|Iney looking from the "window" of her little hut.|
During community visits, she would call me in my local name "Umatung", which means " a man with big body".
She wold then ask me if I was able to bring a dye, a thread or her favorite "manika" leaves, tobacco and betel nut. Chewing a "mamaen" or a betel nut is still widely practiced among the Matigsalug elders.
|Iney meticulously choosing the right cotton bulb, then drying for the desired moisture and working on the spindle to make the thread.|
Few leaves of manika or tobacco will lighten her mood. Then she would instruct me to visit her home to see her unfinished craft. If it happens that she kept a finished woven cloth, she would hand it to me and then later would ask me to buy her some sugar, which most of the time I readily oblige.
Iney wishes that the young women will get interested in the craft that their elders have taught them.
Some few years ago, such weaving practice have been dead for so long. Until an renown anthropologists, in the person on Dr. Erlinda Burton rediscovered the cotton weaving practice of the community after investigating on the presence of cotton plants in the community. Asked on its utility, the people referred to the "habel" the woven cloth that they make into a moga, the traditional Matigsalug dress. Getting more curious on the weaving process, Dr. Burton sought for support from the Department of Science and Technology (DOST) to conduct further research on the craft, and gradually putting pieces together until the prototype bamboo looms were produced by one of the elder artisan, Amey, the older brother of Iney. When several tools were made ready, 20 younger women were identified to be trained by Iney. IN the end, there were six (6) women who finished the training sessions.
However, until today, revitalizing the importance of cotton weaving as a cultural treasure among the Matigsalug people remains a challenge as women seem to devote their time working in the farms to earn daily wage to support their families everyday needs.
The leaders of the community are still exploring for ways to get younger women to find viable economic value on their weaving tradition. They hope that the younger women will fulfill the dreams of Iney to leave them the skills.
Despite her old age and physical challenges, Iney is hopeful that the women will continue weaving, not only for economic reason but for the love of the craft and their traditional systems.
Being away from the community for a long time, I have been excited to go back to the community and see Iney in her small hut, smiling her way as she patiently weave some of her last cotton cloth.
May Iney's craft be passed on to younger Matigsalug women as a legacy of those gone before her.
May the last of the Matigsalug cultural masters become an inspiration to more indigenous women and youth.