One Weave, One Dream by Erin Canoy

ONE WEAVE ONE DREAM

ONE WE ONE DREAM

ONE WEAVE, ONE DREAM:

Empowering Women Through Cultural Heritage

written and designed by erin o. canoy

ÂŠ 2012 erin o. canoy. all rights reserved. No part of this book may be used or reproduced in any manner without the written consent of Erin O. Canoy. All respective work has been appropriately identified and credited. Any omissions found will be noted and corrected in all its subsequent editions. writ ten, de sign and produced by Erin O. Canoy www.erincanoy.com hello@erincanoy.com

one we ave, one dre am www.one-weave.org info@one-weave.org

projec t MFA Thesis seme s ter Spring 2012 ins truc tor s Phil Hamlett, Hunter Wimmer, Michael Kilgore, Michelle Ronsen photogr aphy Erin Canoy, Menchit Ongpin, Joelle Cuna printing Giant Horse Printing bindery The Key Printing and Binding te x t s to ck 100 lb. Finch Text t ypeface s Knockout, Scala Sans

CONTENTS 01

linked fibers Background Overview

Building The Brand

8 18

Initial Materials

Postcards

Similar Organizations

128

58 62

future patterns Moving Forward

bound together The Organization Focus Areas

122

Packaging System

IDEO Human Centered Design Toolkit

112

118

Retail Catalog

104

weaving dreams One-weave.org

Textile Arts Council

Field Research

102

Our Dream Makers

common threads

Interviews

Way We Connect

Current Challenges

internal fabric

Links To Success

Fair Trade Principles Weaving Clusters

86 88

Sustainable Profitability

134

LINKED FIBERS Realizing a looming problem within the Tâ&#x20AC;&#x2122;boli and tâ&#x20AC;&#x2122;nalak community and discovering an opportunity to address the situation

My dream is for my children to be able to go to school. —Jenny Man, T’nalak weaver

Jenny learned how to make the t’nalak when she was 17 years old. Today the t’nalak helps provide an extra source of income for her family during the low seasons of farming when her husband is not working in the corn fields.

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BACKGROUND Deep within the city of South Cotabato, Philippines, lies a peaceful municipality called Lake Sebu. Known for its rolling hills, lush forest and pristine lake, it is the ancestral home of an indigenous group of people called the T’boli.

lake sebu In the island of Mindanao, one of the major group of islands in the Philippines, lies Lake Sebu deep in the province of South Cotabato. This is a peaceful and sleepy municipality with rolling hills, lush forests and a pristine lake. It has a total population of roughly 66,992 with 19 villages scattered around the area. The travel to Lake Sebu is by land which often takes about two to three hours from the airport of General Santos, the capital of South Cotabato. Once in the area, the best mode of transportation is a motorbike due to some areas of unpaved roads and rocky pathways that are narrow and steep. Here, the main source of livelihood in Lake Sebu is farming and fishing. Its rich soil is perfect for rice, corn and other produce while its waters serve as the best home for tilapia.

the t ’boli Living within the mountain ranges of Lake Sebu are an indigenous tribe of people called the T’boli. They are known for the distinctive and colorful garments and the t’nalak—a treasured fabric that serves as a source of the people’s cultural pride.

They live in huts made of wood, straw and bamboo. A traditional T’boli house is a six-meter house built on stilts called the long house, which can be found in small scattered villages in their ancestral land. To the T’boli women, beauty is important and therefore it is learned at an early age. This is exhibited in outward appearances such as their traditional hairdress, the shape and color of teeth, the colorful hand-embroidered garments, symbolic tattoos up to the many intricate brass-casted jewelry and glass beads. Their notion of beauty is also exhibited in the t’nalak, whose intricate patterns are derived from dreams symbolizing certain events, animals, plant life or people.

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“The T’boli are an indigenous people living within Lake Sebu, known for their distinctive and colorful garments as well as the t’nalak— a treasured fabric that serves as a source of the people’s cultural pride.” —One Weave, One Dream

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left Ye Gas, a T’boli woman, sits with her child center Yab Man (extreme left) with her family, showing three generations of t’nalak weavers right Mafil, a T’boli musician, plays on a twostringed instrument called the “hegalung”

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the t ’nalak The t’nalak is a traditional cloth woven by the T’boli women of Lake Sebu. This elaborate fabric represents birth, life, union in marriage and death. It is often used as blankets and clothing and on rare occasions it is used in royal wedding ceremonies. The t’nalak is sacred and represents the T’boli’s uniqueness and identity as an indigenous group of people.

Making the t’nalak is a tedious process that can take anywhere from three to six months to finish, depending on the length and the intricacy of the pattern. Being able to make a t’nalak is a skill that young T’boli women learn through their mothers, grandmothers or even sisters. Most of the existing crafts women today come from a generation of t’nalak weavers that go back to their great ancestors. This is a tedious process that can take anywhere from three to six months to finish, depending on the total length and the intricacy of the pattern. This is made from natural abaca fibers and hand-dyed using the ikat method with pigments gathered

from roots, leaves and bark. These abaca fibers give the textile strength and the natural dyes are almost permanent, that when well taken care of will not fade. In addition, its surface is coated with beeswax and burnished with a small cowry shell to give it a smooth sheen that leaves it sturdier. The T’boli women design the t’nalak without the use of drawn patterns or guides, but instead, rely on a mental image of the designs. Often times called the “dream weavers” the T’boli women believe that the patterns are bestowed on them through either their own dreams, those from their ancestors or ones granted specially through Fu Dalu, the spirit of the abaca. These designs are handed down or shared but not every t’nalak weaver knows every design. Usually, a few of the original designs stay within a certain family while others are shared. Today, the tradition of the t’nalak lives on. While it continues to represent the tribe’s uniqueness and gives a sense of pride to the T’boli, the many factors affecting its production could lead to the extinction of a part of their culture.

one weave, one dream

“The t’nalak is by far the most enduring of the Philippine T’boli tribes’ artifacts. It is a historical, hand-woven fabric that portrays and conveys the tribes’ cultural identity.” —Gida Ofong, Founder of Gida’s T’nalak

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“In almost every country where they live, indigenous peoples belong to the poorest of the poor, have the lowest income levels and limited access to basic education, health care and other services. Indigenous peoples represent 5% of the world’s population and over 15% of the world’s poor.” —International Labor Organization

One Weave, one Dream

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OVERVIEW The t’nalak, is a traditional cloth woven on a backstrap loom by the T’boli women of Lake Sebu in South Cotabato, Philippines. Here, the indigenous weavers continue this tedious and age-old practice involving the warp-ikat method while using natural dyes and abaca plant fibers that are indigenous to the Philippines. Often called “dream weavers,” these women design the patterns from dreams which serve as mental images. These dreams can be of their own, those handed down from ancestors or those bestowed on them by Fu Dalu, the spirit of the abaca. Today, the T’boli women continue to dream, but instead of t’nalak patterns they dream of a better life. Over 70% of people living in Lake Sebu from the city of South Cotabato are living below the poverty line and many rely on a hand-to-mouth existence. Parents are unable to feed their families regularly and children are unable to go to school.

Today, the T’boli women continue to dream, but instead of t’nalak patterns they dream of a better life One Weave, One Dream, serves as a catalyst in alleviating the T’boli women and their families from poverty by marketing and distributing the t’nalak which at the same time helps safeguards their traditions.

Over 70% of Lake Sebu’s inhabitants are living below the poverty line, relying on a hand-to-mouth existence.

one weave, one dream

CURRENT CHALLENGES The challenge of survival in the everyday lives of the Tâ&#x20AC;&#x2122;boli likewise contributes to the strain on the fabric of their culture, including their precious tâ&#x20AC;&#x2122;nalak.

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poverty level Deeply tucked away in the mountain ranges of Lake Sebu live the indigenous group known as the T’boli. They occupy an area of about 750 square miles or 2,000 square kilometers where the southern Coast Range and the Cotabato Cordillera or the Tiruay Highlands merge. The T’boli once lived in a time where they were able to provide for all their families. They enjoyed a peaceful and comfortable life living off the soils, forests and waterways of their ancestral land. However, as time moved on, settlers began encroaching on their land, swindling them out of their property and creating various businesses that would destroy the very land they owned.

Sources of Livelihood The primary sources of income for the T’boli is agriculture and fishing. Some are fortunate to have land up in the mountains where they can plant crops while others live by the edge of the lake, providing them with fresh tilapia. This is where they get the income needed to help run their different households. However, this is not always sufficient for some that they rely on their t’nalak as a secondary and many times, a primary source of income. In some cases, t’nalak weavers that are widowed or have no male head in the household, rely on the t’nalak as their main source of income.

Not only are their everyday lives being challenged by our modern times, but also their culture—including the precious t’nalak.

In fact, during an interview with a T’boli woman in her 70’s, she explained that she was forced to work in the cornfields from around five in the morning to late afternoon just to earn some extra income. This was done during the days when she would be waiting for buyers to purchase her t'nalak.

Today, the T’boli are living in poverty with many lacking basic elements of survival, health and education. Not only are their lives being challenged by the modernity of our times, but also their culture—including the precious t’nalak.

one weave, one dream

Basic Education For the T’boli, education is very important in order to have a better life outside of living in poverty. Yet, not many of them are not only able to afford a decent education, but have no feasible access especially for the T’boli living in the upland areas. Many of these individuals do not have their own modes of transportation and the long traveling distance on foot makes it difficult for children to attend schools.

Lake Sebu has the highest number of household heads with no grade completed as compared to its neighboring cities within the province of South Cotabato. From a recent survey conducted by the Peace Equity Access for Community Empowerment Foundation (PEF), it is shown that Lake Sebu has the highest number of household heads with no grade completed as compared to their neighboring cities within the province of South Cotabato.

In fact, the survey shows that 34% have not completed any form of education, 43% have completed elementary, 20% are high school graduates, while only 2% of the population are college graduates. Looking at the other spectrum of what this basic education entails within the life of a T’boli, it is valuable to know that their desire for better knowledge has a negative impact on the t’nalak tradition. Many of the younger generations prefer to go to school rather than to be at home learning about the t'nalak production. Furthermore, they recognize the minimal income it generates and would prefer to work in the city to earn more for themselves.

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34% Population with no educational background

43% Population with an elementary level education

20% Population with a high school degree

3% Population with a college degree

one weave, one dream

PHP 1,680 = $39.14 Cost of one sack of rice

PHP 80 = $1.85 Cost of six cups of rice when paid in cash

PHP 110 = $2.56 Cost of six cups of rice when given one month to pay

PHP 80 = $1.85 Cost of transportation going back and forth to buy the rice or other food in the market

(PHP stands for Philippine Pesos, the currency used in the Republic of the Philippines)

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“If there’s nothing in your stomach, you can’t work or weave or get abaca. Your body hurts. Your legs, back and neck hurt.” —Yab Man, T’nalak weaver

Food and Nutrition For the T’boli living in poverty, their diet mainly consists of root crops and vegetables that they are able to plant in their own gardens, and this also makes it easier for them to have a meal everyday. This way, they don’t always have to rely on new income that enters into the household. The staples such as sweet plantain, bananas, and cassava are easier for them to garden as these produce a steady harvest regardless of the time of the year. Eating rice, on the other hand, is optional if they are able to buy from the marketplace. However, not all households are able to eat rice regularly due to their low income which makes it unaffordable. Also, meats and fish are a rare treat because of the prices and the T'boli's long distance from their houses to the marketplace. The T’boli are often able to eat at least one full meal a day or even more. However, the concern is not in the number but in the type of food they take. An unbalanced diet could result in future health problems and malnutrition.

top A bowl of freshly boiled cassava roots

one weave, one dream

“If they don’t have materials, they become paralyzed. I was shocked when I saw them use plastic straw to tie the fibers. It was because they didn’t have money left.” —Edna Kelley, Lake Sebu Tourism Guide

unavailability of raw materials Abaca Fibers Traditionally, t’nalak production involves the harvesting of the weavers’ own abaca plants and the time-consuming stripping of its fibers, to produce the raw material needed in weaving. Currently, some weaving clusters are still able to produce their own fibers but there are also those that are not as fortunate due to the lack of land to develop their own plantation.

Some weaving clusters are still able to produce their own abaca fiber but there are also those that are not as fortunate Owning abaca trees require ample land to grow many of them. However, much of this area has been converted to farm land in order to produce a larger harvest of rice, corn, and other crops. On other occasions, abaca planting becomes relegated to lands far up into the mountains and thus, cannot be taken care of on a regular basis due to the distance as well as the transportation costs. Likewise, there are also those that are simply unable to grow their own for lack of manpower or land.

Those that are unable to gather their own abaca are forced to purchase the stripped fibers from other people or through vendors at the town proper. This makes it difficult financially, haltering the production for those who do not have the money to purchase the material nor the money to travel to the market place where they can be acquired. Natural Dyes In addition to the abaca fibers, the t’nalak production also requires vegetables dyes that can be found from two certain specimens—the k’nalum tree and the loko plant. The k’nalum tree provides leaves and berries which are then crushed and boiled for a number of days to produce the black dye. This is not difficult to maintain since the tree will produce them as long as it is regularly taken care of. For the red dye, the small roots of the loko plant are harvested which results in the immediate death of the plant. This, therefore, requires regular planting so as not to deplete the current supply. If not properly cultivated, the weavers end up purchasing the roots or using synthetic dyes in place of natural dyes.

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top left Close up of the leaves from the kâ&#x20AC;&#x2122;nalum tree which are boiled to make the black dye; top right Kâ&#x20AC;&#x2122;nalum tree bottom Roots of the loko plant which are ground up and boiled to produce the red dye;

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PHP 250 = $5.80 Cost of roughly 10 bundles of abaca to make a six meter tâ&#x20AC;&#x2122;nalak

PHP 80 = $1.85 Cost of transportation going back and forth to buy the abaca in the market

Purchasing Abaca When the Tâ&#x20AC;&#x2122;boli do not have their own abaca plantation, they must resort to purchasing abaca fibers at the market. Many of these weavers live far from the city proper and often times they do not have their own transportation. What happens is that the weavers hire a motorcycle for roughly PHP 80 or $1.85 to get them back and forth from the market to their homes. The amount they pay to buy the fibers is roughly three bundles of abaca that could be used for the production. For them, this is a large sum to be shelled out during the initial phase. Often times, due to the lack of money to either purchase the raw fibers or to travel to the marketplace, the overall t'nalak production stops. The fibers are bought and the production is then only continued once rolls of tâ&#x20AC;&#x2122;nalak are sold or if a buyer provides a cash advance for the next orders of the fabric.

one weave, one dream

top Production center of non-T’boli people trying to market textiles being sold as “t’nalak” even if they are not the same kind of fabric

production methods There is a growing number of alternative production methods among these t’nalak weaving communities that threaten to endanger the art form. These alternative methods are characterized by two things: first, the use of synthetic dyes that produce low-quality t’nalak and second, the weaving practices conducted by young boys and men and even by non-T’boli people. In addition, this manner fosters a “factory-style” type of production cycle within the weaving community.

Wrong Labels These alternative production areas not only produce t’nalakinspired fabrics, but they also sell plain many colored fabrics that they wrongly label as “t’nalak.” More often than not, these are fabrics that are merely plain colored using synthetic dyes made out of the abaca fibers. Other times the designs of these fabrics are not even close to the traditional t’nalak patterns. By labeling these other types of fabrics the same, consumers end up generalizing them under the same category.

Alternative production methods among the community threaten to endanger the art form

This is unfortunate because the consumers are made to think that any fabric woven out of the abaca fibers, whether using the traditional colors or other non-conventional hues, are t’nalak. In turn, it devalues the true fabric, making it difficult to distinguished to the uneducated buyers. Ultimately, what makes the fabric a true t’nalak is the use of the abaca fibers coupled with the traditional natural dye-generated colors as well as having been woven a T’boli woman.

Because many weavers have opted for the faster route via nontraditional weaving practices, the number of master artisans and skilled T’boli weavers are fast dwindling. This could eventually lead to the T’boli losing knowledge on their traditional production, patterns and techniques. Allowing the non-traditional approach is also focuses mainly on profit without looking at its long-term effects on the production and culture.

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Synthetic Dyes The natural method of dyeing the abaca fibers is through the use of vegetable dyes gathered from the k’nalum and loko tree. However, the introduction of synthetic dyes has many of the weaving clusters moving from the traditional, though tedious, method to an unnatural but faster process. Some use completely synthetic dyes while others use a combination of both to cut down costs and production time. This produces a variety of multicolored fabrics that veer away from the traditional designs that the T’boli hold dear. Although the dyes may cut the dyeing time in half, the use of synthetic dyes add to the expense of the packets from outside vendors which many of the weavers may not have the money for. Purchasing from the markets promotes a non-sustainable approach to the craft. Synthetic dyes also depreciate the value of the t’nalak and cause it to fade or discolor unlike that of vegetable dyes. In addition, knowledge about using natural materials for dyes is at risk of being lost if this practice continues.

top Textiles being sold as t’nalak even if they are not the same kind of fabric

COMMON THREADS Various modes of research conducted throughout the process that have provided valuable insights in developing solutions

My dream is to have permanent buyers for my t’nalak. —Yab Man, T’nalak weaver

Yab Man, considered a “master weaver” within the t’nalak community, has been weaving for over 30 years. She hopes that more T’boli women will learn how to make the t’nalak so that the tradition will not die with her generation.

one weave, one dream

common threads

one weave, one dream

common threads

one weave, one dream

INITIAL MATERIALS In order to jump start my thesis journey, I developed various tools for marketing the project as well as a means of recording my process. My thesis blog and cards were my first step in reaching out to other people and getting the word out. Once I began this long journey, I created initial materials to get the word out regarding my topic as well as to help chart my progress. I started with a small booklet that contained all the basic information about my thesis which would be given to people I would interview. I also created small folded cards that explained my thesis briefly and included my website address if the receiver would like to learn more about the project. This was a fast and easy way to set the gears in motion.

I also decided to put up a blog to document my journey. The process website, www.one-weave.com, was created at the very start using a simple WordPress template that I modified. Here was able to post all my findings as well as valuable research and insights that I came across. This proved to be very beneficial when I was reaching out to others. It gave my thesis a face that could be presented to the public as well as a portal for me to connect with people of similar interests.

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one weave, one dream

top Scarves and bags from Ock Pop Tok, an organization that supports artisans in Lao middle left Joy Totah Hilden, author of the book giving a lecture on textiles from Saudi Arabia bottom left Textile Arts Council logo bottom right Lecture attendees browse through the various hand-crafted items from Ock Pop Tok

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THE TEXTILE ARTS COUNCIL The Textile Arts Council is an affiliate organization of the Fine Arts Museums of San Francisco that caters to the Bay Area community. It encourages the appreciation of the Museumsâ&#x20AC;&#x2122; textile and costume collections through lecture programs, seminars, exhibits, workshops and many other activities that are available for members and non-members.

Joining the council opened my eyes to other forms of handicrafts around the world as well as connections to other organizations and individuals striving to preserve these various traditional art forms.

In the Spring of 2011, I became a member of the Textile Arts Council early in the process to further my knowledge on the topic I chose to pursue. Joining the council opened my eyes to other forms of handicrafts around the world as well as connections to other organizations and individuals striving to preserve these various traditional art forms. In addition, it

gave me the opportunity to attend free lectures on textiles all over the world as well as make valuable contacts within the community and within the industry. A few of the lectures that I have attended at the De Young Museum were a lecture on Bedouin weaving, Kuna Molas, and textiles from Lao. These gave me a clearer perspective on what was out there and it provided me the opportunity to see the different crafts as well as how the members interacted with them. It gave a glimpse of what interested the type of market that I was targeting for my thesis.

one weave, one dream

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SIMILAR ORGANIZATIONS It was important to study existing organizations that had similar goals in working with indigenous artisans in order to see their successes as well as their challenges. Understanding how these artisansâ&#x20AC;&#x2122; needs were addressed gave insights into the long-term goals for my whole project. Furthermore, viewing their websites and materials gave me an understanding into the type of language or voice that was appropriate.

Understanding how these artisansâ&#x20AC;&#x2122; needs were addressed gave insights into the long-term goals for my project. Being able to connect to the other individuals that are working with a similar cause brought great insights to my project. It also helped me to understand the various challenges that each organization faced as well as their approaches to these hurdlesâ&#x20AC;&#x201D;many of which were similar to mine

Viewing the different design styles of the various organizations provided me with a background of what was out there. It helped me to also create a unique voice for my organization that helps set it apart. It also made me cautious about what to do and what not to do in terms of the overall look and feel. On the opposite page are just a few of the organizations and websites that I have referenced and contacted for my thesis. Many of these are based here in the US despite aiding indigenous artisans from other countries around the world.

one weave, one dream

INTERVIEWS Several Interviews were conducted with a number of individuals during the course of the project’s development in order to help provide a well-rounded background for creating the overall structure, mission and goals. Similar Organizations

Ock Pop Tok, Located in Lao

Gida's T'nalak, Located in the Philippines

Threads of Peru, Located in Peru

Textile And Fashion Industry

Amy Williams, Fashion Design Chair at The California College of the Arts

Textile Experts And Scholars

Marian Pastor-Roces, Independent Curator, Scholar and Critic

Dr. Artemio C. Barbosa, Curator at the Philippine National Museum

Dr. Norma Respicio, Professor at the University of the Philippines

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SIMILAR ORGANIZATIONS

ock pop tok

www.ockpoptok.com

Ock Pop Tok is a textile gallery and weaving center in Luang Prabang, Lao by Joanna Smith and Veomanee Duangdala. Its mission is “to advance the artistic, cultural and social development of Lao artisans and their textiles while adhering to fair trade principles. Through educational activities we aim to increase the understanding and appreciation of Lao’s diverse textiles and communities.”

Interview with Joanna Smith, Co-founder:

Target market are the tourists that visit Lao; They purchase the various products through their Fibre2Fabric gallery, on site shop and Living Crafts Center as well as through online orders from their website

Develop products according to what the owners feel they themselves would purchase

Village Weavers Projects: Initiative that helps to support artisans economically by developing a range of handicrafts with the artisans that combine craftsmanship, artistic creativity and market knowledge

Promote the use of all-natural materials and dyes through training workshops with the artisans as well as encourage the cultivating of the crops required for raw materials

Fibre2Fabric is the non-profit entity and gallery space that exhibits, demonstrates and documents the production and cultural significance of textiles from various regions and ethnicity in Lao in order to make all the information accessible to local and foreign visitors

one weave, one dream

threads of peru

www.threadsofperu.com

Threads of Peru is a non-profit social enterprise registered in Cusco, Peru that helps support Quechua weavers and their textile traditions. They help connect the artisans to the international market through their online and on site store which provides the artisans with an economic opportunity while at the same time helping to preserve their ancient culture. Its founding members are from Peru, Australia and Canada. In addition, this organization started as a design class endeavor.

Interview with Adam Collins, Co-founder:

Primarily market goods to tourists that are passing by Ollantaytambo that ride the train to Macchu Piccu as well as through their online store

Purchase directly from the weavers at prices dictated by the weavers and all items are produced by the weavers with no 3rd party manufacturers

The weavers want to be told what to make depending they want to know what foreigners will like and will want to buy; The tourist market dictates the demands Aims to educate the consumers and interested parties through their website which contains information such as methods, history, dyes, weaving techniques, etc.

Also conduct programs and workshops that help build their community by educating these weavers and their families on health care, nutrition, family planning as well as conducting projects to help build schools, weaving houses, washrooms, etc.

The Andean textiles had largely faded from existence but through the help of Nilda Callañaupa, a woman that put up the Textile Center in Cusco, this tradition has been revived by marketing the products and bringing people’s attention to it through awareness and education

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“Products have to change, otherwise they aren’t marketable. Figure out how to make marketable items by not changing what they’re doing very much. Keep the tradition the same but it’s what they’re making that changes.” —Adam Collins, Co-founder of Threads of Peru

left Quechua weaver spinning yarn top right Quechua weaver with child bottom right Quechua weaver with a volunteer from Threads of Peru

one weave, one dream

gida’s t ’nalak international

www.gidastnalak.com

Gida’s T’nalak International is a small wholesale and retail business venture started in 1999 and run by Gida Ofong, a T’boli woman. Her business is run in the city of General Santos, South Cotabato 32.7 miles (52.6 km) from Lake Sebu. Gida partners with various weaving villages within Lake Sebu and produces both traditional and contemporary designs of the t’nalak which are then manufactured in the form of bags, shoes, hats and other items.

Insights from the interview with Gida Ofong:

Currently markets and distributes the products through Facebook, word of mouth and occasional trade shows

The production is currently halted due to the lack of funds to fuel the production; Loans and donations are solicited to fund the production

Primary motive is to sell products

Uses non-traditional t’nalak patterns that are created by herself and incorporates synthetic dyes

Weavers are paid in intervals during the production of t’nalak; They are given a cash or rice advance once the order is placed then another payment when the t’nalak has been woven, then remainder of the balance is given when the final products are delivered to the clients

Stopped the production of items like bags, shoes, etc. because of trouble with 3rd party producers

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TEXTILE AND FASHION INDUSTRY amy williams

fashion design chair of cca, california college of the arts

Amy Williams is the current Fashion Design chair at the CCA in San Francisco with years of experience in the industry under her belt. Her work as a fashion designer has been featured in publications such as Vogue, Elle and Women’s Wear Daily among others. Her designs focus on women’s designer knits, sweaters, and athletic products. In addition, Amy has also worked with artisans from around the globe in countries such as Indonesia, China, Korea and Macao on various garments.

Interview insights:

Believes that: “There’s a huge desire to bring good work to good people but there’s a huge ocean between what’s reality and what’s a possibility. You have to be really careful with that sort of thing.”

Mass-production or targeting bigger corporations are tricky because they encourage bulk orders at low prices that tends to exploit the effort and encourage a factorystyle of production; The artisans get blinded by the large number of units but don’t realize that larger units means these corporations want to charge less

Artisans are not educated on real world demands of the marketplace and end up being exploited; They are naive to details such as the high quality standards, fickleness in tastes or quick shifts in design trends, high turnovers, and lower pricing from bulk orders

Suggests starting in a small scale because if you can build an industry for a new emerging niche of business, and you can support this in a small growth manner, but eventually five years from now be able to support a huge production volume and then you can have the ability to interpret and stay ahead of some sort of trend and their techniques

For marketing, it is important to figure out the types of people that you want to attract to understand what the best way to reach them is; To help, try looking at existing stores to see where your products could fit in order to understand the type of market you’re looking at; Look at their attitudes and price points

top Amy Williams, Fashion Design Chair

“Some International NGOs have come to ‘help ‚ by introducing more colorful and synthetic dyes but instead they have made the t’nalak lose its character. They have made these weavers more like factory workers.” —Dr. Norma Respicio, Professor at the University of the Philippines and Textile Expert

one weave, one dream

TEXTILE EXPERTS AND SCHOLARS marian pastor roces

independent curator, scholar and critic

Marian Pastor-Roces’ work has been published and read internationally on topics of contemporary art, textile, politics of museums, cities and others. Her experience as a curator spans over three decades in not only the Philippines but in the United States as well. She is known for her curatorial planning and project management of the first outdoor museum in Philippines amongst others.

Interview insights:

It’s amazing and unexplainable how the T’boli were able to survive and function the way that they do today

The t’nalak shouldn’t be made into a commodity like the ones that are sold in places like Martha Stewart or Oprah, it is like a museum piece, a work of art that is worth more than what they charge for

There could be a structure more like a museum that showcases and houses the different t’nalak; Today there are hardly any museum pieces of old t’nalak, even the T’boli probably don’t even have heirloom pieces with them

The marketing arm is important because this is what will give an understanding of the art to let people see how intricately it is done and what type of effort it takes

The T’boli could be treated like artists with a stipend to work and just weave without worrying about profit; like how writers get paid while they write their books

One can show the differences between bad and good t’nalak because the range in differences will help people realize the true value of this cloth

top Marian Pastor-Roces below “Sinaunang Habi: Philippine Ancestral Weave,” a book written by Marian Pastor-Roces which documents various indigenous textiles from throughout the Philippines

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dr. artemio c. barbosa

curator at the philippine national museum

Dr. Artemio C. Barbosa is the current curator of the Anthropology Division at the National Museum of the Philippines in Manila. He is a published author on topics such as Philippine pottery, regions and provinces, as well as changes on the Indigenous peoples, among many others.

Interview insights:

Hopes that the T’boli would be able to sustain their production and become well known outside of the country just like our neighbors in Thailand, Indonesia and India

Many of the younger generation of weavers are distracted by everything around them; In weaving, one has to be focused and the art takes a lot of concentration and time

Many of the current production being done today are very commercial and mass-produced from conference kits, bags, small pouches and folders

There could be collaborations between the departments of agriculture and other government agencies to assist in the preservation of the t’nalak

top Philippine National Museum in Roxas, Manila

one weave, one dream

“The younger T’boli generation is uninterested because they are not encouraged to learn it. They see the t’nalak as being tedious work that is not rewarding nor profitable. To them it is hard work and they don’t care about it.” —Dr. Norma Respicio, Professor at the University of the Philippines

left T'boli children posing after a performance right T'boli students with their teacher

common threads

dr. norma respicio

professor at university of the philippines diliman

Dr. Norma A. Respicio is currently a professor at the Department of Art Studies, University of the Philippines in Diliman as well as the Associate Dean for Academic Affairs. She has studied Japanese Language at the Osaka University of Foreign Studies and Japanese Art History at the Kyoto University. She has an MA in Art History and a PhD in Philippine Studies, which she acquired from the University of the Philippines in Diliman. Her primary fields of specialization are on the history and aesthetics of textile traditions within various Philippine communities as well as the Tokyo and Okinawa traditions of Japan. Producing numerous publications and essays that have been published locally and internationally, Dr. Respicio is a well-respected expert, writer and textile curator.

Interview insights:

T’nalak weaving differs from those of other indigenous groups though the types of motifs they use and the use of three colors; In addition, the t’nalak weavers are also the most prolific today in spite of the current conditions

The t’nalak is more known among art and textile connoisseurs and not so much to the general public

The production is highly technical and delicate and needs a lot of focus to be done, therefore it should not be rushed

If the T’boli want to introduce new colors, there may be research done in terms of coming up with more natural dyes that are available within their community

Abaca plant is prone to diseases and its deterioration affects the production; therefore, there needs to be more effort from the local government to help aid the planting of abaca and to cultivate it; The Department of Agriculture could come and provide seminars to them

DTI (Philippine Department of Trade and Industry) can educate them on proper product development while the Tourism Department helps in promoting it

There is an opportunity to introduce a more formalized mode of teaching within the community to encourage its integration in their education system

NCCA (National Commission of Culture and the Arts) could supervise and regularly follow-up with the weaving center if funds are being utilized properly for the safeguarding of the tradition.

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FIELD RESEARCH In order to engage in more in-depth research on the people, the market, the current conditions as well as to gather original photography, I decided to conduct field research trips to Lake Sebu. In the development of my thesis, I embarked on two separate trips back to Manila to visit Lake Sebu. For the initial discovery phase, I stayed in Lake Sebu for five days in June 2011. Here, I was able to establish initial connections with the weavers while observing their process, customs, traditions and surroundings as well as hearing their day-to-day struggles. I conducted interviews with the women and some members of their families as well as took original photographs that would be used for the designed materials later on. In addition, I was able to purchase several rolls of completed tâ&#x20AC;&#x2122;nalak that I could take with me back to San Francisco. Upon leaving, I also ordered a few more rolls that would be sent back to Manila which I could use later on. This initial trip proved to be very valuable in gathering firsthand information which could not have been obtained through online resources as well as the few published materials on the subject matter. In fact, I conducted a few activities taken from the IDEO Human Centered Design Kit which helped me understand their values and priorities as well as financial standing. Moving forward with my thesis, I realized that another trip back to Lake Sebu would be beneficial in gathering additional information that I needed as well as taking more original photography. In January 2012, I traveled back to Lake Sebu to visit the weavers and gather the remaining materials that I needed for all my thesis deliverables.

The second trip gave me a clearer picture of my whole thesis and it allowed me to also see the changes in their community and tâ&#x20AC;&#x2122;nalak production. I was also able to get more answers for questions that were bothering me.

I was able to establish initial connections with the weavers while observing their process, customs and traditions, surroundings as well as hearing their day-to-day struggles All in all, the two trips became the very heart of my research for this thesis and in the end it helped me build relationships with people that I would never had the honor of meeting.

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left Photograph with Barbara Ofung and her family as well as members of their weaving community middle Taking the traditional mode of transportation in Lake Sebu called the "habal-habal" right Conducting an exercise from the IDEO Human Centered Design Toolkit

common threads

one weave, one dream

top IDEO HCD Toolkit used for data gathering during the Lake Sebu field research trip bottom left Yab Man picking the t'nalak card to represent the most important item to her bottom right Recording the weaver's choices

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IDEO HUMAN CENTERED DESIGN TOOLKIT The HCD Toolkit helped me to communicate with the T’boli women through visual exercises, providing me with valuable insights that I wouldn’t have otherwise acquired through a one-on-one interview. Prior to my Lake Sebu field trip, I had come across an article on IDEO’s Human Centered Design (HCD) Toolkit. Upon downloading myself a copy and reading through what it entailed, I realized that some of the activities could be used for my research and data gathering.

I used several tips from the HCD kit well as two valuable activities that helped me understand the values, desires and problems that the T’boli women were facing The HCD Toolkit has been used by many major corporations, businesses and organizations in order to create solutions for people from the developing world. The various activities listed in the kit are based on the three phases called: Hear, Create and Develop. Each of them work together in identifying a problem, formulating solutions and prototypes and finally in realizing the solutions. For the purposes of my project, I used several tips from the HCD toolkit well as two valuable activities that helped me understand the values, desires and problems that the T'boli women were facing.

In the first activity, I had drawn various objects and asked the participant to pick out the top three images that were the most important to them. Majority of the women chose either food or the t'nalak as their first choice with other images such as farming, planting or education as the second and third. From this, I understood the t'nalak's value as a source of livelihood and as a tradition that was important to pass on to the younger generations. It vindicated the whole purpose of my project. In addition, I conducted a second activity where I asked them what brought income into the household and where they would spend it on. Again, many chose weaving t'nalak and farming as the major sources of income. From there they would get the money to pay for food, and education of their children. This helped me to understand what their priorities were and also how much they relied on weaving to bring income.

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“Once you earn money from selling t’nalak you can buy fish from the fisherman.” —Fining Yata, T'nalak weaver

“You need abaca to make the t’nalak. If you have your own plants you don't need to buy abaca because you can grow your own.” —Maria Elena Lani, T'nalak weaver

common threads

“If I have my own cellphone I can call my son when he’s in school.” —Uyel Anggol, T'nalak weaver

“It’s good to have people around you so that when you make the t’nalak, different people can do the different steps like designing, weaving or dyeing.” —Mary Glen Lani, T'nalak weaver

BOUND TOGETHER Getting into the heart of One Weave, One Dream as a non-profit organization and catalyst in poverty alleviation

My dream is to build a bigger long house where I can accommodate more students, to teach the younger generation how to make the t’nalak. —Barbara Ofung, T’nalak weaver

Barbara has been passionately making the t’nalak for over 39 years and continues to pass on the tradition to the few students that are willing to learn over the weekends.

“Things come full circle, as one dream lays the foundation for the fabric, and the fabric serving as the catalyst for another dream— that of which is a better life.” —One Weave, One Dream, Non-profit Organization

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ONE WEAVE ONE DREAM

one weave, one dream

THE ORGANIZATION background

goals

One Weave, One Dream, is a non-profit organization dedicated to providing a livelihood opportunity for the T’boli women, who belong to an indigenous group of people living in poverty within a remote area in the southern Philippines.

To reduce poverty and revitalize the weaving tradition by expanding the current market of the t’nalak

To educate the public on the art form by increasing the visibility of the t’nalak nationally and internationally

Our aim is to help stimulate the waning production of the t’nalak, a traditional woven cloth, making it marketable and accessible to the outside world, turning this traditional endeavor into a self-sustaining enterprise.

To empower the women through cultural heritage

To incorporate workshop and training sessions to safeguard the tradition and implement a sustainable supply chain for its raw materials

To research and document the current production to develop further technical knowledge on the art form

Our aim is to help stimulate the waning production of the t’nalak, which is a traditional T'boli woven cloth, making it marketable and accessible to the outside world, turning this traditional endeavor into a self-sustaining enterprise. This helps empower the women through cultural heritage by allowing the weavers to provide their family with additional income. In addition, we help increase the awareness, understanding and appreciation of this unique art form through educational activities and materials that in turn help safeguard this tradition.

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We believe that achieving a delicate balance between providing a source of income and safeguarding tradition is essential in our organizationâ&#x20AC;&#x2122;s success

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We are broken down into different focus areas that work together in providing a livelihood opportunity while creating a sustainable system of production.

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FOCUS AREAS general education Educate the various consumers and target audience on the traditional art form behind the t'nalak weaving through our website, and marketing materials to driving them to our retail channels to generate sales

village education Organize various sessions in educating the T'boli women on Fair Trade principles including basic marketing and commerce, connecting the weavers with our mission and goals as well as connecting weavers with each other

sustainable supply chain Ensure a sustainable, long-term t'nalak production through various initiatives by cultivating its raw materials such as the fiber, natural dyes and wood for looms through the help of the Department of Agriculture and other local organizations

marketplace Provide retail channels such as the online and print catalog, and online store to give weavers access to local and international markets to generate funds that will help alleviate the weavers from poverty

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“Visitors that go to the souvenir shop get shocked at how much a yard of t’nalak costs. But when they visit the weaving villages and witness how it’s done, they understand why.” —Edna Kelley, Lake Sebu Tourism Guide

GENERAL EDUCATION online resource One Weave, One Dream is about informing and educating the world about the unique T’boli tradition of making the t’nalak. Our online resource provides up-to-date information about the current t'nalak production process based on our many workshops and research done. We hope to educate the public on the intricate and tedious methods of production in order to make people realize the value of the t’nalak. Information through our regular email newsletters, frequent articles, the original photography and the short video clips we upload unto our website also provides continued support and awareness for our organization’s objectives.

In addition, we take part in textile symposiums around the world to further provide accurate and robust research about this unique process. Our representatives are volunteers and employees that work closely with the T’boli themselves in the production of the t’nalak pieces.

We hope to educate the public on the intricate and tedious methods of production in order to make people realize the value of the t’nalak.

exhibits and textile symposiums

textile study tours

Aside from the online resource, we conduct regular events to help educate the public on the t’nalak. In collaboration with local and international museums and galleries, we strive to share the unique art form by bringing many of our finished t’nalak pieces to the public. By showcasing several t'nalak heirloom pieces as well as the newer t’nalak designs, we hope to bring the art form more into context as its production methods are slowly changing and evolving for the better

We encourage hands-on education in truly understanding the process and art form behind this textile through our Textile Study Tours held in Lake Sebu. Visitors that avail are provided with a detailed two-day itinerary that takes them to see the actual t’nalak production through organized tours conducted by our few volunteers and guides. These are conducted in intimate groups, creating a more in-depth understanding of the craft.

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VILLAGE EDUCATION training workshops Training workshops between our many representatives and the weavers are organized to empower the women through cultural heritage by educating them on sustainable business practices, finance, fair trade principles and product development. These help the weavers understand the operations of the organization while equipping them with knowledge to avoid future exploitation from outside parties.

We educate the T’boli on sustainable business practices, finance, fair trade principles and product development

Finance and Commerce In this workshop, weavers are equipped with knowledge on basic finance and commerce to help educate them on business practices. This helps to promote a transparency between our organization and the weavers. Marketing and Production In this workshop, we collaborate with selected weavers to develop marketable products made from the t’nalak that are fit

for a global market. It is essential that the weavers fully participate in the development to achieve a delicate balance between tradition and contemporary tastes.

cross-cluster workshops The cross-cluster workshops allow the skilled weavers to come together, encouraging an open exchange of ideas, techniques and patterns. We bring the weavers of different villages into one area where they spend the day learning about each other and the designs that they make. This common gathering helps the weaving community to share their knowledge with each other in preserving the tradition, as well as continue to improve their weaving skills and the quality of the t’nalak. This workshop also helps to strengthen the t’nalak community through creativity and cultural heritage. This brings together a stronger bond in protecting and continuing their tradition.

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top left The shuttle, a tool used when weaving, with dyed abaca fibers wrapped around it top right A close up of the dyed fibers on a loom and in between the bristles of the weaving comb below Yab Man, a tâ&#x20AC;&#x2122;nalak weaver, uses the backstrap loom to weave her fabric

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“There could be a combined effort among the government agencies, like the Department of Agriculture, that could help with that [abaca planting]. They can see how to cultivate it, how to make it better and prevent diseases.” —Dr. Norma Respicio, Professor at the University of the Philippines, Textile expert and curator

SUSTAINABLE SUPPLY CHAIN planting projects At One Weave, One Dream, we strive for a sustainable supply chain that allows a supply of raw material that is planted and cultivated by our weaving villages. Here, we collaborate with the weavers through the assistance of volunteers and government officials to implement our projects.

Implementing a sustainable supply chain ensures a long-term t’nalak production Implementing a sustainable supply chain ensures a long-term t’nalak production through planting projects that encourage the regular cultivation of raw materials such as the fiber, natural dyes and wood for looms. This ensures that the T’boli will always have a regular source of raw material without having to rely on what is available at the market. Furthermore, it promotes the use of natural materials found within their environment, just as the tradition dictates.

Our projects consist of regular agriculture seminars as well as planting and harvesting sessions. We help to educate the T’boli on efficient methods of planting, fertilizing and maintaining the abaca, k’nalum and loko plants. These methods make use of materials that are easily accessible with organic sprays and fertilizers found within the environment.

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“The market needs to know that you exist to be able to sell your products. You need to find the right venue for the right price points that you’re selling.” —Amy Williams, Fashion Design Chair of the California College of the Arts

MARKETPLACE At One Weave, One Dream, we provide the opportunity for weavers to become connected with the world outside of their villages. Retail channels such as the online and print catalog, online store and traveling carts provide the weavers access to local and international markets to generate funds that will help alleviate the weavers from poverty. Our online marketplace is our primary retail channel and this provides a wider range of consumers for the artisans. It helps to bring the product into a global scale by making it visible to customers from other countries. On other occasions, we also set up small pop-up shops and booths during trade shows and textile bazaars. During our exhibits we also provide a small retail stand that helps to sell our wonderful products.

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INCREASE VISIBILITY Create public awareness

ENCOURAGE WEAVING Safeguard the tradition

INCREAS E EDUCATI ON Foster understanding

CREATE A DEMAND

INCREASE INCOME Alleviate from poverty

GENERATE SALES Provide a livelihood opportunity

Provide retail channels

STIMULATE PRODUCTION Encourage the further production of t'nalak

We align all our mission, goals and focus areas, in order to achieve overall success as a non-profit organization.

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LINKS TO SUCCESS We strive to create a continuous cycle that aids in providing a self-sustaining source of income for the women which encourages the production of the t’nalak resulting in the safeguarding of the tradition We work hard to achieve our mission of providing livelihood opportunities to these t’nalak weavers of Lake Sebu. However, our organization does not solely focus on merely profit and income. Rather, it takes a look at the big picture from increasing visibility in the public arena, general education, production and sales to finally the stimulation of the weaving the t’nalak which ultimately safeguards the tradition.

The organization does not solely focus on merely profit and income. Rather, it takes a look at the big picture. First, we aim to increase visibility and then help spark interest in the public by acknowledging the existence of this unique art form. Once the audience is interested, it goes further in educating them through its website, textile exhibits, and publications. This fosters a greater understanding in helping to recognize the tradition behind it as well as its current problems and challenges. Through this, the value of the t’nalak grows, thus, increasing the demand for the product. This demand is then satisfied through our online retail channels where the customers can purchase the products.

Once there is a demand, the supply must obviously increase as well. The stimulation of production is monitored and organized by One Weave in collaboration with the weavers themselves. Village Education is conducted to facilitate training workshops on sharing techniques among weavers, learning about basic finance and commerce as well as educating the women on the current market. That said, a Sustainable Supply Chain is then implemented. This system ensures the continuous availability of raw material from the banana fibers to the plants that product the vegetable dyes for the colors red and black. The sales of the t’nalak are conducted through the online marketplace that allows a broader audience the access to these items. By increasing sales, these women are able to earn more for themselves and their family, thus encouraging more women and young girls to continue weaving as this then becomes a viable source of income for their households. In the end, by producing more items and having more people purchase them, the t’nalak’s visibility increases. This brings the cycle back to the very beginning, closing the chain that aids in One Weave’s key to success.

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FAIR TRADE PRINCIPLES We promote Fair Trade within our organization and we take pride in complying with the 10 Principles of Fair Trade. We ensure that the Tâ&#x20AC;&#x2122;boli men and women working on the tâ&#x20AC;&#x2122;nalak are respected, treated fairly with equality. create opportunities for economically disadvantaged producers

support safe and empowering working conditions

We work with indigenous T'boli women from rural, impoverished communities within Lake Sebu. Our weavers have limited access to the market for their weavings and so we work with them to provide retail channels that help bring their works to potential customers around the world.

We provide the women with a T'boli long house which serves as the traditional weaving area for the women. This allows them to work in a safe and spacious environment that respects the tradition of weaving. We ensure that the weaversâ&#x20AC;&#x2122; participation does not interfere with schooling, family responsibilities or agricultural activities. In addition, we respect their culture as well as various customs that could interfere with the production.

develop transparent and accountable relationships We work closely with the weavers in the production of the t'nalak and with the overall marketing and development of the products. We accomplish this through our Village Education Seminars that empower the women and provide them with valuable knowledge to help them.

capacity building We help the weavers to develop independence by investing funds from the sales into capacity-building workshops for the weavers. Because part of our mission is to safeguard tradition, we run Sustainable Supply Chain Seminars that promote the use of natural dyes and other traditional aspects of the weaving process. Our workshops help improve the quality of the t'nalak and strengthen the marketable skills of our weavers, allowing them to better provide for themselves and their families.

ensure the rights of children The t'nalak tradition involves multiple individuals that help throughout the process. We ensure that young T'boli that do come to help are of the right age and do so outside of their study or school time. These are also young boys and girls that have been allowed by their parents and help us under adult supervision. Furthermore, we encourage them to go to school and pursue their studies as a priority.

cultivate environmental stewardship We promote the use of all-natural materials within the t'nalak weaving process and we ensure this through our Sustainable Supply Chain Seminars that encourage tree planting for the abaca as well as the natural dyes. In addition, we package our products with minimal materials that are environmentallyfriendly and biodegradable.

promoting fair trade We promote Fair Trade by educating consumers through our General Education materials and events. Our website provides information on how we help the weavers and how we safeguard their tradition of weaving the t'nalak.

pay promptly and fairly We ensure fair pricing by mutually negotiating costs through open discussions with the weavers themselves. We purchase the raw materials directly from the weavers at fair market value. This ensures that the weavers are being paid fully up front and that we do not receive a discount.

respect cultural identity We celebrate the T'boli culture by respecting various customs and traditions that the women and their families live by. Also, we help balance the need to acquire income with the actual safeguarding of the t'nalak tradition.

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WEAVING CLUSTERS One Weave, One Dream works with different weaving clusters within Lake Sebu. These three clusters, composed of around seven to ten Tâ&#x20AC;&#x2122;boli are found within the remote villages of Lemkwa and Tablo.

philippines

mindanao

south cotabato

lake sebu

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left Main weaving house in Tablo top right The Tablo team of t'nalak weavers with their dyer and burnisher bottom right Main weaving house in Lemkwa with Yab Man's family and fellow t'nalak producers

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TRAVELLING TO LAKE SEBU AND THE WEAVING VILLAGES two-hour plane ride Manila to General Santos

three-hour public bus ride or two-hour private vehicle ride General Santos to the municipal center of Lake Sebu

fifteen to twenty-minute motorcycle ride Municipal center of Lake Sebu to Tablo Weaving Village

fifteen to twenty-minute motorcycle ride Municipal center of Lake Sebu to Lemkwa Weaving Village

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SUSTAINABLE PROFITABILITY Our efforts directly benefits the weavers in order to ensure the sustainable profitability of the tâ&#x20AC;&#x2122;nalak production. Fabric is purchased directly from the weavers and profits are invested back into the community. One Weave, One Dream takes pride in its careful collaboration with the t'nalak weavers. Transparency between the two parties is highly important and ensures that all transactions made are for the benefit of the T'boli and their community. This transparency begins with the Village Education seminars which teaches the advanced weavers on basic marketing as well as the importance of quality products. Certain specifications and improvements in the production help the weavers to be more efficient while still keeping in line with traditional methods. These advanced weavers then serve as the point persons to teach their weaving communities and help guide the t'nalak production on their end. When rolls of t'nalak are finished, One Weave, One Dream, purchases the raw materials directly from the weavers at fair market value. This ensures that the weavers are being paid fully up front and that the organization does not receive a discount. The promotion of our products helps to drive customers to the online marketplace. Once it is purchased, One Weave, One Dream, resells the items or converts them to other products.

We then showcase these items online and promote them to drive customers to the online marketplace. This is marketing effort is done online through newsletters, advertisements and our online retail catalog. They are also promoted on the ground through simple postcards and the printed catalog.

We purchase the tâ&#x20AC;&#x2122;nalak directly from the weavers at fair market value, ensuring that the weavers are being paid fully up front and that we do not receive a discount. Customers are then driven to the online marketplace where they are then sold online with a markup to cover operation and administration fees, sustaining the website and shipping costs. Additional profits are returned to the T'boli through our various programs that fall under our four focus areas.

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VILLAGE EDUCATION One Weave, One Dream collaborates with weavers

T'NALAK PRODUCTION T'boli work on t'nalak

GATHER PRODUCTS One Weave, One Dream purchases t'nalak directly from the weavers

MARKETING AND PROMOTION

BENEFIT WEAVERS Revenue benefits the weaving community

Drive consumers to the online marketplace

RETAIL CHANNELS Consumers are able to purchase the products

We work hand-in-hand with the tâ&#x20AC;&#x2122;nalak weavers to ensure a transparent collaboration that benefits the weaving community

INTERNAL FABRIC Developing the face of the organization from its mark and identity system to meeting the people it hopes to inspire

My dream is for my children to learn how to weave. —Subi Nalon, T’nalak weaver

Subi is one of the oldest weavers in Lake Sebu and has been weaving since she was 20 years old. She has mastered over 50 t’nalak designs including the Hafak Benau, which is the first design handed over to her by Fu Dalu (the spirit of the abaca) when she was 21.

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BUILDING THE BRAND Various images were collected including design inspiration to make a rough mood board for the development of our organization's identity. From there, sketches were drawn and type was explored to form the final look and feel.

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ONE WEAVE ONE DREAM

Our identity at One Weave, One Dream, is deeply inspired by the geometric patterns found within the t'nalak. It represents strength as well as the organic nature of the hand-woven fabric. It has an interlocking â&#x20AC;&#x153;wâ&#x20AC;? shape which symbolizes a sense of union and connection between the patterns based on dreams and the hopes and aspirations of these women. It also represents empowerment, as if expressing a figure with their arms victoriously in the air.

ONE WEAVE ONE DREAM

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WAY WE CONNECT The primary expression of our brand is shown throughout our identity system, from our business cards to our letterhead and envelope. We like to keep it simple and straightforward just like our organization.

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OUR DREAM MAKERS Meet the key players that help us to fulfill dreams. These are middle-aged adults that either embrace other cultures, delight in hand-made items, avidly collect fabrics or those that are looking for ways to spice up their homes.

the culture collector

arianna mikayla

the enlightened traveller

adam james

62 year old Textile Collector

56 year old Travel Photographer

An avid collector that has amassed roughly 200 fabrics from around the world

Roams around the world taking snapshots of the many unique cultures around us

Delights in how they represent unique cultures and that each piece is hand-made by a master artisan

Takes the time out to research on the communities and places he visits prior to his trips

Makes sure that these are Fair Trade items made using purely traditional techniques and natural materials

Enjoys sharing meals with the locals and hearing about their customs and traditions

Displays fabrics around her small bungalow for her and all her visitors to appreciate.

Brings home an authentic souvenir to remind him of the beauty and diversity of the places he visits

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the crafty crusader

eliza mcgreene

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the conscious craftsman desmond black

32 year old Elementary School Teacher

43 year old Furniture Maker

Takes pleasure in working with her students on hands-on craft activities she holds in class

Eagerly runs his family's furniture business which was started by his grandfather

Proud of the scarves she has knitted, the quilts she has patched together and the colorful pillowcases she gives as gifts to her friends and family

Makes one-of-a-kind furniture using reclaimed wood and other recycled materials

Regularly shops at the local thrift stores and feels that each item has a story to tell

Works on all the products together with his two sons, using techniques that his father passed down to him

Believes in the power of making and encourages others to do the same thing in their day-to-day lives

Enjoys the outdoors and he often times can be found quietly admiring he nature around him

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the green goddess

kamilah stone

the heritage custodian

stephanie lee

47 year old Fashion Designer

50 year old Gallery Curator

Incorporates naturally hand-dyed fabrics by using techniques she had studied while visiting indigenous communities from around the world

Manages a prominent art gallery focusing on various artifacts from Asia and Oceania

Makes it a point to use fabrics that are made with natural materials found locally

Celebrates cultural pride though her well-attended shows and bi-monthly lectures she organizes

Only uses all-natural products and religiously checks for organic ingredients in the labels

Known for dressing up in the traditional garments of the different places she has been to over the years

Firmly believes that achieving harmony is to be “one with nature” and lives strongly according to this motto

Makes sure to purchase and acquire authentic items that are produced with traditional techniques and materials

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the virtuous enabler

jon puckett

the space rejuvenator

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marlene santiago

38 year old Social Worker

44 year old Interior Designer

Works at the local homeless shelter and volunteers for other organizations that aid people in poverty

Successfully runs her own firm in the heart of the city

Lives a simple life and enjoys spending time with the men and women he helps out

Known for using combinations of bold, colorful patterns with different textures and materials

Took a summer off to teach English in South America

Keen on using statement pieces that serve as the center of attention within a living space

Has participated in various feeding programs that have helped in addressing malnutrition in rural communities

Always keeps an eye out for the unconventional designs that have potential in the market

WEAVING DREAMS Realizing the project and actively putting One Weave, One Dreamâ&#x20AC;&#x2122;s mission and goals into action

My dream is to continue weaving traditional t’nalak designs so they do not depreciate. —Lang Dulay, T’nalak Weaver

Back in 1998, Lang Dulay was presented with the Gawad sa Manlilikha ng Bayan award for her mastery and expertise on t’nalak weaving. Awarded by the National Commission for Culture and the Arts (NCCA), Lang Dulay is one of the handful of the Philippine’s National Living Treasures. Today she continues the tradition by mentoring younger weavers.

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ONE-WEAVE.ORG Our website serves as the face of our organization and the portal to information about who we are, what we do and what items we are selling. It helps educate people about the t'nalak and the weavers' conditions. We explain the craft behind this fabric and the tedious techniques used in making it. This also serves as the online marketplace where we showcase the various products made with t'nalak for interested parties to purchase them. We include the online catalog to help consumers visualize how these items can be used in their homes.

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POSTCARDS Our set of postcards feature five t'nalak patterns coupled with a quote by the weavers we work with. Each quote represents their dreams and aspirations as well as a call for those interested in supporting our organization. These cards help promote our cause and drive more people to our website.

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RETAIL CATALOG Our retail catalog provides consumers a selection of home products made with the t'nalak. These items range from framed swatches, wall hangings, room dividers to table runners and mats. By presenting them within modern interiors, we help the buyers to visualize how these unique pieces can fit into their homes. It sends the message that these indigenous fabrics can be relevant in design today and can serve as unique accents.

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PACKAGING Our items are carefully packaged to maintain the quality of the fabrics. We include information about our organization, how your purchase helps the weavers, how to care for your t'nalak, as well as a list of the women that have helped make the item you bought. By acknowledging the weavers, we hope to provide a name behind the unique piece that will be part of your home.

FUTURE PATTERNS Moving forward with the project as a possible blueprint to help empower the weavers

My dream is for the T'boli to keep weaving the t'nalak. —Uyel Anggol, T’nalak Weaver

Uyel learned how to weave when she was 15 years old through her mother. She currently works together with another weaver, Barbara Ofung, and primarily performs the task of the weaving Barbara’s designs. For Uyel, weaving is her favorite part in making the t'nalak because she gets excited when sees the designs come out.

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MOVING FORWARD After all the hard work, I believe there is potential in what this organization could do. Whether it be something that I ignite myself or pass on to someone more qualified, this thesis is a blueprint of something that can make a difference. Throughout my journey I thought of this endeavor as simply my master's thesis and nothing more. The possibility of being able to kickstart everything I build for this organization had been far from my mind. However, the months leading up to this day has shown me the great potential of what this organization could actually do and how it could be instrumental in benefiting the weaving community in Lake Sebu.

There is potential in making this happen and there are people interested and willing to help From creating the thesis blog to the actual and final website, I have been receiving numerous feedback from people all over the world. There were some negative comments with a lot of positive reactions that have both helped shape the final project.

In the succeeding pages, I have shared a few of the responses I have gathered from posting my final and fictional organization's website. This shows that there is potential in making this happen and that there are people interested and willing to help. The inspiration that these weavers have given me and the many dreams they've shared have fueled my passion to make this to where it is today. I hope that one day, I may use what I have learned and what I have built, in order to help aid them in one way or the other. It is just a matter of finding the right people and the right avenues to make their dreams and mine, a reality.

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to: info@one-weave.org subject: t â&#x20AC;&#x2122;nalak teachers date: february 25, 2012

Hello, I came across your website in the curriculum development work that I do for after school programs. I am developing a Filipino cultural curriculum when I learned about your site. Where are you based exactly? I am interested in learning about master teachers for this kind of art form. If there are any teachers near us I hope you can connect me to them so that I could possibly invite them to do a demonstration or teach young people in our community. Thank you and looking forward to hearing from you!

Kimberley Boyer, Ed.D Executive Director Central Valley Afterschool Foundation kboyer@centralvalleyafterschool.org www.centralvalleyafterschool.org office: (559) 326-2165 cell: (559) 801-2758 fax: (559) 326-2147

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to: info@one-weave.org subject: volunteer date: march 19, 2012

Hi, My name is Michelle Pasia, I'm an artist/designer. I came across your site recently and was moved by your endeavor. Since I was a high school student, Iâ&#x20AC;&#x2122;ve always wanted to be a part of a similar cause. As a graduate of fashion design, Iâ&#x20AC;&#x2122;ve been trying to get in touch with other designers who are also using woven materials from different tribes, and likewise have a cultural/environmental advocacy involved in their craft. It would be great to be able to help out in your cause in any way I can, especially since your vision is something I can closely relate to and strongly believe in. I am planning to start my own clothing line sometime this year, and my goal is to use woven fabrics similar to those that are created by your participants. Hoping to hear from you soon. Thanks! And more power!

Regards, Michelle

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to: info@one-weave.org subject: nyc designer date: april 24, 2012

Hi, My name is Maddy, I was born in France. I have been living in NY for the past 10 years. I have been in the Philippines numerous times. I am very interested in your work and organization. I am an accessories designer experienced with designing and producing oversea. I currently work with a group in Rwanda, building a sustainable income for the women by designing jewelry using their phenominal beading skills but making it accessible to the American/ European market. I have a degree from FIT in Textile. Which is why the few Tnalak patterns that I have seen online fascinated me, in addition to the amazing stories of the woman and its history. I look forward to hear from you and hope to be able to contribute in any ways to your organization. Thank you for your time.

Maddy Kebedjis

Give a man a fish and you feed him for a day. Teach a man to fish and you feed him for a lifetime. â&#x20AC;&#x201D;Unknown

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ACKNOWLEDGEMENTS My deepest gratitude goes out to all those that have been with me throughout this whole journey, from my family in the Philippines and my second home in Lake Sebu to my mentors and colleagues here in San Francisco. First of all, I would like to thank Marlene Po without whom this project would have never existed. You’ve opened my eyes to the incredible beauty of all the Philippine indigenous arts that you have shared with me especially your endless love for the T’boli and the t’nalak that you so proudly support. I am eternally grateful to my mom and dad for having supported me from the start and for joining me on my trip to Lake Sebu, making it even more memorable. Thank you to the whole big Canoy and Ongpin family, immediate and extended, that have encouraged me and helped me in one way or the other. I am extremely grateful for my Lake Sebu crew: mom, manang Welly and tita Menchit, who flew with me all the way down south and bravely rode the motorcycles. Thank you of course to Tita Menchit who’s amazing photography has helped this project to become more beautiful than I expected. My heart goes out to my amazing Lake Sebu family that have been so gracious and accommodating. Thank you Grace Guay for arranging the transportation and itineraries and for being my contact person throughout all my trips. Thank you to Tita Mayette and Tito William for your generous hospitality during our stay at Monte Cielo. My interpreters, Edna Kelley and Cristy Tabidad, who have patiently relayed all the questions I have and have been great tour guides for me. My habal-habal drivers, Kuya Anthony, Sherman and Kwago, thank you for getting us safely to each spot that I needed to go to.

To the beautiful weavers and their families, I will never forget all that you’ve shared with me. Thank you for letting me into your homes, sharing meals with me and allowing me to interview and document the days I’ve spent with you. To Ye Gas, your beautiful chants will always be with me. To Mafil, I hope to one day spend a night at your long house listening to you play the hegalung while dancing to the music. Thank you to Ayei Bithao for the many nights collaborating with me on the website and for being so patient with all the changes. I am so grateful for the support and guidance of my instructors that helped shape this thesis. Thank you Phil Hamlett, Michael Kilgore, Michele Ronsen and Hunter Wimmer. Thank you to Cyril, whose love, laughter and extreme patience has helped me to get through every success, frustration, and heartache throughout this project. And lastly, none of this could have been possible without the help of the Supreme Artist above and His endless graces.

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