#landap
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severetrashcollectordubai · 5 years ago
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Happy Mothers Day Arab World. A mother's love is essential in times of novel coronavirus. I dedicate my art work - 'Inà+Watà' Sisirungan o mga bito-ùn' --- (Maranao) mother and child canopied by the stars - “There is nothing as powerful as mother’s love, and nothing as healing as a child’s soul.” #loveunderthestars #canopiedbythestars #completed #fromtrashtoemotions #capturednuances #maranao #maranaomotherandchild #peopleofthelake #lanao #ranaw #maranaw #langkit #landap #malong #okkir #ukkil #trashtoart #recycledart #wastetoart #repurposedmaterials #artengage #basurarte #perennialgarbagecollector #garbagenomore #buhaybasura #cultureconnect #plantroomtreasures #engineering_life #CoVid19 #loveintimesofcorona https://www.instagram.com/p/B9_L1oXB9el/?igshid=94pvvkffsm2l
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sacredstudiosart · 4 years ago
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Making progress on my snowy sunset 🏔️. Featuring my new easel from @mosartsupply! No more killing my back on the floor 🙏 So grateful! . . . . . . #mosartsupply #snowy #sunset #landscapeart #landscapepainting #landape #alaska #sunsetart #sunsetpainting #painting #paint #art #localartist #batonrouge #sacredstudiosart #louisiana #supportlocalbusiness #smallartaccount #easel #growth #progress #journey #pink #blue #winter #2021 #gratitude #investinyourself #artistsupportartists #artistofinstagram (at Baton Rouge, Louisiana) https://www.instagram.com/p/CJj8gZ2Dkhj/?igshid=1irj7u3hwa1lt
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lifeisawonderfulstruggle · 4 years ago
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It was a dream-come-true to wear a Landap ( maranao clothing) on the day I finally became a member of the Philippine Bar. And the fact that its owned by my grandmother made it even more special. May Allah swt grant her the highest place in Jannah. Ameen.
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ralfecomicoutlining · 4 years ago
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Some articles about Filipino Weaving
https://narrastudio.com/blogs/journal/the-weaving-of-kalinga
- The design motifs and symbols are inspired from elements in the environment, such as birds and other animals, mountains, and stars.
- Red, for instance, symbolizes bravery while black represents the earth or the ground. Mountain symbols are embroidered in yellow, a color that also symbolizes wealth and fertility.
https://ph.asiatatler.com/life/the-untold-sacred-weaving-of-ifugaos
- Ifugaos and Kalingan people consider weaving sacred 
- designs are based off of nature 
- appearance of chicken bile or pig butchering by mumbaki helps determine the success of the weaving activity. Performing ritual blesses the cotton and physical condition of the weaver 
- weaving is forbidden when a relative dies, unlucky 
- bayawak pattern and phyton borders 
- star symbol represents abundance and fertility 
https://www.slideshare.net/elmerllames/weaving-cordillera-and-region-1-24044317
- ikat  style: diamond shapes with red and white stripes. Dyeing process is similar to tye dye where the warp and weft are dyed before being weaved together, resulting in a blurred motif due to the bleeding of the dyes on the resist areas. 
- warp ikat vs. weft ikat (more blurred and handmade appearance) vs. double ikat (most precise) 
- inabel style: textile made of cotton and other natural fibers that are woven together in pedal frame looms. Abel is the process while Inabel is the outcome.
- Abel is really labor intensive and weavers have to master hand and feet coordination  to properly use wooden handloom. 
- Inabel patterns are inspired by nature 
- Kalinga: dominant red stripes and motifs of geometric patterns as well as nature symbols interlaced with white yellow and black fibers
- Gilamat Ka-in is a wrap skirt that was traditionally woven in Lubuagan but is widely worn all over Kalinga 
- Indigo and red symbolise the sky and ground which are the national colors of the Kalinga, with a coin attached as a pendant 
- Yellow portions are embroidered and depicts mountains. It also symbolizes wealth. Embroidered plant patterns refer to growth and fertility
- Colorful beads or “bongol” is a part of the native costume, usually worn during fiestas, weddings, and important occassions. 
- Ginamat (Kalinga cosatume), Bahag (or G-String og Kalinga)
- Bontoc Style: motifs are geometric shapes of things in environment like men, lizards, mountains, rains, and flowers
- Siniwsiwan: clothing and blankets. Often used for Bahag amongst men and Tapis amongst women 
- married women wear ginaspala wanes (belts) with inawin patterns (continuous zig zag patterns) 
https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1577&context=tsaconf
https://thehinabiproject.org/styled/#:~:text=Textiles%20in%20Mindanao%20are%20predominantly,is%20native%20to%20the%20Philippines.&text=Among%20the%20Moslems%20of%20Mindanao,weavers%20do%20not%20weave%20abaca.
- Textiles in Mindanao are predominantly handwoven from abaca (musa textilis). A member of the banana plant family, it grows naturally and is native to the Philippines
- weaving is done with back strapped looms 
- Manuvu: Mandaya, Bagobo, Blaan, Higoanonm and T’Boli weave with Abaca 
- Moslems in Mindanao (Magindanaon, Maranaw, and Yakan) continue the tradition of cotton and silk weaving. Muslim weavers do not weave abaca
https://cnnphilippines.com/life/culture/2017/06/27/mindanao-weaves.html
- The woven textiles express both the agricultural roots of each community, as well as a strong non-Christian belief system animated by ancestral and natural spirits
- Kusikus : Wind God motif, thought to shield from furious winds 
- Sarimanok: a mythical bird of good fortune (in maranao textiles), the crocodile/lizard is revered for the symmetrical design patterns in its skin, and the Fak is a representation of a frog for its role in agriculture (found in T’Boli T’nalak cloth) 
- community’s agricultural roots is also evident in the textiles through patterns depicting tiny diamonds (representing rice grains) and Xs (representing rice mortars) 
- Mandaya people’s most popular textiles is called dagmay, which is a handwoven cloth designed with patterns of man and crocodile, for which the mandaya weavers are known for. Geometric and curvilinear forms in yellow, blue, and white yarns, as well as hooks crosses and diamond shapes are the favorite embellishments in the Mandaya’s woven fabrics 
- more distinguished women wore red cotton blouses with black sleeves while the common women wore brown and more common women wore brown and black abaca blouses. 
- B’laan employ similar weaving styles as their neighbors the Bagobo and T’Boli, producing ikat textiles on abaca or handwoven cotton 
- well known for their embroidery and decorative skills, using cross-stitches and outline-stitches to embroider stylized human figures, or when they stitch small disks of mother-of-pearl at regular intervals over the cloth 
- Maranao and Maguindanao (people of the lake) 
- produce malong which is worn by men and women for a number of purposes. Made by sewing two pieces of sarong cloth lengthwise along its edges to produce a square and can be woven from either cotton or silk. Landap has been noted to be probably the most distinctive malong, which comes on one solid color or two colors arranged in alternating bands. 
- the maranaos weave into colorful bands called langkit, consisting of three to four colors with okir designs: scroll, leaf, or vine motifs in abstract forms. 
- the sarimanok is a key figure in maranao art
-Yakan 
- known for weaving brightly colored fabrics, producing a myriad of textiles with distinct, strongly geometric, repetitive patterns 
- bunga sama (based on diamond), sinaluan (small bands of bisected and quartered lozenge shapes), and pussuk labbung (saw-tooth-pattern), and the kabban budi (triangular-rectangular designs) 
-Bagobo 
- weaving pattern tied to Magandi, a dominant warrior class, identified by the red color of their clothing 
- ikat is a prominant fixture in their textiles, characterized with a rhomb design and curvilinear patterns. Their most recognizable motifs are inspired by the natural environment: lightnight, plants, stars, and human figures 
- T’Boli 
- well known for their t’nalak which is a distinctive abaca cloth that comes in three colors: reddish brown, black, and white. Black and brown colors come from naturally occuring dyes and white is the natural color of abaca. 
- well known t’nalak patterns include: bangala (man in house), Klung (shield), sawo (python), nipa g’mayaw (mythical bird), and the tofi (frog); all based in sigul, a zigzag arrangement of triangles or rhombs 
- designs for the t’nalak are borne from the weaver’s dreams, and the spirit of Fu Dalo (guardian of t’nalak designs) begins to reside in the cloth at the start of its production, thus warranting extreme care to prevent breakage ofthe yarns while weaving 
Tausug
- used to weave cotton and silk textiles from imported yarns. 
- habul tiyahian (or labur tiyahiran) is a traditional textile, an embroidered sarong 
- well known tapestry weave techniques found in pis (head cloths), tadjung (tubular skirts), and kandit (sashes) 
- pis siyabit is characterized by diamond shapes, diagonal crosses, and zigzag motifs inside small squares and rectangles. Predominant colors are pink, orange, and maroon shades (sometimes with a bit of green) 
https://artsandculture.google.com/exhibit/the-art-of-the-malong-ayala-museum/owKCDBBzFibtIg?hl=en
- malong used by maranao and maguindanao from mindanao 
- can be worn by women as a dress and by men over trousers as a formal wear 
- traditionally handwoven by women using a backstrap loom 
- silk textiles into wedding saris arrived in Philippines and Indonesia from Gujarat, India. Also known as “patola,” these circular patterns from India were adopted by Maranao weavers 
- can either be made of silk for ceremonial occasions or cotton 
- grouped into two kinds: intricate design or simple hatching with two colors 
- for everyday wear, the malong is. usually made of cotton with simple plaids and stripes 
- more elaborate malong made of silk in colors red, purple, and yellow is worn for ceremonial occassions 
- in the past, yellow was reserved for local royalty 
- now men prefer malong with dark shades of red and magenta and women prefer yellow 
- malong andon: considered the most expensive and rarest or the oldest type of the three types of malong. Andon refers to the Patola motif 
- malong a landap: characterized by “langkit” or decorative strips of profuse geometric designs, hand-sewn on the malong. This is considered the most popular. Two narrow “langkit” are called “tobiran” while the wider band is called the “lakban” 
- can include inscription in “kirim” which is the maranao language written with arabic script 
-Malong a ampik: the third type of malong. characterized by a square pattern with lines and cross lines of contrasting primary colors along black and white geometrical shapes 
- common motifs on malongs: “pako Rabong” and “matola” are the most common motifs. 
- Pako rabong is a growing fern motif
- uses of a malong: used as a cape, cowl or raincoat, bag or sack, used as head gear, curtain
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concepcions · 2 years ago
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  “Mëranaw Textile
Community: Mëranaw Origin: Lanao del Norte and Lanao del Sur
The Mëranaw of Lanao del Norte and Lanao del Sur know a wide range of weaving techniques including the weft and warp ikat tie-dye resist and continuous and discontinuous supplementary weft design.
They are known for the malong, a tubular lower garment. Among its several types, the malong a andon is the most highly valued. This is followed by the malong a landap, which is known for its tapestry bands called langkit, often used to join the broad panels of silk together. Another kind is the malong a bagadat, made from similar wide bands in contrasting colours and separated by narrow bands of warp ikat.
Made using a narrow, specialised kind of tapestry loom, langkit, usually comes in two kinds: tabrian or the narrow panel, and lakban or the wider panel. Beautifully designed, the langkit has distinct Maranao okir designs including potiok (bud), dapal or raon (leaf), pako (fern), pako rabong (growing fern) and  katorai (flower). These intricate designs are made using discontinuous weft. “
- Tatler Asia (https://www.tatlerasia.com/culture/arts/weaving-the-threads-of-filipino-heritage)
~Concepción
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hafzahcahar · 2 years ago
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Maranao Traditional Costume| Culture Clothing for Woman.
The Maranao Princess costume is made from silk or cotton. The garments are ornate, decoratedwith metallic threads embroidery, sequins, pearls, and long beads also the princess intricate gold jewelry, like bangles and etc. The attire of Maranao princess “Maranao” means ‘people of the lake’, referring to lands surrounding Lake Lanao. Descending from Muslim Malays, the royal families within this tribeare a mix of Arab, Malaysian andChinese ancestry. They are famous for their artwork, Sophisticated weaving, wood andmetal craft, and their epicliterature.
These malong called as landap is from Marawi City. This unique tubular clothing of the Meranao tribe is usually worn by the tribe royalties or elite people in Lanao. Each landap is a symbol of royalty and value in the Maranao society. Traditional Maranao attire is appropriate for all glamorous, entertaining, and solemn occasions including Weddings, Seminars, Kulintang, Dialga, and other events that draw large crowds and audience for entertainment purposes only.
On August 31, 2022, Buwan ng Wika, I wore these traditional Maranao garments for women. I'll describe my experience wearing them. I advocate for my culture as a source of pride and as something I am proud of. I am proud to demonstrate my culture and tradition to my school, instructors, and classmates.
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conflictcrafter · 4 years ago
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Faux Dagmay
Gi-invite sa usa ka big writer sa iyang balay ang iyang silingang magtiayon nga little writers. Importante tong hapona kay mao toy time nga i-celebrate niya iyang bag-o na pong dagmay cloth nga nadawat. Sa gawas pa lang, ubay-ubay na ang mga sakyanan nga naka-park dapit sa balay. Sa gawas madungog na nila ang tukar sa Entry of the Gods into Valhalla.
          Samtang gapaduol ang magtiayon sa balay, nasinati nila nga kusog gyod diay ang music kay mura nag gakiskis sa ilang mga dagway ang mga nota sa trumpeta.
           “O lagi! Nagpatukar na lage kag Wagner!” Gahi nga hunghung sa bana.
           “Sigi lang,” Sulti sa asawa. “Kusog ang classical sa dili kabalo mu-kulintang.”
          Unya mao to nanulod na sila sa balay atong big writer. Sa gawas pa lang daan tua nay mga nagtambay nga writers-writers pod unya naghisgotanay nganong genius si Lacan bisan way klaro iyang writing, unya ana pod tong isa nga reflection lang kuno gyod to sa mirror stage.
           “Unsa na nga paradox, no?” Sulti sa asawa nga dili na tantong hunghung kay saba na man sa balay daan, maong di na gyod siya madunggan kaayo iyang mga ipangsulti.
           “Unsa, wala ko kasabot.” Tubag sa bana.
           “Kanang naghisgot kag mirror stage unya naa ra mo nagtambay sa facade.”
          Ni-agik-ik ang bana. “You, comedian! Ikaw gyod ni akong kaistorya ay.”
          Gi-ablehan nila ang front door unya gi-welcome sila sa mga little writers nga ka-familiar sa ila. Sa kini lang nga level sa mga writers naay lakas ng loob ang magtiayon nga makiglamano, kay ang higher level, mga graduate ug published man sa international writers palihan stuff unya kinsa ra gud to silang duha. Pero usahay kay makigstorya man pod ang asawa sa ubang medyo taas nag level nga mga writers unya magkambyoanay silag numbers ug usernames sa social media. Networking.
          Nakita ni sa bana. Nilahos ra nuon taodtaod ang panglantaw sa bana padung sa bongbong sa maong balay. Tua sa may duol na sa ceiling, nakasabit ang mga dagmay nga murag mga monolith. Ang mga tawo nga nanghangad sa mga dagmay—apil na siya diri—kay murag mga apes sa usa ka salida ni Kubrick—nga murag mugunit-dili sa mga nagbitay nga dagmay. Nagsugod ang hilera sa mga dagmay gikan sa suok nga bongbong sa sala ug nisubay padongs pikas suok sa may dining area. Sa may dining area, timing kaayo nga niable ang backdoor.
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          “O, nia na ang man of the hour!” Sulti sa usa ka bisita nga writer-writer pod.
          Nanglingi ang tanan sa may kusina kung asa giluwa ang writer. Gipalakpakan siya sa mga bisita, unya nag-bow siyag pila ka beses.
          Unya naay niduol niya. Gitunol ang usa ka rolyo sa dagmay. Gidawat ni sa writer, unya ni-bow na pod. Nikusog ang palakpak sa mga bisita nga murag naay thunderstorm sa sulod sa balay.
          Gilingi sa bana iyang asawa. Hinay iyang palakpak nga kuno gina-savor ang moment, ug na-fill gyod og awe sa greatness sa writer. Naglibog nuon siya kay murag sarcasm-dili ang gesture sa asawa. Nabantayan ni sa asawa maong nilingi pod siya sa bana.
          Nihunghung ang asawa niya, “Ang nerve to re-enact the awarding ceremony. That sheer narcissism. The fact nga iya ning gibuhat. It’s so pompous.”
          Hapit maluwa sa bana iyang giinom nga coke. “Pero, Love,”  Remark sa bana. “Maayo gyod siguro ni siya, no?”
          Sa kato nga moment, ceremonial nga gisab-it sa writer ang bag-ong dagmay niya, kasunod sa mga daang mga dagmay nga nadawat na niya sa una. Gibuy-an niya human makabit unya nirolyo pababa ang maong dagmay. Nindot kaayog patterns sa buwaya. Unya gipalakpakan na sad siya. Sabay pung nikusog ang volume sa Ride of the Valkyries. Naay usa ka bisita nga nadungog sa bana nga nihunghung og “Epic.” Unya human ato kay nangaon na silag paniudto.
          Sa tibuok hapon nga tua sila didto, ang magtiayon, sigi nila ginapugngan ang usag usa nga dili duolon ang mga dagmay aron sutaon og maayo. Nakontento ra sila sa bihon nga gipalaman sa loaf bread unya giparesan og coke. Naa puy afritada, menudo, caldereta nga natun-an sa asawa ang distinction bagohay lang gyod kay naay usa ka writer nga nag-educate niya sa subtle differences sa mga viands, ang historical backgrounds, ug nganong ang dili pagkaon sa mga maong potahe kay an act of rebellion, an attack to the quintessential Filipino culture and to what the Filipino stands for. Nangutana ang asawa sa nag-educate nga writer kung katilaw na ba siyag L’lulot. “We’re talking about Filipino dishes.” Tubag atong writer.
          “Busog ka?” Pangutana sa bana.
          “Bisan unsa kalami ang spaghetti, wala nay lami basta isagpa sa imoha.” Tubag sa asawa.
          Naghunahuna sa kadali ang bana kay wala may spaghetti nga gi-serve.
          Unya murag nakabantay man ang asawa nga nag-loading iyang bana, maong iyang gi-guide. So gitubag niya ang bana sa Italian accent, “Metafora.”
          Human nakapaniudto og metaphors, ug nakahinabi ang mga writers ug artists nga hilig magsulat og mag-paint og local color ug politics for the sake lang sa local color ug politics, mao puy paghuman sa obsession kang Wagner ug sa mga kulukabildo mahitungod sa mga obscure Bisaya words nga nindot i-token title sa mga upcoming creative events sa siyudad.
          Nanguli ang magtiayon sa ilang balay. Pero bag-o pa sila nanulod kay nangibot sa kadali og sagbot ang bana, gitapok ang inibot nga sagbot sa ground, ug gidaoban. Gipaypayan niya ni kadali aron mubaga ug muaso. Dayon gikuha niya ang kamot sa iyang asawa aron silang duha magkasunod nga ninglakang lapos sa aso.
          Nanulod silang duha sa ilang balay. Ang asawa nidiretso sa lababo sa kusina ug nagdali-dali og init og tubig ug pa-noothbrush. Ang bana, nagpabilin og tindog sa may sala, naay gitan-aw sa bongbong. Human makapa-noothbrush, nibalik ang asawa sa sala nga nagdala nag duha ka tasang kape. Silang duha na ron napilit ang tan-aw sa nakasabit sa bongbong.
          “Unsa imong ginahunahuna?” Pangutana sa asawa samtang ginatunol ang kape sa bana.
          “Lami kaayo duolon ang mga dagmay ni big writer friend. Sutaon, balibalihon, susihon.”
          “Lage. Social norms. Nganong ulaw man na tan-awon, no? Nganong pag daghan na ang dagmay, murag hawod na man dayon, unya dili na angay sutaon kay kuno nasuta na?”
          “Di ra ba gyod sad sila muamin ana. Muingon na silag, ‘pamensar sa imong kaugalingon.’ Pero kahinumdom ka ato ni Dalin-as?”
          “Ay. Katong puros atik ang tinalak, inaul, ug landap? Ha-ha! Pero maayo na lang kay naay nisuta sa dagmay ato.”
          “Tinuod. Pero nahuman na ang ilad.”
          Sabay sila nihigop og kape.
          Gibutang sa bana ang tasa sa lamesa ug giguyod ang usa ka lingkoran aron makab-ot ang nagbitay sa ilang bongbong: ang nag-inusara nilang dagmay. Girolyo niya ang maong dagmay ug gidala sa luyo sa ilang balay.
          “Mura kag si Tamisa karon.” Ingon sa asawa nga gikuha ang kape sa bana nga naa sa lamesa unya nisunod niya.
          Nakatawa kadali ang bana, unya niingon, “Kalata bitaw oy. I’m Tamisa, the dagmay thief. There goes Tagamaling the pissed goddess and dagmay owner but gone meh. ‘Imo na na . . .’ She says. ‘. . .Your hands are impure, you mortal Mandaya.’” Gisabit niya ang maong dagmay sa kural sa ilang likod. “Murag condescending man makadawat og dagmay kung balikan nimo ang myth.”
          “Hmm. Pwede pod.”
          “Ikaw, unsa imong paminaw?”
          “Para sa akoa,” Ingon sa asawa, “Para maghatag kag dagmay, si Tagamaling ka?”
          Nibahakhak rag kalit ang bana. “Umpf! Goddess of arts ka, ghurl?”
          “Ayaw ana, Love.” Sarcastic nga pugong sa asawa, “Maayo baya na silag mga judgment calls pag abot sa writing. Ayus man ilang training. Ang discernment nila kay discernment sa gods.”
          Nangatawa na sad sila.
          Nikuhag posporo ang asawa, ug gitunol sa bana. “Do the honor.”
          Gigaras og kausa sa bana ang posporo ug nidilaab kini sa iyang mga tudlo. “Sure na ka ani, Love?”
          “Burn it like it’s illegal.”  
          Nisayaw pa ang kalayo sa tip sa posporo . “Love, ang kalayo, murag si Siva.”
          Nanglingkod silang duha atubangan sa nagdilaab nga dagmay. Nanginom og kape. “Oh goddess of arts, no one is above you. Hinaot nga i-receive nimo among peace offering. In behalf sa tanang nag-spoil sa imong heavenly tapestry by touching, by owning, by bragging it, please forgive us. We are thankful for the honor but everything is yours. Utterly nothing is ours. We are dust at your feet, and how arrogant are we that we so own and keep the glory that is truly yours.”
          “Hala oy. Nangadyi na man gyod diay ka.”
          “Three-forth lang. ACT lang to. Walay Supplication.”
          Nanayaw sa duyan sa hangin ang mga nanga-abong faux abaca; ang uban nilutaw atubangan sa dagway sa bana.
          “Kasimhot ka, Love?”
          “Unsa?”
          Giduol sa bana ang nakatunga na nga nasunog nga dagmay, gisimhot. Nidagan siya padong sa balde ug gisabligan og tubig ang nagdilaab nga dagmay. Nitan-aw ang bana sa asawa nga punog katingala sa nawong. “Plastic, Love.”
          Ni-smile ang asawa kay kanta man nang Plastic Love. Nitindog siya aron i-check ang half-burnt dagmay. “Ani tanang dagmay nga ilang gina-award?”
          “I think so. My goodness. Abi nako legit . . . I’m sorry, Love.”
          Nanglingkod silang duha atubangan sa half-burnt dagmay. Mura silag gikapoyg kalit. Manulatay silang duha. Apan adunay say mga tuig nga wala silay masulat. Sa mga higayong naa, ang usa ang beta reader ug critic sa usa. Kada naa silay masulat, ilang ginapasa sa premiere publishing body sa Mindanaw. Inig ma-publish, mao na to ang baptism nga writer na ang usa ka tawo. Hatagan dayon ang nabautismohan og dagmay, simbolo nga ang usa, makonsidera na nga writer. Mas daghang dagmay, mas legit. Inig daghan nag dagmay, managhan na sad ang mga ipanghatag nga inaul, tinalak, ug uban pa.
          “Kabalo ka asa ko nasakitan?” Ingon sa asawa. “Naa koy nabasa nga ilang gi-publish. First paragraph pa lang, kabasa kog ‘Mayroon ring.’”
          “—Piskot.”
          “Di ba? But I let it slide kay minor error. Basin naa sa story ang gold.”
          “Unya?”
          “Naay situation. Yes. Pero story? Character arc? Uso karon nang patyon na lang ang main character.  Di na paabton og climax. Naa pay story ang Twilight.”
          Naabtan na silag sunset sa gawas. Orange na langit. Padulong na mu-violet.
          “Basin kishotenketsu, Love, maong walay climax.”
          “Ha! You bet. Pwede unta kung Totoro vibes. But it ain’t.”
          “Relax lang ta, Love.” Sulti sa bana samtang ginahapyod-hapyod na ang likod sa asawa.
          “Ug ayaw ko sugdi sa poetry.” Dungag sa asawa. “Ma-describe nako ang recent poems in one word.”
          “Unsa?”
          “—Alingogngog.” Nihigda na ang asawa sa mga paa sa bana. “Unya, perte ra ba sila makasaway kang Lang Leav. May pa gane tos Lang Leav kay nahalinan. Sila, way nakaila nila bisan mga taga-Mindanaw.”
          “Harsh kaayo akong baby ay.”
          “Harsh ko? In comparison, they are ruthless! People cry during workshops nga gina-organize aning premiere publishing body! Wala ko nihilak but you know, Love, how heavy the pen is now! Murag dili akoa ang bolpen. Kung magpatudlo akong mga bata unsaon pagsulat, gusto nako ipa-feel nila kung unsa akong nasinati nga ruthlessness sa mga workshops. But I try my best nga mahimong as accommodating and as careful as possible. Di ko gusto makabuak og dreams.”
          “I get you, Love. I’m proud of you.”
          “Di man pod tanan, Love. Pero kung basahon nimo ang na-publish in recent years, ra mag way imagination.”
          “What do you mean?”
          “Obsessed kaayo sa poverty, sa oppression, sa politics, ug especially sa local color just for the sake of it.”
          “Basin mao ni ang need nga literature karon nga time, Love? Maong ani ilang gina-publish?”
          “It’s been the literature throughout the years. Since pa kina Tita, kina Satur, kina Tiu, kina Pagusara, kina Deriada. I mean, kini sila—kini gyod sila. Sa una, naa pa may subtlety. Karon kay murag spokenword . . . If I were to pick one recent work to show the first time to my grade seven or eight class sa public school, whose dreams were maybe to become writers, asa diri akong pilion aron ma-hype sila mahimong writers, or at least para basahon ang piece?”
          “I don’t know, Love. Katong Valid Measurements ni Valdez kay nindot to pang-grade eight. Katong Valhalla something ni Cimafranca akong maisip pod. Naa man gud toy magic-magic. Pero kung grade seven, eight, medyo lisod basahon. And mga daan ni nga mga piyesa.”
          “Exactly!”
          “Maybe, dili to mao ang tama nga kuhaanan og resources? Plus, lahi-lahi sad ilang editors. Lahi-lahig tastes.”
          “If so, fine. Basin gina-judge nako sila sa mali nga criteria. Pero sayang. Kini na unta ang chance sa mga bata nga makabalo nga, ‘Hala naa diay ingon ani diri; abi nako sa ibang bansa or sa Luzon lang naay writers.’ Imbes lalom untag dulot ang literature sa youth, diha na lang nuon sila ma-aware inig college. Depende pa gyod nis language teacher nila kung aware sa mga ingon ani! And how many go to college? How many take courses nga related sa lit? How do we keep our history in tact when it’s gone at the outset?”
          Muingon unta ang bana og something like naa man gyod tingali swak nga work, and basin gina-generalize lang niya ang tanan human makakitag pipila lang ka pieces. Pero kabalo siya nga it’s more than that. Now is the time to listen.
          Nikusog ang hangin kadyot ug nisayaw ang half-burnt plastic dagmay.
          Gitan-aw sa bana ang itom nga buhok sa iyang asawa nga gadagayday sa iyang paa. Murag kaitom sa mga itom nga parts sa dagmay. Sa tinuod nga dagmay.
          “Kabalo ka unsa pay worse?” Dungag sa asawa, “Kanang mga ga-angkon nga Mandaya kuno pero iningles ang ispirito sa piyesa.”
          Nabantayan sa bana ang gagmayng moisture sa kilid sa mga mata sa iyang asawa. Gi-kiss niya ang mga moisture bag-o pa nahimong luha. Pure Mandaya iyang asawa pero nidako siya sa siyudad. Wa siya matudlui sa iyang mga ginikanan sa mga traditions. Ga-study pa siya sa iyang identity, ug paminaw niya nga dili pa siya sukod makasulti nga Mandaya siya kay di pa siya makasulti nga sakto na iyang kahibalo bahin sa iyang kagikan.
          Nahinumduman sa asawa ang iyang dili maihap nga mga drafts. “Accepted with revisions,” matod pa sa editor ato nga time. Ikapila siya gipausab aron mapanindot pa iyang prose poem. Aron mahimong worthy iyang piyesa para sa dagmay. Aron magka-dagmay ang usa ka Mandaya nga nabugto gikan sa iyang kabilin. Karon lang, nawalaan kinig bili para niya. Apan wa gyod diay toy bili daan kay gimugna ra diay sa nipis nga plastic nga hilo.
          Nakahunahuna ang asawa nga tadtaron ang aron-ingnong dagmay apan para niya, wa na ni nag-matter. Kung luparon ni sa hangin unya matagak sa kanal, puniton niya ni for the sake sa kanal.
          Gisudlay-sudlay sa bana ang buhok sa asawa hangtod sa nakatagpilaw ang duha. Nakamata sila taodtaod kay naa nay mga lamok. Pero actually, nakamata ang bana kay nadamgohan niya nga taas daw kaayo siyag bionote sa premiere publishing body para lang ingnon nga legit ug dili maingnan nga maot iyang work. What a nightmare.
          Gi-check sa asawa ang oras sa iyang selpon. Nahinumduman niya ang mga contacts nga iyang gipangayo ganiha para maka-establish pa gyod og network. Niadto siya sa contacts ug gipang-delete to tanan.          
          Gidiretso na sa magtiayon sa washing machine ilang mga gipangsuot, ug naghubo silang nanulod sa ilang balay. Nangaligo usa sila ug nagsuot og bag-og presko nga pang-uranay una naglutog panihapon, kay basta gikan sa patay, dapat mag-ilis man.
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(via Livelihood Of The Orang Asli Temiar Kampung Landap, Perak)
Livelihood Of The Orang Asli Temiar Kampung Landap, Perak
Orang Asli which literally means “original people” or the “aboriginal people” in Malay is the official term used for the indigenous people of Peninsular Malaysia.
Orang Asli Temiar  (Temiar) who are a Senoic group indigenous to the state of Perak and one of the largest of the 18 Orang Asli tribes of Peninsular Malaysia.
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funnyfilescloudw5i-blog · 5 years ago
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severetrashcollectordubai · 4 years ago
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kz5simplefilesportal-blog · 5 years ago
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goodsoftwaresarchivecr0 · 5 years ago
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ralfecomicoutlining · 4 years ago
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- Weaving is a cultural tradition mostly practiced by women from generation to generation. At an early age, girls are trained by their mothers to learn the craft. When these young girls grow up and marry, they successively pass this skill to their daughters. Furthermore, Maranao women who have knowledge in weaving are revered in society.
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uhkhelpfulsoftwarescloud · 5 years ago
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actualdriversshopy4f-blog · 5 years ago
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