For social entrepreneur Lorielinda Marte, the journey to becoming a cultural guardian began with a single ikam mat.
Gifted to her on her wedding day, the intricately-woven mat of Bukidnon tells a story, represents a legacy and serves as a call to action.
“It all started with a single mat—a gift, a legacy, and a calling,” Marte recalled.
The mat, crafted through days of meticulous work, awakened in her a deep desire to restore the nearly forgotten tradition of ikam weaving in Bukidnon.
Brink of extinction
Decades ago, ikam weaving flourished, even with the arduous hikes to gather sodsod grass, its primary material.
The grass was dried, dyed, combed, and woven at dusk or dawn over weeks, transforming into vibrant mats adorned with intricate patterns.
Despite the beauty and cultural significance of ikam, the labor-intensive process yielded little financial reward.
“A tradition does not survive on nostalgia alone. It needs recognition, respect, and a market,” Marte explained.
By the early 2000s, the tradition was fading, with mats often bartered for a kilo of rice or fish. Weaving was seen as lowly work, and few saw a future in the craft.
Vision takes shape
Marte, captivated by the artistry and resilience embedded in ikam, refused to let the tradition disappear.
“What others saw as a dying tradition, I saw as an unbroken thread waiting to be rewoven,” she said.
In 2012, with just P500 in capital and an unwavering vision, she founded the Tagolwanen Women Weavers Association (TWWA).
Her mission was twofold: revive ikam weaving and uplift the indigenous women who had long been its custodians.
At first, she struggled to find weavers willing to join her cause. Many felt ashamed of their craft, believing it held no economic value.
But Marte saw potential where others saw a decline. “For ikam to thrive again, we had to restore its dignity and its value.”
Global recognition
With success came challenges, including the threat of imitation. In 2018, Marte secured trademark protection for TWWA through the Intellectual Property Office of the Philippines (IPOPHL).
“We realized that to preserve ikam, we needed to protect it legally. Now, we’re more empowered to safeguard our works,” Marte said.
IPOPHL continues to assist TWWA in securing further protections, including industrial design rights and international filings
With support from IPOPHL, Marte turned to social media, determined to elevate ikam beyond local trade.
“Social media became our loom, weaving ikam’s story that went past our mountains and into the world. Every mat we create is not just a product—it is a piece of history reclaimed,” she said.
In 2012, when online shopping was still in its infancy in the Philippines, she used digital platforms to introduce ikam to a wider audience.
The response was overwhelming. Orders poured in from the US, Australia, Turkey, and Europe. The newfound demand encouraged innovation—ikat patterns found their way onto handbags, baskets, and hats, expanding ikam’s reach.
By 2017, TWWA had earned a place in Manila FAME, a prestigious trade exhibition showcasing the best of Philippine exports.
Cultural advocates like Senator Loren Legarda became patrons, and TWWA’s mats were now prized as cultural art pieces rather than mere sleeping mats.
Marte and the women of TWWA have not only revived a fading tradition, but also transformed it into a source of pride and livelihood.