Dayaw Season 3 Episode 2 - Hinabing Lakas
Summary
TLDRThis 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
🌟 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.
🌈 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.
🌿 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.
🌴 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.
🎩 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.
🌱 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.
Mindmap
Keywords
💡Traditional Artisans
💡Indigenous Craftsmen
💡Weaving
💡Ibaka Fiber
💡Backstrap Loom
💡Dyeing
💡Palace Pass
💡Banning
💡Cultural Expression
💡Natural Dyes
💡Respect for Nature
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]
[Music]
[Music]
[Music]
[Applause]
[Music]
you
[Music]
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