A Preliminary Study on the Meranaw Traditional Balod “Tie - Dye” Technique in Weaving

This paper is a historical narrative study documenting two of the most ancient living Meranaw cultural heritage: kapanga-awl (weaving) and kapamalod (tie-dyeing). These century-old surviving crafts serve as a testament to a very long-standing contacts and trade relations between the Philippines and her neighboring countries such as India, China and the Asian countries, more particularly Indonesia whose Ikat (from an ancient Indonesian word mengikat which means to tie or bind) weaving style closely resembles the Meranaw balod technique in weaving. What links the Philippines with these countries and what finds the Meranaw more similar to the weaving tribes in Northern Luzon and Southern Mindanao are their weaving culture. Highlights of this paper include the origin of the balod technique in weaving, their ingenuity with regards to the use of natural and indigenous raw materials for weaving and some mythical performances, ceremonies, and ritual offerings associated with the balod craftsmanship. Significantly, the research aimed to enable the readers to appreciate and understand the said weaving cultural heritage. It addresses the issues of saving this cultural heritage; otherwise, weaving may suffer the fate of other Meranaw indigenous arts that have diminished and faded into oblivion. This paper recommends preserving such weaving cultural heritage through continuous recording or documenting, archiving, preserving them in their living form, and ensuring its transmission to the next generation.

Another theory employed in this paper is the theory on diffusion as one of the sources of culture change. According to the proponent of this theory (Hunter, Copyright 1976) "…diffusion means the process by which cultural elements are borrowed from another society and incorporated into the culture of the recipient group…"; …it could also mean the transfer of cultural elements from one society to another with accompanying degree of reinterpretation and change in the element…" The theory of diffusion answers the question as to how these Meranaw artisans were able to learn balod weaving or the tie-dye technique in weaving. This proposes that such skills must have been brought and borrowed from our migrating Asian ancestors and its diffusion in the Meranaw culture was the result of trade and social contacts between these Meranaw and those of their Asian ancestors. After its introduction, the Meranaws started to create their own innovations based on what they need, their capacity and capability to do it and the demands of their environment.
The third theory applied in this study is the theory of discovery and invention or innovation, of which according to Linton (1936), "…discovery is any addition to knowledge while invention or innovation is a new application of knowledge…new ideas or traits originated either inside or outside caused some changes in their culture because the people accepted it and use it regularly…that if an invention or discovery is ignored, no change in culture results. It is only when society or people accepts an invention or discovery and uses it regularly that we can speak of cultural change which may originate from inside or outside a society, are ultimately sources of all cultural change…" Hence, the theory of discovery and invention also answers the inquiry as to how the Meranaws were able to learn this weaving and tie-dye technique in weaving. Generally, since invention or innovation denotes a change that requires a significant amount of imagination, such theory supports this paper more significantly on the changes introduced in the Meranaw balod hand-woven fabrics. The Meranaw weaving artisans continued to adapt to the changing demands of their buying environment for their handicrafts to be more viable. They made some innovations or changes in their designs, colors, and functions of their handwoven fabrics in order to be more relevant to the demands of their market.
They are now open to experimenting new product designs, and more usable items in response to the demands of those that buy their products. They are now birthing new in their traditional weaving that they have never done in their history; otherwise, their balod weaving industry will decline. This paper, through narrative-descriptive historiography, provides the historical origin of the Meranaw traditional balod technique in weaving. Specifically, it examined the ingenuity of the Meranaw weaving artisans in the production and utilization of indigenous raw materials for weaving and dyeing; the essential steps in the preparation and process of the Meranaw traditional balod technique in weaving; the meanings, rituals, beliefs and practices associated to the Meranaw traditional balod art/technique in weaving; and some measures done in order to preserve and make their balod weaving industry more viable. The data collection particularly covered some communities in the Municipality of Bacolod Grande, Province of Lanao del Sur, Philippines, namely Barangay Ampao, Orong, Dilabayan, Pindolonan, Buadi-Awani,Tuca, and some barangays of Kalawi. Ethnographic techniques such as interviews, participant observation, focused group discussion, and frequent community visitation, fortified with library works, were employed in the data gathering. Only older participants, particularly 60-75 years old, who have been weaving were considered as participants. The succeeding parts of the paper will explicate previous works relevant to the study, the methodology employed, the results and the discussion of findings, and the conclusion of this paper.

Literature Review
This part elucidates selected literature and related studies that support the data presented and reveal facts about the craft and substantiate the antiquity of weaving and tie-dye craftsmanship that has been produced for centuries in many countries across the globe, including India and many other Asian and African countries.
According to an article entitled History of Weaving (http://wildtussah.com./history-weaving-2/#the_origin_0f_fabric, 2018), the art of weaving has evolved over the course of thousands of years, through discovery and experimentation. The idea of interlacing materials together to create a weave was probably inspired by nature (e.g. observing bird's nests, spider webs). And this technique evolved through time, and the man eventually was able to stretch and dry fibres to produce more delicate threads.
In another book, Powell (1971) states that weaving was born of necessity in the pre-conscious period of our human history and weavers wove their fabrics in order to live using indigenous plants and raw fibers, spun these into yarn and woven into fabrics.
In the case of the Philippines, Jocano (1975), a renowned Filipino Anthropologist, pointed out that our century-old Philippine weaving culture must have taken its roots from the greater Malay-Polynesian civilization who had stepped on our shores very much earlier than the Europeans had. They must have brought with them some elements of their culture, then it was borrowed and integrated with the existing culture of our indigenous settlers. It was from them where we could attribute the discovery (addition to knowledge) and the invention (new application of knowledge) of our century-old weaving technology.
Similar to weaving, the concept of tie-dyeing was also born out of a perceived necessity. One source (History, 2018) reveals that the origin of tie and dye belongs to the category of pre-history, as countless dyers through the ages in many countries must have experimented with the use of binding to create patterns on cloth immersed in vats of dye (http://groovyhistory.com/art-oftie-die, 2018).
Buhler (2018) substantiate the fact that the art of tie-dyeing is an ancient handicraft that has been practiced in the Indian subcontinent, in many other parts of Asia, America, African countries, China and Japan as early as 6 th century A.D., about one and a half millennia ago (Sill, 1995). He also noted that the earliest surviving examples of tie-dye included a pre-Columbian alpaca found in Peru and silk from 4 th -century Chinese tombs.
Among the different tie-dye weaving techniques that were reviewed in the course of this study, the one that nearly resembles the balod (tie-dye) weaving technique of the Meranaws is the ikat textile weaving style in Indonesia. The word ikat is derived from the ancient Malay word or Indonesian word mengikat, which is similar to the Meranaw word miyangikut, which means to tie or bind. Scott (1992) cited that the early Spanish lexicographers were able to reconstruct the weaving techniques of our ancestry by collecting, recording and defining the names of the different parts of the loom. One finds it in Pedro de San Buenaventura's Vocabulary of the Tagalog Language with Castilian, the earliest Tagalog dictionary extant and one of the best during the Spanish period (Scott, 1984).
Some Filipino tribes made indigenous fabrics by weaving and creating patterns, designs, and motifs using the tie-dye techniques. These tribes include the Tbolis and Blaans of Southern Mindanao as well as the Igorots, Bontocs and Kalingas of Northern Luzon. However, concerning the Meranaw balod (tie-dye) weaving technique, the researcher failed to find related studies for review. There was no similar study conducted particularly on the ingenuity of the Meranaws in using native plants as fibers and raw dye. One can find it in Cayongcat (2018) book, but it only mentioned how weaving started among the Meranaws.
In the book of Macarambon entitled Art, Craft and Uses of Malong, she seemingly touches on the striking similarity between the andon and the Indonesian sarong but not specifically on the Meranaw balod fabrics. Lastly, Bato (2011) cited more on another weaving technique called sukip but not on the balod weaving technique.

Methodology
This paper utilizes ethnography, a qualitative research procedure where a considerable amount of time is spent "in the field" interviewing, observing, gathering documents, describing, analyzing, interpreting and understanding the patterns of a culturesharing group in order to understand their behaviors, beliefs, and language (Creswell, 2012).
The researcher used a narrative-descriptive historiography as a major technique in an ex-post facto design through the use of oral interviews on selected Meranaw pangangawl (weavers), pamamalod (balod designers) and pangungusod. The research study was conducted in the weaving villages of the Municipality of Bacolod Grande namely Barangay Ampao, Orong, Dilabayan, Pindolonan, Buadi-Awani,Tuca, and some barangays of Kalawi. The place is fairly situated and ensconced in between two wonders of nature---the panoramic Lake Lanao and the majestic Mount Gurain, a fabled mountain with the highest altitude and longest range in the entire Lanao Region. Based on the data obtained from the Office of the Municipal Mayor of Bacolod-Kalawi, the said municipality has a population of 20, 146 and a total land area of about 3, 978 hectares. Its northern border is bounded by Mount Gurain and the Province of Lanao del Norte; the southern brink is protruding upon Lake Lanao. The eastern frontier is connected with the Municipality of Tugaya, whereas its western edge is adjacent to the Municipality of Madalum, both of Lanao del Sur. Comprising its territory is about 2, 468 hectares of timberland and only about 1,500 hectares of alienable and disposable lands.
Bacolod Grande, a forty (40) minute-drive from Marawi City, is one of the municipalities in Lanao del Sur where people still practice the indigenous art of weaving the way they used to in the old times. The place is not only known for its best balod fabrics but also exceptionally hand woven luxury fabrics called malong such as rawatun and andon. But with the passing away of many of her weaver experts, we can hardly find an exceptionally handwoven balod fabric in the place. Her rich weaving cultural heritage had never made her a glorious traveling destination for tourists, culture lovers and enthusiasts.
Data gathered in this study are from the fifteen (15) key informants who are expert weavers in their respective communities. They belonged to the primary group of Meranaw pangangawl/panganga-ol (weavers), pamamalod (balod designers) and the pangungusod (beamers). The key informants possessed three different or distinct expertise but were interrelated because a pangangawl cannot weave without the pamamalod.. Similarly, a pangangawl and a pamamalod cannot function without the pangungusod. Rarely can you find a pangangawl who knows how to make balod and who knows how to assemble all the essential paraphernalia in weaving.
This study used some data-gathering instruments that were tailored to probe avenues of exploration that can yield information relevant for the topic being studied. This includes interview schedule, participant observation, focused group discussion, native (Meranaw) dialect, frequent visitation, the use of modern technology, like a tape recorder and video-recording, and library works.
Three groups of participants who were identified to represent the groups involved in the production of finished hand-woven fabrics consisted of five (5) pamamalod or balod designers, who by virtue of their age and experience, are presumably experts in balod processing and designing; five (5) pangungusod with older ages, ranging from 60 -75 years that perform the most delicate and strenuous part in the production of an woven material, and five (5) pangangaol/pangangawl or the weavers.

Results and Discussion
Based on the article entitled The History of Weaving Part 1( 2018) and from a document retrieved from a web site (http://wildtussah.com./history-weaving-2/#the_origin_0f_fabric, 2018), they reveal that the art of weaving and tie-dyeing have evolved over the course of thousands if not, millions of years in various parts of the globe. The use of different tie-dye terminologies in many archaeological findings lead scientists to conclude that tie-dyeing, similar to weaving is a century-old handicraft. This holds true with the tradition of weaving and tie-dyeing artisanship of the Filipinos, particularly the weaving tribes of Luzon such as the Ifugaos, Bontoks, Kalingas and the weaving artisans in Southern Mindanao like the Meranaws, Maguindanao, Tausog, Jama Mapun, Tiboli and Bagobos. Their art of weaving and tie-dye technique in weaving must have been introduced to them from outside or from our migrating ancestors like the Malays and Indonesians and it became an addition to their knowledge and applied to regularly.
In the Philippines, according to Scott (1984) the use of early Spanish dictionaries, one of which was that of Franciscan friar Pedro De San Buenaventura enable us to reconstruct the Filipino weaving techniques after knowing all the recorded names for the individual parts of the loom, plant fibers and dyestuffs used in weaving.

Origin of the Meranaw Traditional Balod Technique in Weaving
According to Omaira (Masacal, 1995) the term kabalod whose root word is balod is:

"giyangkotowa a ka -phu-li-bu-di-ron, odi na giyangkotowa ka-phu-ngi-khut-ti-ron, odi na giyangkotowa ka-phu-pha-mo-wa-ti-ron sa batuk ago so ka-phu-gi-lus-saon" (it is the process of wrapping with strings, the process of tying or the process of designing and dyeing)
This Meranaw traditional balod (a Meranaw word for miyangikut) weaving technique closely resembles the Indonesian Ikat, an ancient Malay or Indonesian word mengikat which means to tie or bind. Both handwoven fabrics are created using a skillintensive process of marking, tying and dyeing the design into the yarn before it is woven. What differs is the design because while the Ikat employs very elaborate and intricate designs (e.g. human figures), the Meranaws employ geometrical, leaf forms and other okir-inspired designs in their balod fabrics.  Research findings revealed that the Meranaw traditional balod technique in weaving is an indigenous skill that their ancestors developed out of perceived necessity. A 73-year old expert-weaver key informant Hadji Napsia (Pangcoga, 1995) revealed that their parents did not learn such weaving skills from other people or places, but it is their inherent talent. Implicitly, their ancestors learned the weaving skills on their own, proving their intelligence and creativity through their imagination and prowess in weaving. Their weaving skills and knowledge were all inherited from their ancestors. But the author is more convinced on the arguments (Saber, 1978) that the Meranaw weaving craft was introduced by the Indonesians who also learned it from India and the former introduced it to the Meranaws. Jocano (1975) added that such weaving heritage seems to be a confluence of Malayan-Indian-Chinese influences, conformably with the proximity of the Philippines, particularly Mindanao, to Malaysia, Indonesia and the ancient relations with India and China.
The late Hadji Hedjara, who had been weaving for more than fifty (50) years, said that she learned how to weave through her dreams and from her aunt Bae sa Bayabao. She was cautioned not to fail in learning such weaving skills otherwise she may end with an incurable illness, if not insanity.
However, the different revelation from an expert weaver named Hadji Racma Bayamba (Bayamba, 2002) traced her learning of the art from a supernatural way, such as through a more bizarre way like the appearance of an unknown-creature, teaching her, if not, coaching her the mechanics of such artistic skill. She said that she learned the art through taginupun or taginupun a piyakamumusa referring to a more frightening phenomenon called "phiphayagan," where supernatural creatures appearing before them are the ones coaching and guiding them. She confessed that she weaves so fast that somebody is holding the barira.
The following are testaments that bear witness to the antiquity of the Meranaw weaving craftsmanship, such as their weaving lingo, their various weaving styles and numerous names for their different hand woven fabrics, the discoveries of a century-old iro-an or manga irowan (sets of weaving paraphernalia) in the Municipalities of Taraka , Bacolod Grande and Marawi City, and the findings of an age-old living hand woven malong and potal (pouch bag made of waka) in Barangay Ampao, Bacolod Grande.  Another proof on the antiquity of the Meranaw weaving artisanship was found in the unpublished memoirs of Pershing (Pershing, 1901) that mentioned the Moros he frequently saw during the market day in Iligan held every Saturday, fully draped with woven fabrics/cloth of different colors. Another article entitled Notes on the Maranaw Moros (Bowman, 1908) made mention about the cotton being spun into thread for weaving and the dress of the Moros to be like that of a sarong, presumably malong, measuring five (5) feet wide and nine (9) feet long. Both men and women weave and wear it using bright colored cotton obtained from the Chinese.

Indigenous Raw Materials in the Meranaw Traditional Balod Technique in Weaving
The Meranaws had also made use of natural and indigenous plants for their weaving handicrafts such as waka (abaca), which when processed produced abaca fibers they call kakayon, a rough fibrous fiber, of which, when hand-woven produces a fabric is made known as kindang. Another kind of banana plant is called borongan, which, when stripped from its trunks or opas also yields banana fibre, similarly called kakayon and when handwoven produces another fabric called topo. As narrated by Hadji Jiamellah (Muthung, 1995), after stripping the trunks of this borongan, they are being pounded until all the rough and fibrous contents of this plant will be removed and becomes very soft and fine. This banana, if sprinkled, rubbed and squeezed with the ashes of an apog will change its color texture into pure white. This Meranaw word apog is actually the ashes obtained from flamed seashells called soso. She continued that: "the soso are placed on top of a bamboo-made board where they are to be heated by the flame of a fire beneath it… the ashes of these shells are covered with banana leaves overnight…then the apog is made on the following day") its color is white, like a very fine powder. If this is mixed with kalawag (turmeric) and moist this with water, the color changes to red. The kakayon, if s soaked with apog overnight, will turn very soft.
Another raw material used in their woven textile is a vegetable fiber stripped from the cotton plant which they call gapas. As explained by Hedjara (Pangcoga 1995) and Jiamellah (Muthung, 1995): "the cotton hairs (after removing from the seeds) are piled and then paddled until it becomes very flat and thin in all edges; then, around its surface or edges, they roll it with their fingers, stripped and spun into a single strand fiber using the gilingan or a small wooden spindle turned by hand. As the spindle turns around, you will see how such fine and smooth fibers are coming out of the spindle" These cotton fibers were used as their raw material in balod weaving probably because of the dye ability and softness of the cotton thread.

Kapangilus, the Meranaw Traditional Dyeing Technique Using Indigenous Raw Materials
Research findings revealed that the Meranaws had their own ingenuity of using natural or indigenous raw materials for their kapangilus or dyeing technique such as plants, fruits, leaves, and clay. One of which is the lipao, presumably a clay found near rivers, springs or rice paddies. According to Sanaoray (Balindong, 2019) the tied thread when soaked in a lipao can turn it into black yarn.
Another raw material is a grass-like plant called tagom, of which, when cooked, produces red color and is used to dye the waka. Both Hadji Jiamela (Muthung 1995) and Hadji Sinab (Kosain 1995)revealed to have used this kalaloda, whose fruits (onga), when cooked, produce orange color.  As mentioned by Hadja Hedjara ( Pangcoga, 1995), another indigenous plant they utilize is kayo a riya which is also a source of black dye, whose leaves, when mixed with clay called lipao produce black dye. She said that: "after pounding the leaves of the saging a riya…immerse the thread with its extracts…then cover this with lipao, a soft moist earth or clay found in springs… the thread turns black…but not pure black…unlike the newly introduced black thread "

Figure 8. Kayo-a-Riya
For yellow dye, they use the concoction of turmeric and the skin of mango fruit. Ina a Hedjara (Pangcoga 1995) explained that: "the turmeric and the skin of a mango fruit are to be pounded or crushed… then soak the thread to the concoction or extracts until its fully absorbed/until the thread is fully colored with yellow dye" Another natural dyestuff of ancient Meranaw weavers is the so-called torsi made from a mixture of an extract from talambo or phuga (pomelo-like fruit) and scratches from any steel-made cooking wares (e.g. kara or kodun), the result of which is the torsi which is also used in blackening their teeth.

Essential Steps in the Meranaw Traditional Balod Technique in Weaving
According to Omaira (Masacal,1995)), of which this was corroborated by her sister Apipa (Masacal, 2019) and other pamamalod respondent , the essential steps to be undertaken in order to produce the so-called balod designs include the kasod, which involves the hardest and tedious process of stretching and fastening the tomadhung in a wooden instrument known as bidangan for two days or more; the Kapangikut/Kapamongkos (tying or wrapping) where the fastened thread in the bidangan are tied with strings of rice sacks in line with the predetermined pattern or design. Before wrapping, they rub this first with either taro (beeswax) that comes from a waste of insects called batiyokan , or the dukhut, a waste of another insect known as tamaing or tamosan or the gola a tunub (honey bee) for the strings to stick together. Another expert pamamalod Sanaoray (Balindong, 2019) said that: "if the nests of this insects called batiyokan are cooked, that waste substance they call taro separates from that nest…either they make this into ball-like form or store them in a can…and every ball-like form of taro costs fifty (50) pesos) …these waste substances of tamaing and batiyokan are made after squeezing their nests to produce the taro" The tomadhung is knotted or wrapped tight enough to resist the dye from penetrating it. The third step is the Kapangi-lus or Kasayn (Dyeing), where they immerse the thread wrapped with strings into three gallons of boiling water filled with dyes they call Venus. After washing, hanged and dried, the wrappings are carefully removed. The dyed thread, which is to become part of the tomadhung, is again stretched on the loom and rubbed with rice paste (smashed cooked rice) to harden and form patterns or designs. One can see the patterns or designs emerging, ready to be woven at this stage.

The Meranaw Traditional Balod Designs and Patterns
The Meranaw weaving artisans culled such designs from the legendary okir patterns, the generic term for scroll, geometric and flowering designs, often based on an elaborate leaf and vine pattern (Sakili, 2003). These elements of okir from where Meranaw traditional weaving artisans applied their designs are the matilak, potyok, dapal (raon), pako, todi, pako longat, pako rai, naga and binitoon. They favor two major colors such as yellow which stands for royalty and maroon red or alizarin crimson red, known to the Meranaw as sutra (Macarambon, October-December 1974). Below are samples of the old and traditional Meranaw traditional balod designs that present Meranaw weaving artisans no longer apply or include in their motifs or patterns. Figure 9. One of the traditional Meranaw designs they call Niyaga whose root word is naga which means a serpent. The design is likened to a stylized snake or dragon and it takes several months for a weaver to finish such design. Figure 10. Meranaw Traditional balod design they call Ongkop depicting geometric patterns and design elements such as diamond or angular forms such as square and triangle that are expressive of arrested action attributed to the male. It is a very rare design that most of the present pamamalod refuses to make because of its intricacies. Figure 11. Meranaw traditional balod design they call Onsod

The Meanings, Rituals, Beliefs and Practices Associated to the Meranaw Traditional Balod Technique in Weaving
Before the late expert weaver Hadji Hedjara (Pangcoga, 1995) passed away at the age of 90, she said that beginners are obliged to perform a very sacred series of rituals described by them as di mbatonan or angay sa iroan: "…preparing two trays of foods consisting of yellow rice, cooked chicken, Meranaw sweetened pastries and cakes like dodol and amik, and two pieces of chicken eggs… The yellow rice is made into a crocodile-shaped figure, the two cooked chicken eggs as its eyes, the dodol as its arms and the amik as its scales…"; phurawatiban so Nabi Ibrahim: "… the two trays containing foods are with white cloth, followed by praying to Allah that the student shall be blessed with the blessings of knowledge upon Prophet Ibrahim and his descendant Fatima (the daughter of Prophet Mohammad) who are believed to be the originators of all male and female craftsmanship, respectively…"; and the kandori: "… the tuwan who performs the prayers, will receive dress, malong, P50.00 and one tray of foods…; those Meranaw sweetened pastrie will be given to neighborhood…; the remaining tray of foods will be eaten by the learner and not to offer this to anybody… The respondent added that these rituals are being kept secret because: … if a lady or unmarried woman happens to witness the rituals, she may be impregnated…; and for a man to witness such rituals will cause his death… those that cannot learn such skills will suffer insanity or mental disorders, illnesses and difficulty in learning, especially if one refuses to perform such rituals The respondent cited the case of her sister Napsia, who got sick when she declined to perform the rituals and the recovery of Sanaoray after she was smelling the scent of a burned scraps of an iroa-an.

Some Modifications and Innovations for the Preservation and Viability of the Meranaw Traditional Balod Technique in Weaving
Traditionally, the Meranaws are not open to new cultural elements. Their craftsmanship still remained original, very traditional or folkish and worst, neglected because of the remoteness, too warlike and too poor to attract people's interest from other places.
Research findings reveal that the Meranaw traditional balod technique in weaving is seemingly declining because of various reasons such as the dwindling number of skilled Meranaw panganga-wl and pamamalod due to deaths, old age, illness, loss of memory; the chain of passing down the traditional weaving craft through the generation was broken; many weaver artisans showed little interest in expanding their weaving industry; their children preferred to finish schooling and find new careers while others choose to venture into other businesses and shifted to other crafts ; a limited supply of essential raw materials like a thread; and the absence of capital and ready markets for their finished products.
But realizing the unavoidable decline of their weaving industry, the Meranaws weaving artisans made some changes and innovations in their weaving industry as reflected in their designs, colors, raw materials and usage of their balod hand woven fabrics. To save this seemingly diminishing weaving heritage, the Meranaws are now venturing into making innovative product designs with market relevance, as shown in Figure 13. New concept of converting these balod hand woven fabrics into more usable and functional items was accepted. Although the quality, texture and value of their products were affected by changing the kind of thread that are of low quality and cost, they have no choice otherwise their balod weaving industry would soon decline.

Conclusion
It can then be concluded that the Meranaw balod "tie-dye" weaving style is an ancient handicraft that has been practised for thousands, if not, millions of years in various parts of the globe like India, China and many parts of Asia, as evidenced by the use of different terminologies, all of which convey the same meaning which is the process of tying off areas or sections of the thread with strings, then immerse it with vats of dyes to make pattern or designs.
The Meranaw traditional balod technique in weaving must have been introduced by the Indonesians who learned it from India and the former introduced it to the Meranaws. This is supported by the similarity of meanings between ikat and balod which means to tie or bind (Charter, 2019). Although there are differences in the designs, motifs and colors but their weaving style and technique, the use of waist loom, the preparation and process are somewhat similar. However, whatever influences that the Meranaws got or borrowed from their neighboring countries, this was completely changed by their own artistic genius or ingenuity so that their masterpieces were something entirely new and different.
The Meranaw developed intricate and complicated designs out of their ingenuity, intelligence, creativity and they have been mastering this much-admired art form for a very long time. The Meranaws traditional weavers employ more or less the same universal principle of operation such as the beaming -on (kasod), shredding (kapanongit), picking step and the beating-up. As for the tie-dyeing aspect, the essential steps involved in the Meranaw traditional balod technique follow a common basic process like the stretching of the tomadhung into the bidangan; the wrapping/tying of these thread according to the

Functional Bags
Shoulder Bags Table Runners Organizers predetermined motifs or designs; tied thread is soaked into boiling water filled with dyes; when dried, the wrappings are removed and those that resisted the dyes emerged as the designs of the handwoven fabrics.
The Meranaw traditional weaving practices, in general, are accompanied by mythical performances, the ritual offerings to the spirits of all those women who may have originated weaving asking guidance to make the fingers nimble, the hands adroit and the mind creative, thus becoming a dexterous weaver. Descending from the originators of weaving is also considered otherwise, she will never learn the trade, suffer sickness, if not insanity for not finishing her weave, not interpret the designs correctly, or learn what does not pertain to her.
What contributed much to the viability of their weaving handicrafts were the passing down of such skill through the generations, the ingenuity, artistic genius, courage, tenacity of their culture bearers, and their venturing into new and innovative products for their market demands.
Reviving the Meranaw rich weaving tradition, including the balod weaving industry, can be realized if the following recommendations are considered. The chain of passing down such craftsmanship should not be broken. The village should encourage the weavers to branch out to new markets; the government and NGOs should provide assistance and support to the weavers on developing and brand-new product designs for larger market opportunities.
A cultural heritage center with advocacy of promoting and preserving Meranaw culture must be established. The setting-up of weaving centers or training centers where expert Meranaw weaving artisans are encouraged, with just compensation, teaches or trains beginners.
The Meranaw pamamalod has to be trained by product developers in order to innovate or develop new designs and motifs that can create new larger marketing opportunities for their finished products. Support and turn these women-weavers into economic assets, micro-entrepreneurs and micro-producers so that, in return, they can help lift other women up.
Finally, the researcher recommends a further study on other unexplored areas of the Meranaw weaving culture. The preservation of cultural heritage can be done by recording/documenting, archiving cultural materials, preserving it in living form, and ensuring its transmission to the next generation.
Funding: This research received no external funding.

Conflicts of Interest:
The author declares no conflict of interest.