Explain Mod 4

EXPLAIN Textile Art
EENGAGE
ph.asiatatler.com/life/weaving-the-threads-of-filipino-heritage
Textiles are a reflection of the traditions, ways of life, resourcefulness, and

worldview of the people weaving and wearing them in usually-vibrant and
harmonious colors of their immediate environment. Therefore, studying textiles
exposes one to the richness and aspirations of our cultures.
In addition, people come into contact with textile art every day, from the
clothes they wear to the objects they use to decorate their homes. It is an art that
can be simultaneously beautiful and useful. This form of art is one of the oldest in
human civilization. At its inception, it was not focused on looks, but for practical
purposes such as clothing or blankets to keep warm. For example, in the Cordilleras
when blankets were still not available commercially, the people made use of the
bark of trees which they processed into what resembled a blanket to keep them
warm during the night.
In this part of the lesson, you will learn about the textile designs from the
different regions in our country. Such design or art has a special meaning to the
people who use them. Discover the special art found in each of these textiles and
appreciate its cultural significance.
We will start with textiles found in the different CAR provinces then on to the
other regions in the country.
Textile Art from the Different Provinces in the Cordillera
Textile art is the process of creating something using fibers gained from sources
like plants, animals, insects (like silkworms), or synthetic materials. One way to make
such art is through weaving. Weaving is a method of fabric production in which two
distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth.
Traditional weaving in the Cordilleras was intricately a part of ritual life. Certain textiles
embodied magical functions such as protection from harm, or symbolized status and
wealth. Important individuals (kadangyans) were buried with their prized blankets. It
is said that the more blankets, hence more thread counts, was a deterrent from
malevolent spirits getting into the spirit of the deceased.
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In the Cordillera region, there is a rich tradition of weaving that goes back
several centuries. Each of the different indigenous communities in the region
possesses a unique weaving technique, with the resulting forms and patterns
dictated by distinct religious, socio-political and artistic origins, functions and values.
The Cordilleras, largely inaccessible to Spanish missionaries, remained animistic

until the United States acquired the Philippines from Spain and became the focus of
Anglo-Saxon conversion to Protestant and Anglican denominations. Baguio, the
American summer capital, although the first indigenous population to be
acculturated to the Anglo-Saxon culture in the Cordilleras and served as a model by
American civilization process, kept its weaving tradition intact.
The following are examples of weaving patterns that exhibit a particular

textile art from the different provinces, although one may find other weaving
patterns from the province mentioned:
A. Bontoc Textile (Mountain Province)- Bontoc textile has traditional colors and motifs
which include geometric shapes of things around them such as man, lizard,
mountain, rain and flower. The siniwsiwan is Bontoc’s blanket and clothing. The fabric
is used for wanes (g-string for men) and lufid (tapis for women). Married women
oftentimes wear a belt called ginaspala wanes with inawin design composed of
continuous zigzag design.
The Bontoc textile revolves around the idea of centeredness, which symbolizes
permanence, order, and balance, key factors in the life of the Bontoc people.
Weavers demonstrate this idea through the direction of their weave, from the edge
to the middle, to the symmetry of the cloth construction and the repeated warp-
striped design.
Bontoc weavers learn the craft through various stages. Young Bontoc girls
usually start their training with the simplest part of the cloth, the langkit or edging.
Next, they move on to pa-ikid (side panels), learning simple designs such as fatawil
(warp-bands) and shukyong (arrows). After mastering this level, they move on to the
most challenging part, the sinangad-am design which represents the Sinamaki
weaving. Here, they incorporate designs on the bands such as tinagtakho (human
figure), minatmata (diamond), and tinitiko (zigzag). The pa-khawa (the center
panel) is the next thing they have to master. The center panel features a band in the
middle and a kan-ay (supplementary weft) at its end.
Because of the complex process of adding the kan-ay, the center panel
would be woven last. When all the parts are ready, they would be sewn together in
the reverse order of their creation, ending with the langkit.
Image from https://www.nardas.com/cordilleran-weaving-culture/

Figure 1: Bontoc (Mountain Province)
B. Kalinga Textile- The Kalinga gilamat (ginamat)- Kalinga textile is characterized by

dominant red stripes and morifs of geometric patterns as well as symbols onterlaced
with white,yellow and black fibers. The gilamat ka-in is commonly used among
women as skirt. Its colors indigo and red symbolize the sky and the ground. The yellow
portion is embroidered and depicts mountains. This color also symbolizes wealth, as
do the embroidered plants that refer to growth and fertility. Furthermore, Kalinga
textiles exhibit motifs executed as though they are embedded in the geometry of
weaving itself. It has a distinct dialogue between red and blue, expressing itself in
broad red and blue bands of plain or twill weave, and creating densely-composed
groups of tight stripes. The Kalinga weavers, particularly in the upper Kalinga area,
put textures on the striped bands using twill-weave technique. Tiny motifs, patterns,
and embellishments have characterized Kalinga textile, including miniature lattice,
continuous lozenge pattern locally called inata-ata, and pawekan or mother-of-
pearl platelets, among others.
Figure 2: Kalinga
C. Abra Textile- Textile from this province are dyed using natural dyes from plants:
mahogany for red, jackfruit and ginger for yellow, the malatayum plant for indigo
and the narra tree for brown,among others. One common design in their fabric is the
frog, which is traditionally worn during the rainy month in the belief that this will please
the gods and their ancestors in giving them the best out of the planting season

Figure 3: Abra
D. Benguet Textile- The early people of Benguet actually used ethnic blankets
woven by the Ilocanos of Tagudin and Bangar, Ilocos Province. Contrary to the
present generation’s notion that ethnic blankets are only used for death-related
rituals and ceremonies, the early Benguets used blankets daily. These blankets have
different names and kinds depending on their owner’s status, age and gender. This
was revealed through a baseline study by Erlinda Alupias, Betty Gayao, Dalen
Meldoz and Jaila Sagpa-ey titled “Improving the Textile Industry in Benguet. ”The
study showed that the lifestyle of the Benguet people since the early 1960s was
influenced by traders and migrants from the lowlands who had more access to
different kinds of blankets, clothes and other fabrics.However, the original designs
and figures have been lost in the memory of old folks and even the Ilocano
weavers because the knowledge was passed on orally until it became a part of
the culture of the Benguet Ibalois and Kankana-eys. This process is locally termed as
tinmaru-tarun. Since only the rich could afford the woven products from the
Ilocanos embroidered with different designs, the blankets became associated to
their status, hence the status blankets.
Benguet status blankets and clothing have a common combination of red,

black or dark blue and white or dirty white. The designs are figures of “x” and the
eyelet design may represent a shield, a man, and a snake. Genuine blankets can be
determined by the arrangement of the design like the snake sign being placed after
the man. In the case of the salibobo/sadipopo or bedbed, a headband used by rich
old men or community leaders, the design corresponds with the status blanket. Most
often, the status level is determined by the number of eyelet designs. If there are nine
or 13 or 15 eyelet designs, this is the corresponding number of animals to be
butchered or have been butchered in a cañao.
Blankets worn only by those who already performed certain steps of cañao
are called alahdang/alechang, pinagpagan, dilli/shengdi and kuabaw/sarong.
Blankets worn by the poor with simple designs are
called bayaong/kolebaw and bandala/safey. Blankets like manta and mabli were
used years later.Status blankets can be inherited or acquired. There are areas in
Benguet where people are particular in using ethnic blankets that should be identical
to what his/her ancestors used. In other areas, the prestige of using status blankets
may be attained after performing levels of cañao.
Historically, Benguet people wore g-strings made out of tree barks. When g-
strings made from woven cloth was introduced, those who can afford discarded
their tree bark g-strings. In areas near Metro Baguio like Atok, it was in the late 1940s
that kuba was seldom worn. In Kibungan, old men from the outskirt barangays
stopped using kuba in the late 1980s. In Kabayan, men stopped using toto/kubal in
the 1970s.There are no meanings attributed to the colors of the kuba. Generally,
the kuba worn by a man should be the kuba design worn by his forefathers. The
kankana-eys have several kinds of g-string: the baa, binoltong, pillac,
pinangsas and sinulaman. For the Ibaloi men they have
the pinangsas, padasan and donas.
The wrap around skirt worn by women

is called devit or etten and the
matching blouse is called sa-dey,
kambal and sambra. The designs are
combinations
of bangkoro and kambayashu,
combination of black, red and white
stripes. At present, people who still
Figure 4: Benguet
Image from https://www.nardas.com/cordilleran- practice the old traditions prefer ethnic
weaving-culture/ clothes made from pure cotton. The
clothes should also be loose because they believe that clothing that will be worn
by their dead relative must decompose with the corpse. Clothing with synthetic
materials takes longer to decompose. Because of this, it is believed that the spirit of
the dead would cause trouble for the living relatives.
E. Ifugao Textile- Ifugao ikat weaving is a style that uses a resist dyeing process before
the threads are woven to create a pattern or design. The result of this process is a
motif which is fuzzy in appearance. This textile is characterized by diamond stripes of
white and red stripes. In addition, the textiles depict traditional symbols of the Ifugao,
pictograph renderings that contain a history of meaning: s-like shapes denote the
status of a headhunter, diamonds represent ferns and x’s portray fish. One special
textile is the Ga’mong which is a funeral blanket used to cloak the corpse of the
deceased and it is not to be used for any other purpose.
Some of the most common designs found in Ifugao textile are the following:
Image from https://www.facebook.com/pg/ifugaoartsandcrafts/photos/
Textiles from Other Regions
1. ILOCOS Textile
Binakol
Origin: Ilocos and Abra
Also known as binakel, binakael, or binakul (Ilocano for “twill”) this

is a variation of the popular abel weave. Woven using pedal
looms, its design is composed of interlocked geometric patterns,
resulting in an optical illusion despite its flat surface. The
psychedelic pattern represents the waves of the sea and protects
against malevolent spirits by confusing them.
Image from: https://nolisoli.ph/26741/philippine-weaves-habi/
Pinilian
Community: Ilocano
Origin: Ilocos Region (also Abra)
A type of binakul weave that means “chosen” and uses a

complicated brocade weave where sticks are inserted on chosen
warp (lengthwise) threads. These create designs that “float” on
the threads, giving the weave a three-dimensional quality. Designs
are mostly representative of nature and their environment.
Image from https://nolisoli.ph/26741/philippine-weaves-habi/
The Ilocano of northwestern Philippines is

well-known for their handweaving, a tradition
with ancient roots, with the kapas or cotton as
the main material.
They use the pedal loom, locally
called pangablan; employ several weaving
techniques; and have numerous
designs/patterns. Different weaving techniques
include the basic plain weave, the double-
toned basket weave or binakul, and the multi-heddle weave
(binetwagan or tinumballitan), among others. Image from https://nolisoli.ph/26741/philippine-weaves-
habi/
Among the complicated one is the brocade weave or pinilian, which uses sticks
inserted on selected warp threads to create designs that float on the threads.
There are two kinds of pinilian: scattered and continuous supplemementary

weft techniques. The weavers of Pinili, Ilocos Norte, are said to be adept in the
simultaneous warp and weft-float type of pinilian called the impalagto, a technique
unique in the town.
2. AKLAN Textile
Piña
Community: Aklanon
Origin: Aklan
Considered the finest of Philippine textiles, the

piña fabric is made from the fibers of the leaves
of the red Bisaya pineapple through an arduous
process. The extraction of the fibers is a most
delicate and tedious process.
The leaves provide two kinds of fibers—the bastos or the rough fiber, and the
liniwan or the fine fiber. Using a shard of Chinese porcelain, the stripper removes the
epidermis of the leaf, exposing the lustrous bastos fiber. After stripping the leaves of
the rough fibers, the stripper then run a coconut shell on the inner layer of the leaf to
expose the liniwan.
The degumming process entails repeated rinsing, beating, and air-drying of the
fibers. When the fibers are completely dried, the weaver connects each strand
through knotting to produce long continuous strands before the weaving process,
which uses the pedal loom.
The Aklanons of western Panay Island are known for the piña with inlaid
supplementary weft designs or more often embroidered with floral or vegetal designs
on the lattice ground. Lumban in Laguna and Taal in Batangas are known
embroidery centres. The piña is the preferred material for the barong Tagalog.
3. PANAY Textile
Hablon
Communities: Kiniray-a and Hiligaynon
Origin: Panay Island
Hablon is Hiligaynon for “something
woven,” from the root word habol, “to
weave”. It refers to the hand-woven textiles
by Kiniray-a and Hiligaynon weavers.
In a Panayanon legend, ten datus from Borneo landed on Panay Island,
established settlements and ushered in an era of development. One of the
legendary datus was Datu Lubay, who is said to introduce the art of weaving textiles.
Weaving using the pedal loom had been common in the provinces of Iloilo and
Antique until the arrival of mechanised weaving. Now, there are very few places
where traditional weaving is practiced, notable of these are Miag-ao in Iloilo and
Bagtasan, Bugasong in Antique.
The hablon is usually a plain weave and has plaid and striped designs. It is
usually used for the patadyong, the Visayan wraparound skirt, and panuelo.
Patadyong
Origin: Negros (Antique, Panay, Oton,
Miagao, Ilo-ilo)
A type of hablon (Ilonggo term for

woven material) that resembles the
Mindanao malong because of its tubular
style that allows it to be worn a number
of ways. The weave is done by interlacing different colored threads through a
wooden handloom called tiral or habulan locally. The weave comes in either a
plaid or checked design.
4. JOLO Textile
Tausug
Origin: Jolo
The traditional rivals of the
Yakans in Sulu, the Tausug
tapestry weaves make use of a
back-strap loom and also
feature sacred geometries in
their designs. The Tausug people
follow the Islamic prohibition of
representing human and animal
forms; thus, the ukkil or abstract
motifs in geometric shapes suggestive of the natural world.
Types: Image from https://nolisoli.ph/26741/philippine-weaves-habi/
Pis syabit and Kambut
A multi-colored headdress is traditionally worn by men that features
symmetrical geometric designs and represents the wearer’s rank in society. It can be
draped over the shoulder or tied around the hilt of the kris (sword). The kambut, on
the other hand, is a waist sash worn by men.
5. SARANGGANI and SOUTH COTABATO Textile
Mabal Tabih
Community: Blaan
Origin: Sarangani and South Cotabato
Tabih, in Blaan, refers to the native tubular skirt,

and also to the textile, while mabal means
“woven” or “to weave”. The Blaan weave the
tabih using abaca fibers and the back-strap
loom. The fibers are dyed using the warp tie-dye
resist ikat technique and natural dyes from native plants. Designs usually
depict crocodiles and tiny curls. The Blaan are also known to be accomplished
embroiderers and the tabih is often meticulously embellished with embroidery. A
practice traditionally reserved to women of high status, weaving has a strong spiritual
context in Blaan society, believed to be the gift from Furalo, the goddess of weaving.
Aside from the tubular skirts, the abaca textile is used for making garment for men,
as well as covering for important materials such as knives.
6. DAVAO DEL SUR Textile
Bagobo Inabal
Community: Bagobo Manobo
Origin: Davao del Sur
The Bagobo, a subgroup of the Manobo,

are expert in extracting the fibers of the abaca
from the leaf sheaths and selecting the very fine
ones for weaving their textiles.
They use the back-strap loom for weaving inabal
abaca fiber textiles with ikat-or tie-dyed resist
designs
forming mother-and-baby crocodile figures in geometricised abstracted forms. The
dyestuffs are all extracted from plants in their surroundings. The finished abaca fibers
undergo a polishing process, using a smooth shell.
Beeswax, which is applied to the beater during the weaving process, adds to the
sheen during the finishing process. The Bagobo textile is usually used for making the
native tubular skirt, of which there are two types, sinukla and the bandira.
7. EASTERN MINDANAO Textile
Dagmay
Community: Mandaya
Origin: Eastern Mindanao
The Mandaya, which can be found in the

provinces of Davao Oriental, Davao del Norte,
Compostella Valley, Surigao del Sur, and Agusan
del Sur, have a strong weaving tradition as seen
in their coarsely textured dagmay, hand-woven
Image from
https://nolisoli.ph/26741/philippine-weaves- using a special kind of back-strap loom, made
habi/ from abaca fibers, and following intricate designs
revolving around man and nature, specially the
crocodile.
They use a mud dyeing technique. Used to obtain black, the technique is
based on the reaction between the tannins applied on the the yarn before
treatment, and the iron found on the mud. The bark of the tree, which contains
tanninsm is pounded to a pulp and boiled together with the abaca yarn. The mud is
then added to the mixture. The yarn is steeped for one to several hours for the best
results.
Dagmay designs usually tell the story about the weaver and her community, as well
as the spirits that live on Earth. The dagmay is usually used for women’s skirt, but it is
also used as blankets or wraps for the dead.
8. LANAO Textile
Mëranaw Textile
Community: Mëranaw
Origin: Lanao del Norte and Lanao del Sur
The Mëranaw of Lanao del Norte and Lanao del

Sur know a wide range of weaving techniques
including the weft and warp ikat tie-dye resist
and continuous and discontinuous
supplementary weft design.
They are know for the malong, a tubular

Image from https://nolisoli.ph/26741/philippine-
weaves-habi/
lower garment. Among its several types, the
malong a andon is the most highly valued. This is followed by the malong a landap,
which is known for its tapestry bands called langkit, often used to join the broad
panels of silk together. Another kind is the malong a bagadat, made from similar
wide bands in contrasting colours and separated by narrow bands of warp ikat.
Made using a narrow, specialised kind of tapestry loom, langkit, usually comes
in two kinds: tabrian or the narrow panel, and lakban or the wider panel. Beautifully
designed, the langkit has distinct Maranao okir designs including potiok (bud), dapal
or raon (leaf), pako (fern), pako rabong (growing fern) and katorai (flower). These
intricate designs are made using discontinuous weft.
9. SULU Textile
Pis Syabit Weave

Community: Tausug
Origin: Sulu Archipelago
The Tausug women are experts in tapestry

weaving and embroidery, while men do the
large hanings in appliqué. They specialise in the
production of pis syabit (head scarf) and
kambot/kandit.
Image from
https://nolisoli.ph/26741/philippine-weaves-
The pis syabit is traditionally worn by men habi/
and warriors. A most complicated design
technique, the pis syabit tapestry weaving of Tausug has no preset pattern sticks or
pre-designed warp yarns into which the weaver inserts the desert yarn.
The weaver has to clearly imagine the pattern in her mind as she inserts one
coloured weft yarn one at a time to fill up the space in the warp, in a sequence her
mind only knows. The weaver creates a perfectly symmetrical composition of squares
and Xs with hooks, and in seven to eight colours.
10. SOUTH COTABATO Textile
T’nalak
Community: Tboli
Origin: South Cotabato
The traditional textile woven by the Tboli

women, t’nalak represents birth, life, union in
marriage and death, and shows the uniqueness
and identity of the indigenous group. It is often
utilised as blankets and clothing, and used in royal
Image from wedding ceremonies on rare occasions.
habi/
The
Tboli weavers are often called “dream
weavers” but this applies only to a few
dedicated weavers. It is believed that the
designs and patterns are bestowed on them
by Fu Dalu, the spirit of abaca, through their
dreams.
The tedious creation of the t’nalak

starts with extracting the abaca fibers, which
are them combed to remove the sap. They are connected from end to end, and
knotted and prepared for design prior to resist-dyeing, known as the ikat method.
Photo: Courtesy of Manila FAME
A t’nalak traditionally has three colours: black, red, and white. The fibers are
then woven using the backstrap loom. The textile is then washed in the river, beaten
with a wooden stick to flatten the knots, and burnishing the surface with a cowrie
shell.
The late Lang Dulay was widely regarded as one of the best weavers and was
bestowed the Gawad sa Manlilikha ng Bayan in 1998. Pictured here is one of her
creations.
11. BASILAN Textile
Saputangan Tapestry Weave

Community: Yakan
Origin: Basilan
Known for being highly-skilled, with

impressive weaving repertoires, Yakan weavers Image from
produce textile with five different kinds of
habi/
weaving, often differentiated by technique,
pattern, and function.
The bunga-sama is a supplementary weft weave, made by using pattern sticks

or heddles in the loom to produce the pattern. The colourful striped siniluan is
characterised by warp-floating pattern. Saputangan is a square cloth best known
for its intricate and rich design, involving optical illusion to create depth in the
patterns. The inalaman is made using an elaborate supplementary-weft technique,
and often used for women’s wraparound skirt. The pinantupan, which is also used for
the wraparound skirt, utilises simple weft pattern arranged in the bands.
The saputangan is an example of a tapestry weave, considered the oldest

and most traditional technique in producing ornamented woven textiles, aside from
the plain weave technique wherein stripes and plaids are formed.
The saputangan is worn by Yakan women in different ways depending on the

occasion such as elen-elen (for everyday wear), hap tabuan (for going to market)
and ginuna sipagkawin (worn like a veil when attending a wedding).
Types
a. Peneh pitumpuh
Literally translating to “70 designs/patterns,” the

weave was originally reserved for aristocrats
and considered the most intricate. Only an
expert can weave this tapestry which includes
all 70 designs within one meter of cloth featuring
the kadjang (fairy wings) or kabba kabba
(butterfly).
Image from
habi/
b. Bunga sama
The highest level of Yakan weaves,

its format consists of repetitive
patterns, mostly diamonds, meant
to represent the continuity of the
universe. However, the pattern is
said to have been inspired, as well, Image from
by the skin of the python. https://nolisoli.ph/26741/philippine-weaves-
habi/
c. Sinaluan
Flaunts a striped pattern that represents

bamboo stalks and nature. The traditional
fabric is used as clothing, mostly pants, for
men and women.
d. Saputangan
Image from A square handkerchief used by the women

https://nolisoli.ph/26741/philippine-weaves- as a headdress and worn in different ways
habi/
depending on the occasion.
Photo Credits:
Patrick Segovia of NOLISoLIPH
Tatler Asia Limited

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EXPLAIN Textile Art

Textiles are a reflection of the traditions, ways of life, resourcefulness, and

Textile Art from the Different Provinces in the Cordillera

The Cordilleras, largely inaccessible to Spanish missionaries, remained animistic

The following are examples of weaving patterns that exhibit a particular

Image from https://www.nardas.com/cordilleran-weaving-culture/

B. Kalinga Textile- The Kalinga gilamat (ginamat)- Kalinga textile is characterized by

Image from https://www.nardas.com/cordilleran-weaving-culture/

Image from https://www.nardas.com/cordilleran-weaving-culture/

Benguet status blankets and clothing have a common combination of red,

The wrap around skirt worn by women

Image from https://www.facebook.com/pg/ifugaoartsandcrafts/photos/

Image from https://www.facebook.com/pg/ifugaoartsandcrafts/photos/

Also known as binakel, binakael, or binakul (Ilocano for “twill”) this

Image from: https://nolisoli.ph/26741/philippine-weaves-habi/

A type of binakul weave that means “chosen” and uses a

Image from https://nolisoli.ph/26741/philippine-weaves-habi/

The Ilocano of northwestern Philippines is

There are two kinds of pinilian: scattered and continuous supplemementary

Considered the finest of Philippine textiles, the

A type of hablon (Ilonggo term for

Pis syabit and Kambut

5. SARANGGANI and SOUTH COTABATO Textile

Tabih, in Blaan, refers to the native tubular skirt,

6. DAVAO DEL SUR Textile

The Bagobo, a subgroup of the Manobo,

7. EASTERN MINDANAO Textile

The Mandaya, which can be found in the

The Mëranaw of Lanao del Norte and Lanao del

They are know for the malong, a tubular

Pis Syabit Weave

The Tausug women are experts in tapestry

and warriors. A most complicated design

10. SOUTH COTABATO Textile

The traditional textile woven by the Tboli

The tedious creation of the t’nalak

Photo: Courtesy of Manila FAME

11. BASILAN Textile

Saputangan Tapestry Weave

Known for being highly-skilled, with

The bunga-sama is a supplementary weft weave, made by using pattern sticks

The saputangan is an example of a tapestry weave, considered the oldest

The saputangan is worn by Yakan women in different ways depending on the

Literally translating to “70 designs/patterns,” the

The highest level of Yakan weaves,

Flaunts a striped pattern that represents

Image from A square handkerchief used by the women

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