The Abstraction of the Indigenous Weaving

Shena May L. Wagas

A Thesis submitted to the Mathematics and Natural Sciences
Department of the Davao Oriental State College of Science and
Technology In Partial Fulfillment of the Requirements for the Degree



BACHELOR OF SCIENCE IN MATHEMATICS WITH BUSINESS AND
FINANCE

2014
Republic of the Philippines
Davao Oriental State College of Science and Technology
Dahican, 8200 Mati, Davao Oriental


ACADEMIC INTEGRITY DECLARATION
I, SHENA MAY L. WAGAS, declare that this requirements is my
own original work.
Most stipulation, present herein is mine alone. Borrowed ideas are given
due recognition and are properly acknowledge. With the best of my
ability, this investigation is treated with utmost care to adhere to
intentionally known standards and policies on academic integrity.
I attest further that this piece of requirements has not been
submitted previously for an academic credit in this or in any other
course.

___________________________
Researcher
August, 2014
APPROVAL SHEET
This thesis proposal hereto attached entitled THE ABSTRACTION
OF THE INDIGENOUS WEAVING, prepared and submitted by
SHENA MAY L. WAGAS, is hereby recommended for approval and
acceptance.
Endorsed by:
Dr. Nicanor M. Tuan
Adviser

_____________
Date

Approved by the panel of members

Dr. Asterio G.. Olandria
Chairman


Date
Roland A. Dalagan Gorjel Llanita
Member Member
______________

Date Date


Accepted in partial fulfillment for the degree in Bachelor of Science
in Mathematics with Business and Finance.
Dr. Asterio G. Olandria
Thesis Coordinator

_____________
Date

Jocelyn Arles Roy Padilla
Chairperson, MNSD Director for Instruction

_____________ _____________
Date Date


TABLE OF CONTENTS
Title Page
Academic Declaration
Title Page
Approval Sheet iii
Table of Contents iv

CHAPTER 1 INTRODUCTION 1
Statement of the Problem 3
Objective of the Study 3
Significance of the Study 4
Scope and Delimitations 5
Definition of Terms 5

CHAPTER 2 REVIEW RELATED LITERATURE
Number Theory 9
Smith Numbers 10
Smith Semiprimes 11
Reversible Smith Numbers 11
Abundant Smith Numbers 13
Deficient Smith Numbers
Composite Numbers
Prime Numbers
K-Smith Numbers
Aliquot Divisors

CHAPTER 3 METHODOLGY
Finding Smith Numbers From 1-10,000 14
Classifying Smith Numbers with respect to
Smith Semiprimes, Reversible Smith Numbers,
Abudant Smith Numbers, and
Deficient Smith Numbers 14
Identifying K-Smith Numbers (2-Smith Numbers) 14






CHAPTER I
INTRODUCTION

Background of the Study
Indigenous peoples are the holders of unique languages, knowledge
systems and beliefs and possess invaluable knowledge of practices for
the sustainable management of natural resources. They have a special
relation to and use of their traditional land. Their ancestral land has a
fundamental importance for their collective physical and cultural
survival as peoples. Indigenous peoples hold their own diverse concepts
of development, based on their traditional values, visions, needs and
priorities. (Masaquiza, 2006)
Indigenous Peoples of the Philippines (Tagalog: Katutubong Tao sa
Pilipinas; Cebuano: Lumad or Tumandok; Ilocano: Umili a Tattao iti
Filipinas) refers to a group of people or homogenous societies, identified
by self-ascription and ascription by others, who have continuously lived
as an organized community on communally bounded and defined
territory, and who have, under claims of ownership since time
immemorial, occupied, possessed and used such territories, sharing
common bonds of language, customs, traditions and other distinctive
cultural traits, or who have, through inroads of colonization, non-
indigenous religions, and cultures, become historically differentiated
from the majority of the Filipinos. (Section 3 of Republic Act 8371)
Under their cultural aspects, weaving will be included. Weaving is
a method of fabric production in which two distinct sets of yarns or
threads are interlaced at right angles to form a fabric or cloth. The other
methods are knitting, lace making, felting, and braiding or plaiting. The
longitudinal threads are called the warp and the lateral threads are
the weft or filling. (Weft or woof is an old English word meaning "that
which is woven". The method in which these threads are interring woven
affects the characteristics of the cloth. (Collier, 1974)
Specifically, the Mandaya tribes who are distinguishing from other
tribal weaving by the intricate figures and patterns depicting the folklores
and religion of the tribe. The crocodile is held sacred as shown by the
frequency with which it appears in their decorative design. This art is
handed down from generation. There is no patterns copy. Each design is
an expression of the weaver. (Day, 2008) Weaving abaca fiber requires
intricate attention and expertise. A Mandaya woman uses a traditional
loom. Weaving involves lacing strips of fabric, strings, or some other
material together to make something. You can weave wool to make a rug,
or weave the details of a story together to make a great book. While
weave originally only meant to make cloth by interlacing material, it later
came to also mean more generally combine into a whole.
Abstraction indicates a departure from reality in depiction
of imagery in art. This departure from accurate representation can be
slight, partial, or complete. Abstraction exists along a continuum. Even
art that aims for verisimilitude of the highest degree can be said to be
abstract, at least theoretically, since perfect representation is likely to be
exceedingly elusive. Artwork which takes liberties, altering for instance
color and form in ways that are conspicuous, can be said to be partially
abstract. Total abstraction bears no trace of any reference to anything
recognizable. In geometric abstraction, for instance, one is unlikely to
find references to naturalistic entities. (Beachy, 2005)
Thus, this study will know the abstract representation of the
indigenous weaving. This study will also be the most unique study that
will help our ethnicity status. To find these, the abstract must be shown
for us to know how this weaving exists. After we got those ideas of
representing, it will be very useful not just me but also to the head of our
town. They will have more studies about the weaving using the
abstraction, not just also to the Mandaya wear but also to the other
ethnicity wear. Moreover, the researcher will be eager to find the
applicable representation to make the readers easily to understand of
course, the abstraction is not too easy.

Statement of the Problem
Weaving is a common ethnical work among tribes all over the
world. It is usually uses as unique identification of particular tribe, when
is based on the motif embeded on the weave.
To study the Mandayan weaving motif, the researcher hs tested the
following questios:
1. What is the process and pattern in Mandayan weaves?
2. What are some abstract representation of Mandayan weave
design?
3. What are some abstract structure of Mandayan weave design?
Objectives of the Study
In other study, weaving is not ordinary because some other tribes
are vary rare in giving information of their patterns specifically the
Mandayan people for them, weaving process in their cloth which is
Dagmay is very sacred.
This project aims to enhance skills and knowledge of students and
faculties members involved in the ethnic weaving.
1. To know the process and pattern in weaving.
2. To find the abstract representation from the designs of
Mandaya wear.
3. To come up a different deigns using the abstract from the
Mathematics.

Significance of the Study
Many years passed, weaving was discovered in the
Philippines specifically in Davao Oriental, East coast area where the
Mandayan people especially women has the ability to weave, in which
weaving serves as their cultural survival. In this, many people believed
that in these tribes (Mandayan), weaving has no pattern. However, some
indigenous people have their own patterns. Moreover, this study serves
as a material guide and a source of knowledge for the future researcher
to know the various indigenous weaving patterns.
This study will generate some abstracts to represent the
Indigenous deign to come up some Mathematical representation. Since,
this study is more on abstraction; we will be more specific to this
research proposal then. It will be more helpful for the Mandayan people
for they can have more designs. Moreover, the researcher also wants to
identify some other abstract representation to contribute more designs of
the Indigenous wear.
The main purpose of this study is to study the design of the
Mandayan wear and represent it to an abstraction. It may help the
people who are studying the Indigenous weaving.

Scope and Delimitation
Weaving would be very interesting study especially when you
already know the patterns that will also make other researcher
contribute more. As of now, the study is rare because other people are
trying to involve other culture than their own.
This study will focus only to the Mandayan wear or also called the
Dagmay.Dagmay, an abaca handwoven cloth with intricate designs
revolving around man and crocodile, is one of the most popular material
cultures. This study may show some of the applicable information from
the mathematical representation. For this, which is the abstract
representation it will make us first confuse because its a very complex
topic. Moreover, we will find other designs too, to represents a new style
of weaving by the help of the abstraction.


CHAPTER II
REVIEW AND RELATED LITERATURE
Christopher Alexander (1977) says, "Each pattern describes a
problem which occurs over and over again in our environment, and then
describes the core of the solution to that problem, in such a way that you
can use this solution a million times over, without ever doing it the same
way twice." Even though Alexander was talking about patterns in
buildings and towns, what he says is true about object-oriented design
patterns. Our solutions are expressed in terms of objects and interfaces
instead of walls and doors, but at the core of both kinds of patterns is a
solution to a problem in a context.
Patterns, understanding the words group and pattern will help us
understand Algebraic and Geometric patterns. Patterns help us to
quickly learn new skills. Moreover, a group is a number of things that we
can see and touch that are related. They can be related based on any
number of reasons. The word pattern describes groups of things with
characteristics that repeat in a predictable way. (Jeff S.)
Moreover, there pattern is use also in weaving for instance, Cloth.
Cloth, is usually woven on a loom, a device that holds the warp threads
in place while filling threads are woven through them. A fabric band
which meets this definition of cloth (warp threads with a weft thread
winding between) can also be made using other methods,
including tablet weaving, back-strap, or other techniques without looms.
(Dooley, 1914) The way the warp and filling threads interlace with each
other is called the weave. The majority of woven products are created
with one of three basic weaves: plain weave, satin weave, or twill. Woven
cloth can be plain (in one colour or a simple pattern), or can be woven in
decorative or artistic designs. (Collier, 1974)
Plain
A plain weave was preferred as the added skill and time required to
make more complex weaves kept them from common use. Sometimes
designs were woven into the fabric but most were added after weaving
using wood block prints or embroidery. Each warp fibre passes
alternately under and over each weft fibre. The fabric is symmetrical,
with good stability and reasonable porosity. However, it is the most
difficult of the weaves to drape, and the high level of fibre crimp imparts
relatively low mechanical properties compared with the other weave
styles. With large fibres (high tex) this weave style gives excessive crimp
and therefore it tends not to be used for very heavy fabrics.

Twill
One or more warp fibres alternately weave over and under two or
more weft fibres in a regular repeated manner. This produces the visual
effect of a straight or broken diagonal 'rib' to the fabric. Superior wet out
and drape is seen in the twill weave over the plain weave with only a
small reduction in stability. With reduced crimp, the fabric also has a
smoother surface and slightly higher mechanical properties.

Satin
Satin weaves are fundamentally twill weaves modified to produce
fewer intersections of warp and weft. The harness number used in the
designation (typically 4, 5 and 8) is the total number of fibres crossed
and passed under, before the fibre repeats the pattern. A crowsfoot
weave is a form of satin weave with a different stagger in the re-peat
pattern. Satin weaves are very flat, have good wet out and a high degree
of drape. The low crimp gives good mechanical properties. Satin weaves
allow fibres to be woven in the closest proximity and can produce fabrics
with a close tight weave. However, the styles low stability and
asymmetry needs to be considered. The asymmetry causes one face of
the fabric to have fibre running predominantly in the warp direction
while the other face has fibres running predominantly in the weft
direction. Care must be taken in assembling multiple layers of these
fabrics to ensure that stresses are not built into the component through
this asymmetric effect.


Islamic world of weaves
In 700 AD, horizontal looms and vertical looms could be found in
many parts of Asia, Africa and Europe. One of the innovations of the
Islamic Golden Age was the pit-treadle loom where pedals were added to
operate heddles. The first such devices appeared in Syria, Iran
and Islamic parts of East Africa, where "the operator sat with his feet in a
pit below a fairly low-slung loom.". Islam required the faithful to cover
themselves from neck to ankle, increasing the demand for cloth. In
Africa, the rich would dress in cotton while the poorer would wear
wool. By 1177, it was further developed in Moorish Spain, where the
mechanism was raised higher above the ground on a more substantial
frame. The idea was adopted by Christian woollen weavers, particularly
in Flanders. This became the standard European loom, it had the great
advantage that the weavers hands were free to pass the shuttle, while
the monotonous job of operating the heddles was done by the feet.
(Pacey, 1991)

Weaving in the American Colonies (1500-1800)
Colonial America relied heavily on Great Britain for manufactured
goods of all kinds. British policy was to encourage the production of raw
materials in colonies and discourage manufacturing. The Wool Act
1699 restricted the export of colonial wool. As a result many people wove
cloth from locally produced fibres. The colonists also used wool,
cotton and flax (linen) for weaving, though hemp could be made into
serviceable canvas and heavy cloth. They could get one cotton crop each
year, until the invention of the cotton gin it was a labour-intensive
process to separate the seeds from the fibres. (Garraty & Carnes, 2000)
In the Navajo weavings of this order the traditional figures appear
to be geometrical, or so highly stylized that no naturalistic intention can
be recognized. A few traditional figures appear again and again, usually
set some distance apart along the length of the piece. The Mexican pieces
on the other hand show figures of animals, men and women, flower
forms and so on. One of the most of the Mexican belts of this type and
may have some historic meaning. And when weaving in this second
technique, the weft should not be drawn as tight as for the Bolivian
weave, and should be permitted to show a little. The weft therefore
should be white like the background threads, but should be somewhat
coarser. Also that, though the pick-ups should as a rule alternate
regularly, the exigencies of the design sometimes make it necessary to
pick up the same thread twice, at the return points of the figure.
(Atwater, 1941)

Weaving in the Philippines
Philippine weaving involves many threads being measured, cut,
and mounted on a wooden platform. The threads are dyed and weaved on
a loom. Before Spanish colonization, native Filipinos weaved using fibers
from abaca, pineapple, cotton, and bark cloth. Textiles, clothes, rugs,
and hats were weaved. Baskets were also weaved and used as vessels of
transport and storage, and for hunting. These baskets were used to
transport grain, store food, and catching fish. They also used weaving to
make just about all of the clothing that was worn. They weaved rugs that
they used for quilts and bedding. The quality of the quilt/bedding was
based on how soft, how tight together, and the clean pattern. The
patterns were usually thick stripes with different colors and with a nice
pattern. However, during Spanish colonization, Filipinos used fabric
called nipis to weave white clothing. These were weaved with decorative,
flower designs. (Sotto, 2013)
Weaves of the Philippines gives contemporary perspective to the
Philippines weaving traditions, featuring live demonstrations and special
installations that highlight the countrys age-old weaving culture.
Philippine designers and artists partner with local manufacturers and
weaving communities to create visual narratives for these crafts form
while weaving artisans bring their craftsmanship to life during the four
days of Manila FAME.
AKLAN PIA WEAVING TRADITION
Aklan Pia fabric is a fine, gossamer cloth made from the leaves of
the pineapple plant. The art of pia weaving is one of the oldest crafts in
the Philippines and none does it better than the artisans of Aklan.
SAMAR MAT WEAVING TRADITION
The "banig", as the mats are locally called, is crafted from dried
tikog, buri, pandan, or sea grass leaves. The leaves are dyed in vibrant
colors then carefully hand-woven into intricate patterns.
ABEL WEAVING TRADITION
From an age-old industry, the abel cloth of Ilocos Sur is known for
its vibrant hues and durability. With synchronized hands and feet, the
weavers create intricate patterns on a wooden handloom.
TNALAK WEAVING TRADITION
In collaboration with TADECO and the Tboli and Manday weaving
communities, they call the Tboli "Dreamweavers." Their Tnalak cloth
woven from patterns that spring from their dreams and realized on the
loom, simple threads turned into intricate designs.
In other hand, Algebraic Patterns would be. This are the numbers
with sequences based on addition or subtraction. In other words, we can
use addition and subtraction to predict the next few numbers in the
pattern as long as two or more numbers are given. Moreover, in the other
hand, the Geometry Patterns are the properties discovered of lines,
angles and shapes. Once you have developed your geometry skill set, you
can solve two column proofs using your skills.
Moreover some is introduced like the Geometric abstract. This
abstraction art might at first glance seem completely detached from the
natural world, a branch of abstract art devoid of emotion and lacking the
force and energy of the great action paintings. Geometric abstract art
appeals to the intellect and to our need to feel that our world is organised
and harmonious. In many cases it is highly colourful and the repetitive
nature of the patterns used provides a (most likely subliminal) sense of
comfort and security. Geometric abstraction was the perfect vehicle to
express pure feeling through his paintings. (Malevich, 1913) Took a
similar approach and his geometric abstract paintings have a timeless
quality. (Mondrian, 1930)
In this, Abstraction (from the Latin abs, meaning away
from and trahere, meaning to draw) is the process of taking away or
removing characteristics from something in order to reduce it to a set of
essential characteristics. In the same way that abstraction sometimes
works in art, the object that remains is a representation of the original,
with unwanted detail omitted. (Wigmore, 2014)
Graph Theory
In other hand, in mathematics and computer science, graph
theory is the study of graphs, which are mathematical structures used to
model pairwise relations between objects. A "graph" in this context is
made up of "vertices" or "nodes" and lines called edges that connect
them. A graph may be undirected, meaning that there is no distinction
between the two vertices associated with each edge, or its edges may
be directed from one vertex to another; see graph (mathematics) for more
detailed definitions and for other variations in the types of graph that are
commonly considered. Graphs are one of the prime objects of study
in discrete mathematics.
In other counrties, weaving is used as a means of cultural
exchange and will enable women participants to witness and learn the
entire process; from the collection of barks, pandanus and kala (natural
dyes) to the weaving and creation of your own pieces. (Stewart, 2012) The
weavings are filled with deep medicine and meaning: they remind us
where our clothes come from, and ultimately, where we come from.
Oftentimes stories, prayers, and visions are woven into the fabrics.
(Luna, 2013)
In addition, the weavs of indigenous people in the Philippines
specifically in the East coast, Davao Area where the Mandayan lives, the
Mandayas among the indigenous peoples, are specially known for their
weaving (specially the dagmay) traditions. Their textile traditions are
considered as one of the three significant indigenous textile traditions in
southern Philippines (Tboli, Mandaya, Bagobo) that developed distinct
symbolic designs that easily distinguishes themselves from Tagabawas
and Tboli/Blaan weaving designs (Reyes, 1992).

In this picture above, each design however, carries with it a certain
story. Most of the traditional designs, which can easily date back to over
a hundred years, have come to them in dreams. (Lacorte, 2009) Mandaya
dress, though popularly known for their exuberant use of color and
embroidery, nonetheless have more profound meanings beyond aesthetic
qualities. For example, only the bagani is allowed to wear a turban -like
head piece called a sinakbay, as well as a tight fitting two-piece suit
made from abaca fibres and dyed red and black. Part-time religious
practitioners called ballyan (always female) are distinguished from the
rest of the group by their intricately embroidered abace blouse and skirt,
which, like the baganis clothes, are also dyed black, dark red, and
maroon (Yengoyan 2006). Before the breakdown of the bagani system
due to colonial incursions, the Mandaya had an impressive suite of
material culture relating to warfare. They have an array of spears and
daggers, and shields known as kasag. Body armour made of iron or
highly polished hardwood from Narra or Kamagong are sometimes used.
Bagani are known to possess charms or anting-anting that made them
immune from death on the battlefield.

















CHAPTER III
METHODOLOGY

Woven fabric is produced through interlacing, at right angles in the same
plane, two sets of threads, longitudinal (or warp) threads and latitudinal
(or weft) threads. The warp threads are placed parallel with each other
and assembled in a sheet. To facilitate interlacement with weft threads
this warp sheet has to be shed, that is divided and parted to form an
upper (or front) sheet and lower (or back) sheet. A trail of weft thread is
passed between these two sheets. (Hann, Thomas 2005)

MATHEMATICAL MODELS
Part One contains the development and explanation of several
mathematical models of the weaving draft. These models are developed in
succession, each one more realistic than the one preceding it. Based on
the models, several interrelationships of the threading, tie-up, treadling,
and drawdown are defined. Most important of all is the definition of the
fabric formula, which is: F = TR o (TU)-1 o T where TR is the treadling,
TU is the tie-up and the (-1) indicates the inverse function, T is the
threading, and F is the fabric drawdown. The second half of this section
is used to develop the concept of multiple draft. In short, the multiple
draft contains two or more versions of the threading, tie-up, and
treadling which generate the same drawdown and are related as F = TR o
TU-1 o T. The math preceding this portion of the book is used to develop
the multiple draft concept.
This section provides the mathematical background -- and
definition of terms -- for Section B of Part Two. Chapter 1 introduces the
idea of mathematically changing the threading, tie-up, and treadling but
leaving the drafts drawdown unchanged. The idea of a transformation
base is introduced, which is called B throughout, and which acts on the
elements of a draft in various ways. The term amalgamated threading is
introduced. It means a threading that is equivalent to the original
threading, but one in which the visual organization of the original
threading is obscured from view.
Notation This section is where M&R introduce the idea of using
mathematical functions to understand the relationships between
threading, tie-up, treadling, and the resulting fabrics arrangement of
warp and weft threads. Their notation: f = tr ( t (td) ) means that the
threads, represented by td, [Note: td is a two letter variable: most of us
are accustomed to a one letter variable such as x, or n] are operated on
by the threading t (the function that defines how the threads are
assigned to shafts in a threading), and are also operated on by the
defined treadling (the function tr) to produce f, the fabric design. In this
section, M&R talk about composite functions, e.g., tr o t. The small o is
an operator used
to combine two functions. This, mathematically, is a composition (think
combination) of two functions in a specific order: tr and t. A letter V was
used in combination with a straight line above the function, and the two
were not always properly joined.
The symbol desired is the radical sign: .
In this study, first the researcher is needed to conduct a self
studying about the research by also consulting the person who knows
about the weaving. From this, it will lead to us to the expertise and will
find out some kind of pattern. The pattern will help the researcher to
perform his/her study to the readers. Moreover, by the help from the
expertise the researcher will also find out the abstract representation the
Indigenous weaves although its not too simple. The dagmay will be the
center of the research because its not too hard to find some expertise
just to share their knowledge to the particular person or to the
researcher. Afterwards, the researcher will activate his/her hand for the
performance of this proposal and to understand more about his/her
study adhere, and of course the researcher designed to make some other
patterns that will contribute other designs.