 Okay, so today I'm going to talk about the vocabulary of weaving in Jaquk and about historical linguistics and also some things related to how the system of orientation is used to express the activity of weaving in this language. So some of these work, some of the things I'm going to talk today are partially mentioned in my, in a grammar I published one years ago. So let me just put a link here in the chat. So but not, I'll add a few things that are not in there. And also it's based on a series of videos I made in 2014. And one of them is available online with a transcription, so you can click on the link and listen to it after the presentation so that you have an idea, a more precise idea of this. So I'm going to make this presentation also in them for my fellow colleagues who are doing language documentation in Jaquk areas and elsewhere to also in a hope that some of you will do similar research and find language teachers who are able to explain the activity of weaving. I think that it's quite important, not just for the documentation of the language, but also to understand the larger cultural context of weaving in a society. And also it has incidents on the study of, I would say, interdisciplinary research, combining linguistics on the one hand and other fields in particular archaeology on the other. So I'm going to talk about Garong languages. So one Garong language, Jaquk, which is here spoken, this is Barkam, it's a region in Sichuan. Most of you are already familiar, but some who are present today may not know this area well, so it's a Markham, it's a county in western Sichuan. These languages are represented on this map in purple, so most of them are located in western Sichuan here. Some of them are also in Chengdu, so the smart cat languages that were recently discovered, I mean recently brought to the attention of linguists and Paholian, who is among us today is now doing fieldwork on one of them. And this one is Tangus, language attested, the oldest, the ancient language in a subgroup, a Tangu that is attested from the 11th century onwards. And I think that in joint work by Yunfan and myself and a few other colleagues showed, I think that it really is a sub-branch of the Garong subgroup. Now today we've heard about Karsteng, so one of the Variety of Situ and about Krostyap. So here we have areas where various varieties of Krostyap are spoken. And Jaquk is the target language of this talk. Now in the recording, I sent you, so this is my main language, presenting how, explaining how she makes rooms, she makes colored beds. So it's called Huatai in Chinese. So she demonstrates how to make them using this loom. So it's a type of loom that's called body tension backstrap. So it doesn't have a huge frame, unlike more complex looms that you may have seen with a complete frame in wood. Here you just have the threads, so these threads, the warp, the threads that are tied onto the back of the weaver on one hand and tied to some other place on the other end. So actually they are tied next to the window. She just improvised this wheeling place in her apartment. What is interesting is that this is an area of the vocabulary where we have particularly detailed terminology, some of which is of local origin and some of which is borrowed. That's something we're going to investigate. But before I start, let me discuss this talk. So I'm going to present the local vocabulary in a book and other governing variety and attempt to identify the part of the vocabulary that's native and that's the one that's borrowed from Tibetan. So that's quite important because, so that's the kind of thing linguists can tell whether a word is inherited from the common ancestor of subgroup or whether it was borrowed from some other language, literal language, and whether it can be reconstructed and how old the word is within the language. Now this is important because if we want to reconstruct the history of the weaving technique, one way we can do is by studying the antiquity of the word themselves in the vocabulary and compare it with the insight we can get from the material artifact themselves and the techniques themselves. And I think that there is much room for the research in this area. And finally, I'm going to discuss about, as I said, the orientation system. So first of all, it's important to point out that part of the weaving vocabulary in other government languages is actually very ancient and not borrowed but inherited from proto-scient Tibetan, the common ancestor of Yaron Li and Chinese. So we have, for instance, the word to weave and the word to spin. So for instance, we know that this is all origin for Ang and it just happens that it corresponds well to the equivalent words in Tibetan and in Chinese. So this, I'm not going to go too much into detail in terms of the sound correspondences, but there is a good fit in the sound correspondences of these words. In Japo, we have verbs. In Chinese, there are verbs too. In Tibetan, this is a verb and this is a noun, spindle. But in any case, there is little doubt that these words are inherited. So this is quite important. It means that part of this vocabulary is much older than the government languages themselves. So how old actually? Well, there is some, the earliest spindles discovered in China. So we have the verb to spin. The verb for loom and spindle are derived from these verbs. So here, the nouns are not so important. It's better to focus on the verbs themselves, because the nouns for loom and spindle are derived. And actually, the nouns across the family don't have good correspondence. They tend to be innovated in each subgroup, but the verbs are quite old. Now, this can be compared with some of the material culture actually, because so the spindles actually are well preserved in the archaeological record. And so in formal work, we've proposed, Yun Fan and I have participated in it, that the origin of the sanity, but in family there is evidence that it comes from the mid and up Yellow River in the early Neolithic. So around 7,000 years of BP, so 5,000 years BC, corresponding to possibly these cultures. So this is the early archaeological evidence for Neolithic cultures that have either millet forming or rice forming. So millet forming culture are indicated in purple and mainly rice forming culture are indicated in yellow. A few cultures have both, like holy, for instance, has little rice. And the idea proposed in articles and also supported by a lot of scholars is that the origin of the sanity, but in family is probably to be looked for in the Yellow River basin. And what's interesting in regard with the weaving techniques is that, so in its Sichuan culture and also in Piedigang, we have traces of spindles. Not only in these cultures, these are also found in the culture of the Yangtze River, but in any case in the Yellow River basin, the early Neolithic culture already had spindles and also possibly evidence of shepherds made of bone. So of course, excites are poorly preserved in general, so we don't have a lot of ancient textiles dating from the early Neolithic in this part of the world. But I would say that the linguistic evidence and the archaeological evidence have a good fit here. So we can't reconstruct a lot, but there is definitely evidence that some of the weaving techniques that are found in the Sino-Tibetan-speaking areas may be inheritance from the early Neolithic, rather than, for instance, borrowing from other parts of the world. Although this is something that needs to be determined, but there is this potential. So there is also another route that's not found in Chinese, but found, for instance, in Hulong, a word for weave baskets, so not really weave posts, but weave baskets, which involves a slightly different process. But we use the same word in English, although other languages may not. So for instance, in Chinese, we also have a different verb, as opposed to 知. Now, apart from these verbs, which are much older than 家人語, what exactly, which kind of vocabulary do we have? Well, there is, of course, the important elements of the loop are the threads themselves, the warp and the width. So the warp here are the colored threads, the ones that are tied between the weaver and the other end. There are several colors of warp here. And the weft is this white thread that is inserted between them. So here, what's interesting is that so if we look at Tibetan Chinese, we see that the terms are completely unrelated. And actually, they are not very specific in Tibetan Chinese. These words have many other elements. If we compare now Japook, Lilo, Ayash, and Khrustyap, we also see that there's no clear correspondence between them. However, now if you compare the ancient language Tangu with Khrustyap, the sound correspondences we observe here, which are not trivial, are actually quite correct. So for the first word, this V can correspond to a P. The U can correspond to this vowel and the dot under the U can correspond to the pre-initial L. For this verb, for this word, it's the same. The U can correspond to O. The pre-initial R can correspond to this, what's transcribed as an R in this transcription. And the K can correspond to this K. It fits also with Hongshun's article about uvulas and villas in Tangus. Since here we have Yod that is expected if we have a villa here rather than a uvula. So from the point of view of sound correspondences, the Khrustyap and Tangu form are quite compatible. So here I have to specify that if you look at these characters, Tangu dictionaries, they don't gloss them as weft and wall. I think they give the same gloss for both of them. But that's probably because we don't have many textual examples of these characters and the exact meaning in the Tangus text is not well known. And actually, by comparison with Khrustyap, it's possible that we can recover the meaning of the Tangu words. So this is something that needs to be confirmed by more work on the Tangu texts. But I haven't identified yet examples of these words in texts other than the dictionaries. So in the dictionaries, we know that they have to do with the weaving, but the exact meaning is ambiguous, I would say. But in any case, I think that we have good evidence that these two terms are native in Khrustyap and Tangu and go back at least to the common ancestors of Proto-Werth-Yarongi. In Japuk, we have another word, an interesting word, a skarsh, which refers to this, the place where the weft and the warp crosses. So actually, in English, I learned from Chris Buckley's work, this space between the warp and the weft is called the shed. I'm not sure which term we could use in English for the crossing place. But in any case, there is a special word for it in Japuk. I'm not aware of any special word in any other Javanic language, but I urge my fellow field workers to identify the words, either for the space between this space, between the warp and the weft, and for the crossing part between them. So these pictures are taken from the video from which you can see the link of which I sent in the beginning of the other presentation. So these terms are definitely native. They are not borrowed, but Japuk and Prostyap don't have a cognate form. And the further etymologies remain unknown to me. But hopefully, when equivalent studies have been done on other varieties of Jaron, we may have a better understanding of the history of these words. Now, but at least they are not derived, obviously derived from known words. So they all may be potentially ancient. Now, apart from these, we have a lot of implements, and some of them are of Tibetan origin. So the English terminology here is based on the book by Wudo and Hakei on the rules of ancient weaving, which is focused on the weaving of Miao and Pradai-speaking people mainly, not exclusively mainly, but provides a very detailed lexicome of a term, terminological equivalence between Chinese and Tibetan and English, and provide the terms in many languages, in the Mongik and and Pradai languages. So it's a very useful book to do fieldwork, also in Tibetan areas, although the kind of looms we have in Tibetan in the Jaronge areas may be very different. And what we see here is that, so there's a Jaronjapic form instead of Tibetan here. A lot of the terms we have here are actually Tibetan words. So it's quite clear for all these and I'll show the implements and what they are like. The last ones, the ones, so Sna-Sintibetne and Snot-Njapuk, is probably not a boring but rather a cognate, because the forms do not present the sound correspondences that we usually find in in the loanwords. And it refers to something that we'll see in pictures. It's useless for me to go through these terms now without the picture. So first of all, let's have a look at this. So it's called Chizin-Njapuk. This is the this rod element that's used to that, so in a video, if you have a look at the video later, we'll see how it's used to clamp the one end of the wall threads so as to and then to tie it onto the waist of the wheelbar. So it's used to maintain the tension on the wall threads. So this Chizin-Njapuk, it looks like a Tibetan word that I didn't haven't yet identified which word. But I suspect that this Z comes from the Buusafix preceded by an S. So I'm still looking for the word and I hope I'll find it someday, but it's certainly not a local Guaronnik word. It doesn't look like it. So we have this Z final element from Mbrez, so the result, which is from Tibetan Braz Buu. So the front part of your sound correspondence is Z. It's definitely from Z Buu. I think that it's quite clear. So this is called cloth beam in English. Now another part of the room is these small plank-like things. It's called kasha that are used to, they are moved up and down and are used to select the different types of and keep separate the different types of wall threads because we have several colors of wall threads that are used to make the patterns in a cloth as it is woven. So as you see the thread is woven first from the lower end from the waist of the weaver upwards. So you have a woven thread here and it's rolled then on the cloth beam. So this kasha, the kha element, is actually the cognate of the verb we have here. This verb is a weave and Tibetan. This kha form is another morphological alternative related to the verb root that we have over there. And kha would mean something like flesh or meat, but I'm not too sure why we have this form here. But this word, you can find it in the dictionary in Tibetan. The next word that we can identify is the weave beta. So this thing here, I don't know where we can see it well, but in the video you see it's a woven wooden implement with a blade. It has a blade that has not been sharpened, of course, and it's used to beat the weft, so this wide thread, so that the weft and the warp are tied together. And so this implement, as you can see, is called pa mu and more or less cognate with the Tibetan form kha ma, probably the form from weave pa mu comes from is raza and kha mu with the mu suffix in the ma suffix. It wouldn't be very surprising. But in the dictionary we find pa kma. I wouldn't be surprised if pa kma would appear in some text, but I just didn't identify it. So all of these are implements Tibetan words. So actually these were self-made. So Tsin Tsin's husband made this pa kma for her. So it's locally made. And then we have this word zgrl. Zgrl refers to this rod that also used to control the degree of tension in the warp threads at the other extremity from the weaver. And the small one here is called zgrl, the little zgrl with the diminutive suffix. So all of these are borrowed from Tibetan. So we see the actually the most of the implements used to make the class are Tibetan learners as opposed to the verbs that are local and the names of the threads themselves that are also have inherited words. And then we have the last term snas in Tibetan, or ne, if you pronounce it in raza, and snat. So this one refers to what? Refers to the pedo. These are these things, these threads with different colors. And they are connected with a stick. So what's their use? Their use is to select one type of the different type of warp threads that you are choosing. You pull them up and you select a different layer of warp threads. So the term in English is settled for that. Surprisingly, this word is found everywhere in Tibetan. So it's quite old. We have Punggut in Tibetan, not just in these, but also in Burmese, in Du Long and in Jingpo. So actually, apart from Chinese, it's almost a pro-San Tibetan word. So that confirms the idea that some relatively elaborate kind of loom technology did exist very, very early in mid or even early neolithic. Of course, we wouldn't expect these to be well preserved archaeologically, but the linguistic evidence is quite, I think, quite clear. And I don't think these words are likely to have been borrowed, because the form do not match what we would expect of bones from Burmese in Du Long and Jingpo. And it's also a word that's probably cognate in Punggut, and it's a perfect cognate. This cognate actually was discovered by a Gaussian a few years ago. And here, again, the glass that's given in the dictionaries is quite misleading. I think it's also translated as warp or weft thread in the dictionary, but it's quite misleading. It's just because the dictionary makers haven't looked into detail at the etymology of these words. We haven't a text that's a test they're used. So it's a case where comparative linguistics can help to correctly identify the meaning of words in Punggut too. So this is what I wanted to say about the etymology of the weaving vocabulary. So as we can see, we can identify the etymology of most of these words, apart from tizzi, and we can also distinguish well what is inherited from what is borrowed. So what is borrowed is all has to do with the wooden implements that I used to make these tools that I used to make the additional patterns in the cause. And these words, the history of these words deserves to be better known. And I would be interested also to see if any Garandic language has non-bord words to designate these implements. That would also be something quite interesting. So some of you today are still on the field. I'm thinking of, in particular, of Trahalia and also of Yu Jing, who are in respectively in Chengdu and in in Rnawa areas. And so if you have time to find someone who can weave clothes and show you how to do it and explain at the same time, and you have the opportunity of making videos of it, I think it would be quite an important contribution to the document how the weaving process takes place and which terms are used for each of these tools. Now, another interesting thing from a really purely linguistic point of view, it's not just the etymology of the words themselves, but the grammar that goes with it. Now, we have an interesting metaphor in the weaving process. Well, the warp threads, the axis of the warp threads is compared to the upstream downstream axis. Now, we know that in Garandic languages, and Chuya is going to talk about this more detail tomorrow, we have a tridimensional axis system. So many of us have written about it. Yu Jing, who is present today, also has an important article on this. So one of the axes is upstream downstream, another axis probably east-west, some have interpreted it as a mountain versus river axis. So Yu Jing has written about this particular issue and the third one is more straightforward up there. And in fact, only three axes have a player role in the description of the weaving process. Now, the most conspicuous axis is the upstream downstream axis. Downstream in this system represents the side of the weaver. Upstream is the side away from the weaver. So here, next to the window, the other place where the warp threads have been tied up. So this is called Kalo in Japuk and Achi. So let's see an example sentence taken from this, the recording you can later listen to. You have the whole transcription sentenced by sentence. So it should be easy to find. So the warp, this thread, whose body goes upstream. So actually it's oriented towards the opposite direction of the weaver is called the warp. And here I use the color code to indicate the morphine in the original that correspond to this upstream orientation. Now we have downstream. So here the color code I use, I use blue to indicate the upstream downstream axis. So this refers to the action here. I don't have it, I don't have a picture of this action. So new let here, so using the orientation westwards means when you take this time, well, you put the width between the warp threads. This is called new let. Why? Because it is the orientation perpendicular to the upstream downstream axis. You see, so the left right of the weaver is compared to the east-west orientation, regardless of where he actually is oriented himself or herself. Regardless whether it's the geographical orientation is north-south or whatever, the east-west orientation will be used to express simply the axis that is perpendicular to the upstream downstream axis. So logically you use new let to indicate the motion of the width between the threads and so perpendicular to the threads. And so it's basically the left-right orientation of the weaver. And then you have this expression Qiuta. So that's quite interesting because the verb kata, so this cognate of Chinese the fangzhi in the zhi, it can be used with two orientation. It can be used with the orientation upstream and your, for instance downstream, and it has a different meaning. When it's used with downstream, it actually refers to the motion downwards when you take the weftbeater and beat the weft height. Because the weft is taken and you move it towards yourself. So the motion takes place downstream. It's also used with upstream, but then what's the meaning? When you say lupa, it means that the cloth is progressively making the being made and it goes upwards on the opposite direction because as you pass the weft and you beat it and you create cloth, it grows towards the opposite direction of the weaver. So this is upstream. So these are things that are difficult to convey precisely in a dictionary. So here, Qiuta means to press down, weave down, which we express it literally. And when you create cloth by the weaving process, you weave up, upward, upstream. And then in the same passage, just before you say, qi aspa, qi qi sakhshin. So what it means is the taumu causes, sakhshin is the causative of go, causes the sqash. So we set the four, space, the place where the weft and the warp process. We bring it down and press it. And here it says qi sakhshin. So again, we have this meaning downstream to express the meaning that is intersection is moved toward the body of the weaver. So this is the upstream downstream axis. So in fact, in the Tepu grammar, I already mentioned this phenomenon that we have an upstream downstream orientation corresponding to the direction of the warp. But in fact, we have four orientation use when we describe the weaving process. The eastward-westward orientation represents the orientation of weft that goes perpendicular to the warp. And up and down can be also used. So I haven't represented it because it would be difficult to see. So in blue you have upstream downstream. In red you have eastward-westward. You have to understand it as perpendicular to the upstream downstream orientation. And then you have a fourth orientation that's also perpendicular to them. Although it would be slightly slanted here because the upstream downstream orientation is slanted here, it is the different layers of warp. Because since you have different colors, you have different layers corresponding to you have the red warp and the green warp. And you can use the up and down orientation to refer to these different layers. When you, for instance, change color to get a particular pattern. So this illustrates one of the extended use of the tridimensional system that is so grammaticalized in a verbal system and in a whole grammatical system of Yaron languages. Now, one of the reasons I'm making this presentation that I hope to have that fellow linguists and field workers and speakers will help in documenting this aspect of the language and answer the different questions. So is the upstream downstream the tridimensional system in other grammar languages used in the same way to express the different aspects of weaving? And do we find cognate words other than the ones I've shown here? Do we find different words, native words perhaps for these different implements? Or do we find different Tibetan languages? What's the age of these different words? And what's the age also of this use of the tridimensional system? And these are all questions that I can't answer now, but I hope that this presentation will motivate you to do further research. So with this, I conclude and I hope that it was interesting to you.