the

Philippines can boast of a particular

map based on the mass whipping material

available in that area the most common

material is dependent the next degree

the basic technique is the one over one

or the simple math wheels and this is

present in all the math living areas in

the Philippines but some culture webbing

cultures have intensive culture of math

weaving that they have created different

techniques to form different design like

the summer of Pattabhi they make use of

the splicing technical in a bit math

living is a way of life it cannot be

taught in school

you have to be there in the community to

learn and to understand it democracy and

math living is imbibed it's a tacit

knowledge that one acquires from her

grandmother from her mother from her

aunt from her sister from her relatives

it's passed on the tradition is passed

on and the lifestyle is acquired from

getting the pound the pan lives from

getting the pandan leaves by stripping

them boiling them dyeing them drying

them weaving them and cutting them into

the right sizes

our survey of not weaving traditions

begins in Palawan among the Palawan

some of the best mats are found in

Palawan when you go to the South you

could see the mats made by the Jemima

pony and they have created beautiful

mats because they have a very beautiful

source of pandan leaf material the

palawan people have access to bountiful

supply of wrath on this beautiful mats

are integral in the lives of the people

of Palawan for the Jemima poon they use

it as a the mat for their prayers during

Salah so much sub meaning in the lives

of the people of God the Wyndham a new

design and with so ordered then why to

blee main line in foucha unangan

furgoneta Mele it by negative I leave an

arrow hangang it on arrow cumin

materials I read inna

the win Marella Kinnaman Foreman is

someone governor

go on um benignity diakon are renowned

for their dazzling and complex textiles

the geometric motifs found in their

separate Allen textiles are also echoed

in their beneath the Athan reverse make

use of a lot of colors I could see in

their woven textile and in Japan and

they use varied colors and they apply it

also in their mats what is very nice in

their math is they make use of a

symmetrical patterns it's not typical

grid-like designs of this predominant in

most matters and you could see this a

symmetrical beauty mats of the yacon

element or Ozaki Nani kana ganito un

banco de pena unum vinegar um - na

nanika o you Muhammad Amin Amin you

manga yum capacity mnemonic Oh Marilyn

for me to to McGowan Ambani the person a

nickname Erin on Dean kana ienaga Nieto

Naboo or ganito

imagine lumpur this is it nominally no

Cola even in Veneto kameena cava

easy peasy lemon onion

[Music]

in summer the tradition of mat weaving

is enriched by a unique location in

bucegi the weavers of bachao

traditionally weave their mats in the

nearby cave the mass of summer are the

most popular match in the Philippines

when you speak up beneath everybody

thinks of the summer months because it's

very distinct in the sense that they

make use of a lot of of designs and they

follow the trend of the season of the

present age in forming designs the capes

basically I use for practical reasons

one it changed them from the direct rays

of the Sun because the woven material

the material that is being used are very

delicate and can snap when it is so dry

so they want to maintain the humidity of

the place such that they would not break

the fibers that they are reading in some

areas which don't have the benefits of

the caves they can just read during the

early morning hours or the late in the

evening or early afternoon and the Sun

sets

[Music]

moliro comedic a key element pozzolana

means an inane I mean topples from Qaeda

and I mean ago an personify me much

mango I need to know my name Hong Kong

Shanghai info coming

Nagoya us for court the mats of the

Philippines can be considered a metaphor

for our similarities and our differences

each distinct design

each technique each particular way of

weaving dyeing and finishing a map

speaks volumes about how the same object

can be so expressive of a people

sensibility unbeli gasps a subpoena

Halligan mahogany on culture on Filipino

moola support oxy Lamia engines are

engine commands I am mahogany tolling

Mohan a Filipino Whelan eben bog a

Filipino nagging eatin a pervasive and

we began halakha Sabrina Filipino

unfortunately manager necesidad at Nam

mallanna Sarah Gavin banek a gnarly

Mouton and Halligan humble Agnetha

[Music]

we cannot end our survey of the

country's expressive fibers without

looking at these other forms the vocal

is a distinct trademark headgear of the

IVA ton of patinas part raincoat parts

unshaved the tough fibers that make up

the signature main or attach to a basket

reform in the rain the vacuole keeps

one's head dry in the scorching heat

it keeps the head and back Ogawa hold it

to an or now go in dannion a rumba FINA

a popper to you now you Elena human

buckle it to a moon piece onion Baba

eaten mr. Sulu young Ibaka

you know II Baba lieutenant Saavik ah

young via boys

my fat ass manitos our progeny toe

you know l'Damian business opera

nah you want Ibaka

it was Ibaka

you know we're way below beyond we

avoided - sambuca tapas balls a little

bit per my technical jargon meetin Ibaka

d2 Saba called para Marni only led to

the wananga cool

Parramatta by its own son buccinator

young large Nicole

[Music]

among the Mara now the total is covering

for food that is used in both ceremonial

gatherings as well as ordinary meals the

dog shape is made all the more

attractive by the bursts of color and

the woven geometric patterns

[Music]

we began with textiles and clothing then

onto baskets and palace pass banning and

headgear our survey is far from complete

but that only stresses just how rich and

varied other crafts that utilize our

expressive fibers the Filipino craftsman

has so much respect for nature as much

as possible the raw state of the

material is preserved to make sure that

we recognize where it came from

for example vehicle grass leaves are

shown as they are although colored but

still you recognize the materials that

were used for the product unlike in

other countries in other cultures where

so much polishing so much transformation

of course that you hardly recognize the

material from which it is made in our

culture there's also the respect for

certain times of the year to harvest

materials for example that is the idea

of taga subpoena horn meaning you cut it

at the right season there's also the

tendency on the part of our traditional

artists to gather materials that are

just lying around and also leaves that

are yes we are being blown between two

eggs they are used only for firewood but

for materials for the creation of art so

in general there's a respect for nature

to preserve the natural look of the

material and also not to destroy the

ecology by getting only those things

that are in excess in nature

[Music]

traditional Filipinos took from nature

the fibers they needed they wrapped

themselves in the weaves of their own

creations they lived with baskets and

containers woven with grace and

resilience they rested bonded and slept

on fragrant maps so doing they enhance

their lives with their own handiwork

their communities made stronger with the

shared experience of creating and living

with a work of their own hands more than

just crafts it was a way of living a

lifestyle bound to the earth to the

community to the ideals of beauty and

even comfort a life lived with dial our

knowledge our pride

[Music]

[Applause]

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[Applause]

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you

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