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There has been a growing interest in reviving traditional weaving through learning courses in various indigenous communities across the country. Similar initiatives have also emerged in the Ciyakang Village of Wanrong Township, where traditional craft and experiential courses are frequently conducted. However, traditional craftsmanship seems to be limited to the process of production, which does not sustain afterward. Is the preservation of traditional weaving only possible through experiential learning? Or is it necessary to pursue entrepreneurial endeavors with an economic focus to ensure the survival of traditional weaving techniques? In both scenarios, the ‘inheritance’ appears to be unattainable. The researcher began learning to weave at the age of 43. The researcher explored the way of plant-based dyeing and reflected upon the changing natural environment and the relationship between humans, land, and ecological systems. The indigenous concept of living in harmony with nature has been an integral part of the cultural and social context. In traditional society, indigenous people depended on the natural resources. Given the current global environmental changes, can indigenous peoples, who claim to have a close relationship with the natural environment, still feel the breath of the land? When observing ancient textiles with additional colors in historical documents, a question arises in the researcher's mind: where did these colors come from? During a time when chemical dyeing techniques were non-existent, it is likely that these colors were derived from the flora and fauna of the natural world. What were these colors (manu lhang na ak nii)? This question, born out of curiosity, prompts the researcher to reconsider the hues within the threads. Through plant-based dyeing, the researcher seeks to reconnect with the environment and the land, starting by sourcing dye materials from the local living environment. Subsequently, these plant-based dyes are woven into the fabric, thereby integrating the colors into the fabric's patterns. Dyeing was conducted through distinctive approaches in the early days of indigenous communities. The question led the researcher to delve into the colors of woven threads, experience the local environment and land through plant-based dyeing, and search for dye materials within the local community and personal surroundings. The objective was to integrate the colors obtained from plants into woven patterns, and to revive the traditional indigenous practice of dyeing known as ‘rmbug lhang’. The practice involves crushing plants, extracting the juice, and mixing it with hemp threads or burying the threads in mud, as mentioned repeatedly in oral accounts. The innovative practice began with exploring plants suitable for natural dyeing within the Ciyakang Village and examining traditional plant dyes from literature. The memories and knowledge of plant-based dyeing were also sought from the elders in the village. By reinterpreting the colors extracted from nature and observing the environment through different perspectives, the researcher put contemporary Truku dyeing and weaving into practice in everyday life, integrating plant dyeing colors into different traditional patterns, resulting in the creation of four series of work representing spring, summer, autumn, and winter. The production of these series is to honor and express gratitude for the gift of nature while perpetuating the beauty of traditional craftsmanship. It is expected that this innovative practice will inspire other indigenous people to learn and engage in these endeavors. |