Fu Yabing Caturan Masalon Dulo: South Cotabato's Mabal Tabih Master
Yabing Caturan Masalon Dulo was born in Brgy. Landan Polomolok, South Cotabato, Philippines. Her Father’s name is Kalay Masalon and her Mother’s name is Klenen Caturan Masalon. They are 5 siblings (3 boys and 2 girls) in the family namely (according to age): Yabing Masalon, Teko Masalon, Cansing Masalon, Guriay Masalon, Kusing Masalon. The 3 brothers were deceased and only Yabing and her younger sister Guriay Masalon Julie that are still alive. Yabing was married to Tabas Dulo (deceased) and they have four children (3 male and 1 female) named respectively as Jona Masalon Dulo, Lamena Masalon Dulo, Emelio Masalon Dulo, and Martin Masalon Dulo. Fu is the Blaan term for grand mother whether by blood line or a respect for addressing the elderly. Thus, she is known also as Fu Yabing.
Kalay Masalon is a Bong Fulung (a Blaan wiseman) while his wife Klenen Masalon is a Mabal Tabih cultural master (ikat weaving). Mabal is the act of weaving and Tabih is the general term for a finished handwoven abaca. She was vast knowledge of different endemic plants in their community as raw materials for weaving like natural dyes, the wild kind of abaca used for her weaving and superb designs inspired by nature and by dreams. Among her kids, only Yabing got interested in learning the art of Mabal Tabih starting at the age of 10. Her other sister and 3 brothers loved to do farm works and Yabing prefers to stay home. She does not like to work under the heat of the sun and uses her time at home learning the Tabih patterns from her mother and continuing the designing and weaving herself.
It is from her inmost desire, passion and personal determination to learn the skills from her mother. She observes all details on how her mother does the work on the abaca and follows strictly the forms/designs so that her work will look exactly like a replica of her mother’s work. She does not liked to be disturbed while working, so she is doing the Mabal Tabih once her family members are away attending the farm and other family business matters. She became skilled in Mabal Tabih at age 14 and never stops to continue following the excellence of weaving done by her mother Klenen. She still has her very first Tabih (Gnandong design) done at age 14 until this very day and she loved it dearly. She continued her passion in Mabal Tabih until she got married and had kids with the same personal discipline she got from her mother.
The Tabih textile is very culturally and spiritually significant among the Blaan. It is the only traditional textile used during old days as “kumot” or blanket, “dafeng” or a female tubular skirt, “Saul” or male long sleeved blouse, “Salwal” or knee high pants with intricate embroidery work. The Tabih is not just used for any kinds of events and non-sense activities as it is highly regarded cultural material/wealth of a family. It is used during “kasafkaan” or community festivity, “song” or wedding as a valuable dowry and wedding ceremonies material, “kastifun” or community dialogue/gathering.
It is not easy to learn Mabal Tabih. Dedicated learners will undergo long and tedious process grounded on right attitude, respect, and spiritual beliefs associated with this craft. The driving force for someone to really learn this skills is self-determination, passion, discipline, attention to details, respect on the spirituality of this craft so that the same spirituality will guide the Mabal Tabih learner to retain the knowledge naturally.
Mabal Tabih is not a like any other contemporary trainings/skills transfer available these days. If learners will just be after the money they will get out of their finished Tabih, that is not a good attitude. Love doing Mabal Tabih as a personal passion and not as an obligation.
Kalay Masalon is a Bong Fulung (a Blaan wiseman) while his wife Klenen Masalon is a Mabal Tabih cultural master (ikat weaving). Mabal is the act of weaving and Tabih is the general term for a finished handwoven abaca. She was vast knowledge of different endemic plants in their community as raw materials for weaving like natural dyes, the wild kind of abaca used for her weaving and superb designs inspired by nature and by dreams. Among her kids, only Yabing got interested in learning the art of Mabal Tabih starting at the age of 10. Her other sister and 3 brothers loved to do farm works and Yabing prefers to stay home. She does not like to work under the heat of the sun and uses her time at home learning the Tabih patterns from her mother and continuing the designing and weaving herself.
It is from her inmost desire, passion and personal determination to learn the skills from her mother. She observes all details on how her mother does the work on the abaca and follows strictly the forms/designs so that her work will look exactly like a replica of her mother’s work. She does not liked to be disturbed while working, so she is doing the Mabal Tabih once her family members are away attending the farm and other family business matters. She became skilled in Mabal Tabih at age 14 and never stops to continue following the excellence of weaving done by her mother Klenen. She still has her very first Tabih (Gnandong design) done at age 14 until this very day and she loved it dearly. She continued her passion in Mabal Tabih until she got married and had kids with the same personal discipline she got from her mother.
The Tabih textile is very culturally and spiritually significant among the Blaan. It is the only traditional textile used during old days as “kumot” or blanket, “dafeng” or a female tubular skirt, “Saul” or male long sleeved blouse, “Salwal” or knee high pants with intricate embroidery work. The Tabih is not just used for any kinds of events and non-sense activities as it is highly regarded cultural material/wealth of a family. It is used during “kasafkaan” or community festivity, “song” or wedding as a valuable dowry and wedding ceremonies material, “kastifun” or community dialogue/gathering.
It is not easy to learn Mabal Tabih. Dedicated learners will undergo long and tedious process grounded on right attitude, respect, and spiritual beliefs associated with this craft. The driving force for someone to really learn this skills is self-determination, passion, discipline, attention to details, respect on the spirituality of this craft so that the same spirituality will guide the Mabal Tabih learner to retain the knowledge naturally.
Mabal Tabih is not a like any other contemporary trainings/skills transfer available these days. If learners will just be after the money they will get out of their finished Tabih, that is not a good attitude. Love doing Mabal Tabih as a personal passion and not as an obligation.