My first document

Nadine Macapagal 2023

This zine was set with Helvetica and Mon Nicolette Toscane

THAD H102-22, SP 2023

Angara, Senator Sonny. “Women Empowerment in the Philippines.” Manila Bulletin, 19 Mar. 2022, https://mb.com.ph/2022/03/20/women-empowerment-in-the-philippines/#:~:text=According%20 to%20the%202022%20report,or%20to%20start%20a%20business

Attributed to Mandaya Philippine, Mindanao. Woman’s jacket, 1800s. The Museum of Art, Rhode Island School of Design

N., Reyes Lynda Angelica. The Textiles of Southern Philippines: The Textile Traditions of the Bagobo, Mandaya, and Bilaan from Their Beginnings to the 1900s. University of the Philippines Press, 1992.

Parker, Rozsika. The Subversive Stitch: Embroidery and the Making of the Feminine. Bloomsbury Visual Arts, 2019.

Unidentified Mandaya maker(s)

Women’s Jacket,1800s

Philippines (Mindinao)

Abaca fiber, bast fiber, mother-of-pearl disks, metal sequins; plain weave with embroidery and applique

Gift of Mrs. Jesse H. Metcalf 15.235

In the Philippines, mother-of-pearl is used widely to decorate textiles.Indigenous Mandaya makers, known for weaving abaca-fiber textiles, added mother-ofpearl discs to the neckline and hem of this jacket, which glitters in the light. Made from pearl-oyster shells, mother-of-pearl is known for its strength, making it well-suited for ornamentation.

The

Attributed

to Mandaya Philippine, Mindanao,Woman’s jacket

from the RISD museum is a beautiful example of the intricate textiles of the southern Philippines. The jacket’s use of abaca fiber weaving, intricate geometric patterns, and crocodile symbolism speak to the unique cultural traditions of the Mandaya people.

The Mandaya people are one of the indigenous groups that live in the southern part of the Philippines, particularly in the Davao and Compostela Valley provinces of Mindanao. They are known for their rich cultural heritage, which includes their unique weaving techniques and intricate textile designs. The Mandaya people have a long history of resistance against colonialism and oppression, dating back to the Spanish colonial period when they fought against Spanish forces. Today, they continue to resist oppressive patriarchal norms through their textile art, which has become a source of pride and empowerment for the women of their community. The Mandaya people’s cultural heritage and artistic traditions continue to inspire and empower not only their own community but also others who seek to learn from their resilience and creativity.

Mandaya dancing to instrumental music during tribal event

(The Manobos of Mindanao by John M. Garvan. Government Printing Office, 1931)

Mandaya Patterns

The Mandaya people's use of pattern symbolism is a significant aspect of their textile art. Manayans tended to use more realistic imagery. Their textiles feature various geometric patterns and motifs, such as the crocodile, which is a revered animal in many Philippine indigenous cultures, including the Mandaya.

crocodile

The is seen strength, power, and protection, ence on their textiles protection and prosperity

as a symbol of protection, and its presis believed to bring prosperity to their community.

The presence of the crocodile design on the jacket is a testament to the Mandaya people’s deep reverence for the animal and their belief in the power of traditional symbolism to bring protection and prosperity to their community.

The crocodile motif that adorns the majority of clothing forms is a charm to ward off evil by the substitution plan. For the motif to be efficacious, it has to be situated closest to the body. Clothing is the closest to the human skin; hence, the motif is incorporated in most garments through ikat, plangi, beadwork, embroidery, and applique.

subversive stitch

The jacket’s use of traditional symbolism and cultural heritage can be seen as a form of resistance against patriarchal norms. “Subversive Stitch” by Rozsika Parker explores the ways in which women have used textile art to assert their agency and challenge patriarchal power structures. The Mandaya jacket, with its intricate weaving and powerful symbolism, exemplifies this subversive stitching.

The style of the clothing form reflects a respect for the selvedge, which signifies the fact that articles of clothing are considered communal properties and thus worn by several individuals with varied measurements.

However, the clothing is limited to just a single individual.

close-up from jacket.

The jacket's crocodile design reflects the idea of women as protectors and defenders of their communities, rather than passive objects to be protected.

The labor of weaving, particularly in traditional societies, has often been considered a feminine task. In the context of the Mandaya people, weaving is not just a creative endeavor but a cultural practice that is deeply tied to their identity and history. Women are the primary weavers, spending hours at a time working on intricate designs using traditional looms and hand-dyed threads.

The labor-intensive nature of weaving is often seen as a symbol of female strength and resilience. It is a reminder that despite the patriarchy that exists within their society, women have the power to create and sustain their cultural heritage.

Mandaya weaver Memay Masumpad at her loom, 1991

Parker’s book discusses the subversive stitch, which is a type of needlework that questions standard gender roles and norms. It is a conscious act of defiance against conventional expectations of women being docile and subservient. Women are recovering their power and agency by utilizing needlework to produce art that challenges conventional narratives. The subversive stitch is a way of expressing oneself and making a remark, often in a way that the observer may not immediately notice.

Although not as evident as the crocodile designs, the jacket is embellished with elaborate beadwork and mother of pearl discs, which are thought to have protective properties. The mother of pearl is a symbol of the moon and its control over the tides in Mandaya culture, while pearls are thought to have healing abilities and are associated with riches and rank.

The Mandaya people believe that mother of pearl represents the moon and pearl represents the sun.

In Mandaya mythology and culture, the moon and sun are both important celestial bodies, signifying femininity and masculinity, respectively.

The use of these materials in weaving emphasizes the significance of maintaining balance and harmony between these two forces.

The rampant structural sexism in the Philippines remains the greatest obstacle to women’s empowerment, as evident in the prevalence of catcalling and misogynistic remarks made by public officials.

Despite being labeled as one of the most gender-equal nations globally, according to The Global Gender Gap Report by the World Economic Forum, socialized gender roles continue to impede the progress of Filipino women.

.As a woman, I experience a similar submission to men in my culture. This systemic oppression is characterized by the traditional notion that Filipino men are the sole leaders of households and providers, while women are relegated to subservient roles.

a female inhabitant of the Philippines or a woman or girl of Philippine origin or descent.

This deeply ingrained patriarchal ideology is not unique to the Philippines and is a common phenomenon in many Asian countries. Nevertheless, Filipino women's unwavering strength, resilience, and courage offer a glimmer of hope amid the struggle for gender equality.

Overall, the Attributed to Mandaya Philippine, Mindanao, Woman’s jacket from the RISD museum provides a powerful example of the ways in which traditional textile art can be used to assert cultural identity, resist patriarchal norms,

and express resistance and agency. The Mandaya people’s skilled weaving techniques and intricate designs, along with the powerful symbolism of the crocodile motif, reflect a rich cultural heritage and artistic tradition that continues to inspire and empower women today.