Using Coconut Weaving in Guam Classrooms to

29TH ANNUAL INTERNATIONAL
PIBBA CONFERENCE
“Reviving the Languages and Cultures of the Pacific”
June 22-25, 2010
Using Coconut Weaving in Guam Classrooms to
Improve the Language Arts and Mathematics
Skills of Local Students
By
Dr. Matilda Naputi Rivera
and
Koschy Reuney
Introduction
The research describes selected
examples of contemporary coconutleaf and pandanus-leaf weaving in
Guam. It will explore utilitarian
items, such as hats, headbands, fans,
mats, bracelets, and baskets, as well
as decorative items, such as roses,
grasshoppers, whips, and fish.
Chamorro Artistry of Weaving
Guam has a rich heritage and tradition in folk arts, such
as the art of coconut-leaf and pandanus-leaf weaving.
For thousands of years Chamorros have used Guam‟s
abundant foliage to produce useful and unique items
(Anderson, 2010). Although the Chamorro artistry of
weaving is not used as much anymore, attempts to
revive the art is currently being done by the Gef Pago
Cultural Center in Inarajan, Guam and other local artists.
Methodology
The research was conducted by
interviewing indigenous coconut-leaf and
pandanus-leaf weavers, as well as laborious
reviews of offline and online published
books and articles on the Chamorro
culture. The researcher consulted with
Chamorro teachers knowledgeable about
weaving, a recognized Master Weaver, a
researcher who has done extensive
research in Chamorro history and has
published several books on the Chamorro
culture, and her mother who is a coconutleaf weaver.
Research Questions
The researcher asked the following questions
in her interviews:
1.
2.
3.
4.
5.
Are you a weaver? If not, skip to question 4.
How long have you been weaving?
What crafts do you weave?
How long does it take to weave certain crafts?
Is there a pattern that must be followed in weaving?
(eg. Counting by 3‟s, 5‟s, 8‟s)
6. What math activities would you recommend for grades
1, 4, and 7?
7. What language arts activities would you recommend?
8. Why is coconut weaving an effective activity for
teaching math?
9. Why is coconut weaving an effective activity for
teaching language arts?
10. Why is coconut weaving important to our Chamorro
culture?
11. What special message would you like to pass on to
our people regarding the importance of coconut
weaving?
Interview Responses
According to Cruz (2010), “coconut weaving involves addition,
subtraction, and division.” He said that when you make a
certain basket, in order to close the bottom you would have to
divide the coconut leaves. He further said that pandanus
baskets always need to have an even number of leaves to
split and that odd numbers would not allow you to complete
your ideal basket. He said that there is a pattern that must be
followed in weaving. For example, for certain types of
coconut baskets, 12, 16, 20 leaves are needed, but they will
all be different sizes. This is also the same case for fans,
which follow an “over and under” pattern throughout the
course of creating the art piece (Naputi, 2010).
Cunningham (2010) further emphasized the importance of
coconut weaving. "Coconut weaving is effective in teaching
mathematics, because it addresses the number one problem
with mathematics instruction. Mathematics should be taught
with practical applications, then students understand why they
need to learn mathematics. The students can see practical
necessity for mathematics."
Interview Responses Continued
Laguana (2010) emphasized that coconut weaving
involves mathematics and cultural preservation.
“Lots of intellectual properties are within weaving
and other cultural aspects and we must know and
pass on to our children (the Chamorro art of
weaving), not necessarily for economic purposes,
but rather for cultural perpetuation,” he said.
Arceo (2010) said that we should “learn it (coconut weaving) as an art and a
way of living. Pass it on to our children. If all else fails, it can be our way of
life.”
According to Guerrero (2010), “Coconut weaving is important to our culture.
It will save our culture. It can provide us shelter, food, clothing.”
Interview Responses
Sablan (2010) stressed that, “Our (Chamorro) culture needs to evolve. It
needs to survive. Coconut weaving can perpetuate our culture.”
Coconut Weaving with Songs
According to Cunningham (2010), a special coconut-weaving roof-thatching
song is sung during the weaving process.
Coconut Weaving with Songs Continued
Identification of Coconut Leaf Parts
Mid-Rib (Stem)
Ribs (Veins)
Individual Leaf
Whole Frond
Utilitarian Weaving Crafts
Creating Hats
Figure 15. Creating Hats.
Coconut-leaf weaver Julia Santos Naputi
wears a coconut hat she weaved and
displays the other articles she weaved,
including fans of different sizes and a
rose.
Utilitarian Weaving Crafts Continued
Creating Hats
Utilitarian Weaving Crafts Continued
Creating Headbands
Figure 16. Creating Heabands.
Julia Santos Naputi, coconut-leaf
weaver teaches Matilda Naputi Rivera
(center) how to weave a headband,
while Rivera‟s son, Joaquin Naputi
Abraham Rivera observes the
weaving process.
Utilitarian Weaving Crafts Continued
Creating Headbands
Utilitarian Weaving Crafts Continued
Creating Headbands
Utilitarian Weaving Crafts Continued
Creating Fans
Figure 17: Creating Fans.
Julia Santos Naputi, coconut-leaf
weaver, is in the process of completing
her fan.
Utilitarian Weaving Crafts Continued
Creating Fans
Utilitarian Weaving Crafts Continued
Creating Fans
Utilitarian Weaving Crafts Continued
Creating Mats
Figure 18. Creating Mats.
Lois Taitano Gumataotao is pictured with
a pandanus-leaf mat she has used over
the years for resting, picnicking, and
placing items on.
Utilitarian Weaving Crafts Continued
Creating Mats
Utilitarian Weaving Crafts Continued
Creating Bracelets
Figure 19. Creating Bracelets.
Julia Santos Naputi, coconut-leaf
weaver, is shown wearing the
bracelet she weaved. The bracelet is
on her left wrist.
Utilitarian Weaving Crafts Continued
Creating Bracelets
Utilitarian Weaving Crafts Continued
Creating Bracelets
Utilitarian Weaving Crafts Continued
Creating Bracelets
Utilitarian Weaving Crafts Continued
Creating Baskets
Figure 20. Fruit Basket weaved by
Robert Morrison.
Source: Morrison & Healani (2000).
Utilitarian Weaving Crafts Continued
Creating Baskets
Step 2: Hold the leaves in one hand,
with the midrib facing down.
Utilitarian Weaving Crafts Continued
Creating Baskets
Utilitarian Weaving Crafts Continued
Creating Baskets
Utilitarian Weaving Crafts Continued
Creating Baskets
Utilitarian Weaving Crafts Continued
Creating Baskets
Decorative Weaving Crafts
Creating
Roses
Figure 33. Creating Roses.
Julia Santos Naputi, coconut-leaf
weaver, holds a rose she weaved.
Decorative Weaving Crafts Continued
Creating Roses
Decorative Weaving Crafts Continued
Creating
Grasshoppers
Figure 34. Creating Grasshoppers.
Julia Santos Naputi, coconut-leaf
weaver, holds a grasshopper she
weaved.
Decorative Weaving Crafts Continued
Creating Grasshoppers
Decorative Weaving Crafts Continued
Creating
Buggy Whips/
Centipedes
Figure 35. Creating Buggy
Whips/Centipedes.
Julia Naputi Rivera,
granddaughter of
coconut-leaf weaver Julia
Santos Naputi, holds a
buggy whip she weaved.
Decorative Weaving Crafts Continued
Creating Buggy Whips/Centipedes
Decorative Weaving Crafts Continued
Creating
Fish
Figure 36. Creating Fish.
Julia Santos Naputi,
coconut-leaf weaver, holds a
fish she weaved.
Decorative Weaving Crafts Continued
Creating Fish
Summary
Figure 14. TINIFOK HAGON NIYOK (Coconut
Leaf Weaving) by Antonia Castro
Based on the research
conducted, the researcher has
concluded that coconut-leaf and
pandanus-leaf weaving, if used
effectively, has the potential to
increase language arts and
mathematics skills of local
students. It involves language
arts with the use of weaving
stories/songs that link the past to
the present, present to the future,
and the people to each other and
the indigenous craft. It also
involves mathematics skills, such
as addition, subtraction, division,
patterns, even numbers, and odd
numbers.
References
Anderson, T.J. (2010). Weaving. Retrieved March 9, 2010
from http://guampedia.com/weaving.
Arbeit, W. (1985). What Are Fronds For? Honolulu, HI:
University of Hawaii Press.
Cunningham, L. (1992). Ancient Chamorro Society. Honolulu,
HI: Bess Press.
Farrell, D. (1981). The Pictorial History of Guam, Guam:
1898-1918. Tamuning, GU: Micronesian Productions.
Morrison, R. & Healani, A. (2000). The Guide to Basket
Weaving, Creative Weaving with Coconut Palms. „Aiea, HI:
Island Heritage.
References Continued
Ridgell, R. (1988). PACIFIC NATIONS AND TERRITORIES,
The Islands of Micronesia, Melanesia, and Polynesia.
Honolulu, HI: Bess Press.
Rivera, M. Project MACIMISE Blog, http://projectmacimiserivera.blogspot.com
The Palms Press. Hafa Adai Guam, USA 1988-1989, A VISIT
TO THE VILLAGES.
Persons Interviewed
Arceo, A. Personal INTERVIEW. 20 March 2010.
Bamba, J. Personal INTERVIEW. 14 March 2010.
Persons Interviewed Continued
Cruz, J.A. Personal INTERVIEW. 12 March 2010.
Cunningham, L. Personal INTERVIEW. 22 March 2010.
Guerrero, A. Personal INTERVIEW. 20 March 2010.
Laguana, R. Personal INTERVIEW. 15 March 2010.
Naputi, J. N. Personal INTERVIEW. 23 February 2010.
Naputi, J.S. Personal INTERVIEW. 6 February 2010.
Sablan, P. Personal INTERVIEW. 25 March 2010.
Salas, A. Personal INTERVIEW. 26 March 2010.