OLAC Record oai:scholarspace.manoa.hawaii.edu:10125/107678

Metadata
Title:		SD1-330
Bibliographic Citation:		Danerek, H. Stefan, Danerek, H. Stefan, Danerek, H. Stefan, Danerek, H. Stefan, Yuliana Longge; 2023-08-25; Genre: Personal narrative/Weaving. Title: 'Weavers’ histories and methods' (2. Yuliana Longge. b. 1960). Recording and interview with Mrs. Yuliana Longge (b. 1960), under the theme 'Weavers’ histories and methods'. With interlinear transcription and a non-literal English (US) translation. Longge tells about her work as a weaver, from when she was a young schoolgirl until today. Her major influence was her mother, who primarily worked with weaving, and not farming/horticulture, which most women must prioritize, weaving was done seasonally or after working the land. So, Longge's mother was 'not diligent', or even lazy, in spite of working a lot. This focus resulted in accumulated skills, which were passed on to Longge, the youngest of the children, from early age. Longge tells of how her mother instructed her, and how hard she tried. In fact, Longge became skilled and worked with weaving at a comparatively young age, so young that she was warned that people could harm her if she continued like that, receiving goods in exchange for a cloth, from the comparatively wealthy, and which invites envy. This illustrates the importance of weaving for wealth. Woven goods were and are a major (feminine) good, along with farmed produce, given by the wifegivers to the wifetakers as a reciprocary gift to the wifetakers after they have given (masculine) goods of pigs, ivory and money. The system is complex and extending in several directions, and the exchange is ongoing, even after the "dowry" has been installed. The value of all the feminine goods is not far from the harder value of the masculine goods. Hence, well ikatted and woven cloths can translate to pigs, ivory and money. The harm that would be inflicted on her would be supernatural, some kind of sorcery, using certain objects or whatever. It did happen, but more in the context of her schooling in junior high, so she never completed 3rd grade, two siblings had similar problems. Longge implicates an uncle, who also cared for her and the family, in this. Else, the sarong Loka was a popular wear when Longge was young (1970s), later it was only used by widows as their obligatory wear, being largely black. Longge mentions a type of ragi, but of local design and no name, popular at the time, before people started using Lio ragi. Longge also saw the wearing of Kasa mite, the wholeblack cloth, which like the Nae huta stopped being made in the following decades. Two Kasa mite could like the nae be joined together along the warp. Longge says she does not remember the vertical warping of these cloths, which her oldest brother, Mangge du'a, said he did in another recording under this theme. On technique, in the past people did not use lease sticks like today, but gebang leaf ('poro') for the ikatted marks 'loki netine' and 'teké mbolane', which were sufficient for their purpose of creating a straight cloth, straight bands, not running left or right or bending at the end. The marks are still present on Palu'e cloths, but today's makers use long lease sticks, which they also use for the Flores cloths they often make. Longge differs, she uses very small lease sticks to ikat Palu'e cloths particularly. She does not know of anyone else who can do that. The small lease sticks help to achieve sharp, defined motifs. Longge also tells of how one must weave, how to keep the shoulders and pressing the feet and so on. Recorded with the H4N Zoom and a Sony videocam by SD/Cawa noontime 25 Aug -23. It was hot and a bit sleepy after lunch there, SD:s voice is slow, and Longge's is low after a while, but it is all clear, at least with closed headphones. This work was supported by a Firebird Foundation research grant for the documentation of oral literature and traditional ecological knowledge. See also items SD1-130–SD1-135, which are about previous, traditional methods or processes before weaving, and SD1-329, an interview with a man, Longge's oldest brother, and upcoming items of Weavers' histories and methods. Longge speaks mostly about Palu'e dye methods in SD1-132, for that reason the subject was not discussed in the current recording.; wav file at 44,1 KHz 16 bits, mp4 file, eaf file; Kaipuleohone University of Hawai'i Digital Language Archive;https://hdl.handle.net/10125/107678.
Contributor (depositor):		Danerek, H. Stefan
Contributor (participant):		Danerek, H. Stefan
Contributor (recorder):		Danerek, H. Stefan
Contributor (researcher):		Danerek, H. Stefan
Contributor (speaker):		Yuliana Longge
Coverage (ISO3166):		ID
Date (W3CDTF):		2023-08-25
Description:		Genre: Personal narrative/Weaving. Title: 'Weavers’ histories and methods' (2. Yuliana Longge. b. 1960). Recording and interview with Mrs. Yuliana Longge (b. 1960), under the theme 'Weavers’ histories and methods'. With interlinear transcription and a non-literal English (US) translation. Longge tells about her work as a weaver, from when she was a young schoolgirl until today. Her major influence was her mother, who primarily worked with weaving, and not farming/horticulture, which most women must prioritize, weaving was done seasonally or after working the land. So, Longge's mother was 'not diligent', or even lazy, in spite of working a lot. This focus resulted in accumulated skills, which were passed on to Longge, the youngest of the children, from early age. Longge tells of how her mother instructed her, and how hard she tried. In fact, Longge became skilled and worked with weaving at a comparatively young age, so young that she was warned that people could harm her if she continued like that, receiving goods in exchange for a cloth, from the comparatively wealthy, and which invites envy. This illustrates the importance of weaving for wealth. Woven goods were and are a major (feminine) good, along with farmed produce, given by the wifegivers to the wifetakers as a reciprocary gift to the wifetakers after they have given (masculine) goods of pigs, ivory and money. The system is complex and extending in several directions, and the exchange is ongoing, even after the "dowry" has been installed. The value of all the feminine goods is not far from the harder value of the masculine goods. Hence, well ikatted and woven cloths can translate to pigs, ivory and money. The harm that would be inflicted on her would be supernatural, some kind of sorcery, using certain objects or whatever. It did happen, but more in the context of her schooling in junior high, so she never completed 3rd grade, two siblings had similar problems. Longge implicates an uncle, who also cared for her and the family, in this. Else, the sarong Loka was a popular wear when Longge was young (1970s), later it was only used by widows as their obligatory wear, being largely black. Longge mentions a type of ragi, but of local design and no name, popular at the time, before people started using Lio ragi. Longge also saw the wearing of Kasa mite, the wholeblack cloth, which like the Nae huta stopped being made in the following decades. Two Kasa mite could like the nae be joined together along the warp. Longge says she does not remember the vertical warping of these cloths, which her oldest brother, Mangge du'a, said he did in another recording under this theme. On technique, in the past people did not use lease sticks like today, but gebang leaf ('poro') for the ikatted marks 'loki netine' and 'teké mbolane', which were sufficient for their purpose of creating a straight cloth, straight bands, not running left or right or bending at the end. The marks are still present on Palu'e cloths, but today's makers use long lease sticks, which they also use for the Flores cloths they often make. Longge differs, she uses very small lease sticks to ikat Palu'e cloths particularly. She does not know of anyone else who can do that. The small lease sticks help to achieve sharp, defined motifs. Longge also tells of how one must weave, how to keep the shoulders and pressing the feet and so on. Recorded with the H4N Zoom and a Sony videocam by SD/Cawa noontime 25 Aug -23. It was hot and a bit sleepy after lunch there, SD:s voice is slow, and Longge's is low after a while, but it is all clear, at least with closed headphones. This work was supported by a Firebird Foundation research grant for the documentation of oral literature and traditional ecological knowledge. See also items SD1-130–SD1-135, which are about previous, traditional methods or processes before weaving, and SD1-329, an interview with a man, Longge's oldest brother, and upcoming items of Weavers' histories and methods. Longge speaks mostly about Palu'e dye methods in SD1-132, for that reason the subject was not discussed in the current recording.
		Region: Palu'e, Flores, Nusa Tenggara Timur, Indonesia. Recording made in kampong Mata mere, Kéli domain.
Format:		wav file at 44,1 KHz 16 bits
		mp4 file
		eaf file
		wav file 00:31:47:00
		mp4 file 00:31:47
Identifier:		SD1-330
Identifier (URI):		https://hdl.handle.net/10125/107678
Language:		Palu'e
Language (ISO639):		ple
Subject:		Palu'e language
Subject (ISO639):		ple
Table Of Contents:		SD1-330.mp4
		SD1-330.wav
		SD1-330.eaf
Type (DCMI):		Sound
		Text
		movingImage
Type (OLAC):		primary_text
OLAC Info
Archive:		Kaipuleohone
Description:		http://www.language-archives.org/archive/scholarspace.manoa.hawaii.edu
GetRecord:		OAI-PMH request for OLAC format
GetRecord:		Pre-generated XML file
OAI Info
OaiIdentifier:		oai:scholarspace.manoa.hawaii.edu:10125/107678
DateStamp:		2024-01-14
GetRecord:		OAI-PMH request for simple DC format
Search Info
Citation:		Danerek, H. Stefan (depositor); Danerek, H. Stefan (participant); Danerek, H. Stefan (recorder); Danerek, H. Stefan (researcher); Yuliana Longge (speaker). 2023. Kaipuleohone.
Terms:		area_Asia country_ID dcmi_Sound dcmi_Text dcmi_movingImage iso639_ple olac_primary_text
Inferred Metadata
Country:		Indonesia
Area:		Asia