Dayaw Season 3 Episode 1 - Hinabing Lakas
Summary
TLDRThe 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
🎨 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.
🌐 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.
👗 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.
🌿 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.
📚 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.
🌟 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.
Mindmap
Keywords
💡artisans
💡weaving
💡indigenous
💡loom
💡textiles
💡cotton
💡backstrap loom
💡indigo
💡silk
💡natural dyes
💡cultural expression
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]
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