We watched "Dreamweavers" July 22, the day that our teacher was absent. We just came into class, took out our pens and notebooks, and watched as one of the guys got the material ready. After a while 'everything was ready and the film was rolling. It was over in about 30-45 minutes. And now, thirteen days are gone and I'm writing a thinkpiece culture. Yup, thirteen days. It took me so long to get my thinking juices flowing. And now that I think it is better to start with the real things.
During one of our classes, our professor defined culture as "shared beliefs and practices passed on from one generation to another, and parted the blackboard with the beliefs and practices on the left side to right side. It soon began to jot down our thoughts on the examples of beliefs and practices that we find examples in our daily lives. The practices were, in fact, very practical, and what I saw then I see now a little 'confused blur is that beliefs are very practical. What causes do not walk under a ladder while walking along a sidewalk next to a construction site? What makes girls think twice before making the first move on a guy she likes? What this tells us to eat and not eat this? I could go on and on as long as I can, but my point is this: for me the beliefs and practices could not be "compartmentalized as separate categories ..." to find that the practices are ways of expressing and implement the concepts that apply.
Take for example T'boli. They are known for their intricate canvas Tnalac. Why tiles? What drives them to work in this boring day and night for months, never stopping until you achieve it?
T'boli woman who was interviewed in the documentary said that the designs of cloth from their dreams, the Goddess of Weave, Fu Dalu. In his dreams, his spirit goes to a house. She is a tnalac in a corner that has to look far. If she approaches, she would not see the drawing. After waking up, working on the project immediately, for fear of upsetting the goddess and to be punished with Ku Dumon (I am not sure of the spelling of this name) with certain diseases. Then you teach the art for their daughter (s), which in turn teach these to the next generation.
Now, culture is "shared". But is shared by all people around the group? And 'uniform? It 'true that somehow culture creates a structure for a people, as a die with holes. Now, because I said it has holes? Defines the culture of a people, so that most make the mistake of generalizing or stereotyping. But the mere fact that generalization is a mistake, and set a stereotype is a bad move, only shows that although culture is shared by most people in the whole group, not shared by everyone. At first they all seem to do so because there was nothing "right way" to do things right, and many years ago there seemed to be less, or none, non-conformists. But it requires some changes constantly deviate from "the old ways" in order to survive.
This was illustrated in the second part of the documentary that appear when some women and even men (for the first men were not allowed to weave this will anger the gods), weaving was not required because the Dalu, but because " modern world demanded it. People outside of Lake Sebu has come to bring their land their products and practices, and their money. The government has granted their land to others so that the T'boli could no longer hunt and gather in it. The T'boli were forced to sell some of their things, his job, because they could no longer live off the land, or to barter for their needs. The tnalac was once equivalent to a house or a horse, or was enough for the dowry, or to pay taxes has been reduced to something that was worth $ 2.00 to $ 8.00 per meter, Depending on the fabric. Before it was all quality, and the cloth was woven so carefully from beginning to end. Now everything was admitted because there was a great demand for it, and there was no time for dreams. Tnalac was once perceived as a sacred cloth, and was not allowed to be cut. But now even some of the same T'boli say: "Do not worry", and cut the cloth according to the wishes of the customer. Then, men's work was only to cut the tree root in order to extract the fibers. But as I said, that was then, and now the fabric men.
The texture was once a prestigious location, and a woman who knew how to weave was granted the position of a "Boi," which amounted to a Datu. Now, I wonder if we go see them too, we still see Boi, or that we only see women in their desperate attempt to keep their families and live?
Although their dances and their music, once performed on special occasions, have been reserved for all events for visitors. The precious stones that once contained the jewels of T'boli are now based on old ballpoint pens, spindle-shaped and look likely to be substitutes for the gifts of the earth.
In a place that was once one of the things without money, everything had a price. Many rules have been broken many traditions compromised, all because of the need to survive.
After all, as they say, "If you can not beat them, join them".
But thank God, because there are those who insist on keeping their culture alive. Some teach the traditions, dances and music in schools and within their families, reconciling what they learn in school with culture T'boli. They were afraid that soon lose their art and their traditions. In doing so, they knew they would be able to delay his death, if not keep everything.
I read an article from Asian woman in a week on the Internet called Fides Enriquez, who came to the Philippines in 1998 as part of the research project of San Francisco's Filipino Folk Ensemble Likhi. Visited Mindanao and the T'boli, and having gained their confidence, the women gave T'boli tissues that could sell. She brought these to the United States and sent the case back to T'boli. She believed that doing so would be able to share the world the meaning and importance of the fabric and culture that was the lifeblood of these intricate designs. "We need to educate people on what exactly t'nalak - not just something nice you can cut and bring in a bag. "
T'boli Another woman was featured in the documentary. She was married to a man who was also a T'boli but were not married how to T'boli were already Christianized. Somehow, the culture persisted and the man fell ill. The witch doctors told them that if they were not married T'boli the way, the husband would die. So ready for a wedding, only this time they did their parents and previous generations did. And man, but I also soon enough. (My point here is that I do not believe in witches, but in ways unimaginable, culture continues.)
Culture defines us. It 'gives us identity. It says to people outside of our culture and what we can contribute to the world. And 'the invisible cord that binds people of that country. It tells us where we belong and how to live and cope with our daily lives. And as the title of my thinkpiece States, we weave what we dream. These things form in our heads and keep our minds, the commands of the gods (and in my case, God) will be worth nothing if not "weave" them. What we do believe that this shift to a form of existence of life and a vital force. We live what we breathe, we breathe what we live, and I think this is why culture and conservation is so important to a people.
"If a personal dream is not in agreement with the company," the old Boi said, "then have fallen away from society."
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