Preserving the culture of weaving

Indigenous groups from different parts of the Philippines practice respective weaving traditions making it one of the oldest local
industries observed in the country.

Tribal brothers and sisters from the northern cluster are famed for their blood-colored Cordilleran weaving, attesting to the fierce
nature of the canao practitioners of the mountains. The central groups with their flowery and nature-inclined designs reflect the
peoples’ calm disposition. South’s colorful fabrics serve as an image of the different cultural groups thriving together in the region—
Muslims, Christians and lumads. Other weaves mirror the surroundings like the patad embroidery seen in the de’vit attires of the Ibaloi
consists mostly of triangles depicting the high mountains of the Cordilleran region.

And while weaving defines the cultures and behaviors of the indigenous peoples, modernization and commercialization has affected
the traditional art. Patterns from woven cloth are now copied into fabrics that are manipulated easily by factories. Indigenous-inspired
bags can now be manufactured without the authenticity of fabrics.

But more importantly, it results to the decline in the practice of weaving itself by the local craftsmen. This concern is tackled in Dream
weavers, a documentary on the t’nalak weavers of Lake Sebu in South Cotabato.

It shows how only a number of elders in the community practice the traditional art. Through the years, the weavers have aged along
with their crafts. And the more alarming concern is that the younger generations have taken not as much interest in the continuation
of their creative industries as their precedents.

The same is happening in Luzon. In a visit to a weaving center in Baguio, most of the employed workers are women in their mid-ages
who use the money to send their children to school, leaving the traditional learning of the craft for later. Most of the indigenous youths
are now heading to the cities to study and experience the modern life.

But hope is not lost. Indigenous youths have not completely disregarded the traditional art of weaving. There are still some who show
interest in preserving it by enrolling at the Schools of Living Traditions (SLT).

Created by the National Commission for Culture and the Arts’ (NCCA), SLTs aim to preserve Filipino weaving practices by teaching to
the younger members of the communities.

According to UNESCO, there are two ways through which cultural heritages are preserved. First is through recording and archiving of
cultural materials and second is to preserve it in living form ensuring its transmission to the next generation.

Already, there are a number of SLTs established around the country. In Kiangan in the north, the SLT headed by Normalita Ballawon is
dedicated to the Ifugao weaving, while another one is headed by Rosalyn Fianza-White dedicated to the de’-vit weaving with patad
embroidery. There is also one in Gaddang for the massinun weaving.

In the central island clusters, SLTs were established for the Higaonon mat and Subanon sapyay weaving, as well as the B’laan fabric
and clothing.

In the SLTs, masters of the craft transfer their artistry to the youth through hands on training. This ensures that the spirit and true
sense of the tradition is not lost in translation if they are to learn it through the recorded material.

Another effort to recognize the Filipino art of weaving is organized by NCCA, the Gamaba Award that honors cultural masters of the
craft. Out of the 13 Gamaba awardees, five are indigenous weavers of their respective communities: Magdalena Gamayo of Ilocos;
Lang Dulay, a Tiboli weaver of t’nalak; Salita Monon, Bagobo textile weaver; Darhata Sawabi of the Tausug; and Haja Amina Appi, Sama
mat weaver of Tawi-Tawi.

Besides SLTs and Gamaba recognition, weaving industries also thrive through the promotion and continuous exposition through
modern technology.

Hibla, a website dedicated to Filipino weaving tradition features works of the SLTs including textile crafts, beadwork and embroidery.
Moreover, the site disseminates to netizens various information on different government and non-government programs that keeps
the culture of weaving alive.

With the many means through which Filipinos could be involved in the preservation, promotion and appreciation of the art of weaving,
there is no excuse for each citizen not to take part in the cause.
Weaving the Philippines Local textures and fabrics

From fibers and threads to colors and prints, weaving

speaks so much about the Philippines’ cultural narrative. Besides preserving history, the country’s weaves are also promising products
that bring attention to indigenous communities via the international design and lifestyle stage.

According to the Garments and Textile Industry Development Office (GTIDO) and the Center for International Trade Expositions and
Missions (Citem), the 2014 edition of Manila FAME identified the weaves that are beginning to show potential in global marketability.

Manila FAME is a premier design and lifestyle event held annually at the SMX Convention, wholly supported by Citem, which in turn
is the export promotions arm of the Philippine Department of Trade and Industry (DTI).

“Citem has always been committed to highlighting the versatility, viability, and global competitiveness of Philippine craftsmanship,
and we are glad we were able to emphasize the fabrics that have been part of the country’s culture and artistry,” related Citem
executive director Rosvi Gaetos.

He also identified the different Filipino designers who have become proponents of local weaves.

Meanwhile, the vibrant and intricate handcrafted mats that define the traditional Samar mat weaving are being advocated by painter
and sculptor Patty Eustaquio. At the Manila Fame exhibit, she infused her design trademark that highlights stark contrasts between
the present and the past.

Weavers from Samar also showcased how the sedge grass locally known as tikog can be transformed as mats, and how it can be crafted
for bags, furniture matting, and adornments for ceiling panels or walls, and other decorative pieces.

The piña fabric from Aklan, on the other hand, was exhibited through the interpretations of jewelery designer Natalya Lagdameo. The
fiber used in this famed weaving process in the region comes from the mature leaves of the pineapple plant, which is scraped to
extract the fine thread called liniwan.

Aklanon weavers presented how this material is commonly used in making the traditional barong, dresses, tapestries, bags, and
furniture accessories.

Finally, the art of t’nalak weaving from South Cotabato, was brought to life by the design sensibilities of Bong and Rossy Rojales of
Heima.

The T’boli women of Lake Sebu were invited to demonstrate the weaving practice. This traditional cloth weaves are made with abaca-
woven fiber, and the practice is widely recognized for its age-old method involving the ikat process, where natural dyes and threads
from indigenous plants are used.

To date, the time-honored weaving is dubbed as “dream weaving” because the T’boli weavers believe that the textile patterns are
lent by Fu Dalu, the spirit of abaca, which are communicated to them through dreams.

“We are thankful to the artists and designers who lent their talent, vision, and artistic sensibilities to innovate and recognize with
respect the traditions woven into one of the oldest and strongest pillars of local art, weaving,” Gaetos ended.
Female upper garment embroidered with beads and old coins, from the Mandaya of Davao. Photo by JL JAVIER

Weaving is culture, identity, and way of life for some of the most illustrious indigenous communities in the Philippines. The country
has a vibrant weaving tradition, from the red and white fabrics of the Gaddang and Kalinga of the north, to the striped malong of the
Maranaos and Maguindanao of the south. “Textiles are signifiers of meaning,” writes Norma A. Respicio in “The Patterns of Culture in
Philippine Traditional Textiles,” expressing a people’s creativity, worldviews, belief systems, and ideologies.

The woven textiles express both the agricultural roots of each community, as well as a strong non-Christian belief system animated by
ancestral and natural spirits, such as the wind god, a motif prevalent in weaving communities.

The motif is called a kusikus, fashioned after a whirlpool, thought to shield from furious winds. Significantly, Respicio notes, kusikus,
aside from being depicted on shawls and blankets, was also popular on masts.

Other iconic designs include the sarimanok, a mythical bird of good fortune (in Maranao textiles), the crocodile/lizard, revered for the
symmetrical design patterns in its skin, and interestingly, the Fak, a representation of a frog for its role in agriculture, found in the
T’boli’s t’nalak cloth.

Expressions of a community’s agricultural roots are also evident in the textiles through patterns depicting tiny diamonds (supposedly
representing rice grains) and Xs (supposedly representing rice mortars).

Mindanao, for its part, shelters weaving communities with shared traditions, their non-Christian motifs common to some textiles,
believed to be an expression of defiance against Spanish and American colonizers. The weaving communities here include the
Mandaya, B’laan, Maranao, Maguindanao, Yakan, Bagobo, T’boli, and Tausug, each with weaving traditions and techniques distinct
from the next.

Mandaya

The Mandaya people of Davao Oriental are known for their masterful ikat (a weaving pattern) in abaca, the primary fiber they use for
weaving. One of their most popular textiles is called dagmay, a handwoven cloth designed with patterns of man and crocodile, for
which the Mandaya weavers are known for. Geometric and curvilinear forms in yellow, blue, and white yarns, as well as hooks, crosses,
and diamond shapes, are favorite embellishments in the Mandaya’s woven fabrics.

Through their clothing, Mandaya women also distinguished themselves from their less affluent neighbors. Those of higher stature
wore red cotton blouses with black sleeves, while “common women” wear brown or black abaca blouses.

Detail from a tabih (two-panel ikat tube skirt) handwoven by a B'laan, featuring a crocodile pattern. Photo by JL JAVIER

B’laan

The B’laan inhabit the hills behind the west coast of the Davao Gulf, as well as the boundaries of the Cotabato and South Cotabato
provinces. They employ similar weaving styles as their neighbors the Bagobo and the T’boli, also producing ikat textiles on abaca or
handwoven cotton.

They are well known for their embroidery and decorative skills, as when they utilize cross-stitches and outline-stitches to embroider
stylized human figures, or when they stitch small discs of mother-of-pearl at regular intervals over the cloth.
Detail from a malong a landap binaning, woven by the Maranaos. Beside the yellow panel (reserved for royalty) is a tapestry called
langkit, which distinguishes this type of malong from other tubular garments. Photo by JL JAVIER

Maranao and Maguindanao

Along with the Maguindanao people, the people of the lake — as the Maranao are called — produce malong, large tubular garments
both worn by men and women for a number of purposes. They are made by sewing two pieces of sarong cloth lengthwise along its
edges to produce a square, and can be woven from either cotton or silk. Landap has been noted to be probably the most distinctive
malong, which comes on one solid color or two colors arranged in alternating bands.

The Maranaos weave into the malong colorful bands called langkit, consisting of three to four colors with okir designs: scroll, leaf, or
vine motifs woven in abstract forms. The Maguindanao, for their part, incorporate patterns directly into the bands.

The sarimanok is a key figure in Maranao art, despite an Islamic prohibition on the use of representational forms, and sometimes
appears in the okir designs.

Yakan cloth bearing the bunga sama or python pattern. Photo by JL JAVIER

Detail from seputangan, a head cover worn by the Yakan, bearing a brocaded design with diamond forms. Photo by JL JAVIER

Yakan

While originally hailing from Basilan, the Yakan have migrated outwardly to Zamboanga due to unrest and conflict. They are known
for weaving brightly-colored fabrics, producing a myriad of textiles with distinct, strongly geometric, repetitive patterns, including
the bunga sama (based on the diamond), the sinaluan (small bands of bisected and quartered lozenge shapes), the pussuk
labbung (saw-tooth pattern) and the kabban budi (triangular-rectangular design).
Inabal, woven cloth made from abaca and natural dyes, is a textile highly valued in Bagobo society. Photo by JL JAVIER

Bagobo

The Bagobo traditionally live in the east and south sides of Mt. Apo and eastern Cotabato, but now inhabit Davao. Their weaving
tradition is tied to the magandi, a dominant warrior class, identified by the red color of their clothing.

Like the Mandaya and the B’laan, the ikat is a prominent fixture in their textiles, characterized with rhomb designs and curvilinear
patterns. Some of the recognizable motifs in their textiles include those inspired by the natural environment: lightning, plants, stars,
and human figures.

A T'boli family proudly wears traditional garments from a myriad of sources. The lone man (Arthur Kamansa) wears an upper
garment and trousers of t'nalak. Photo by JL JAVIER

T’Boli

The T’Boli of Lake Sebu in Cotabato are well-known for their t’nalak, a distinctive abaca cloth that traditionally comes in three colors:
deep reddish brown, black, and white. The brown and black colors come from naturally occurring dyes, with white being the natural
color of abaca. Some well-known t’nalak patterns include the bangala (man in house), klung (shield), sawo (python), nipa,
g’mayaw (mythical bird) and the tofi (frog), all based on the basic sigul, a zigzag arrangement of triangles or rhombs, comprising the
overall pattern set in the cloth.

It is believed that designs for the t’nalak are borne from the weaver’s dreams, and that the spirit of Fu Dalo (guardian of t’nalak designs)
begins to reside in the cloth at the start of its production, thus warranting extreme care to prevent breakage of the yarns while
weaving.
A headcloth from the Sama society of Sulu, embroidered with anthromorphic and zoomorphic designs. Photo by JL JAVIER

Tausug

The Tausug of Jolo in Sulu is an Islamic community structured around a sultanate. They used to weave cotton and silk textiles from
imported yarns. Linked to the Tausug is the habul tiyahian (or labur tiyahiran), their traditional textile, an embroidered sarong.

They are also well-known for tapestry weave techniques found in their pis (head cloths), tadjung (tubular skirts), and kandit (sashes).
The cloth surface of the pis siyabit, in particular, is characterized by diamond shapes, diagonal crosses, and zigzag motifs inside small
squares and rectangles. Predominant colors are pink, orange, and maroon shades, sometimes with a touch of white or green.

MENTION weaving and Mindanao women will be among those top of mind.
There’s the T’nalak dream weavers of the T’boli tribe in South Cotabato, the Dagmay weavers of the Mandayas in Davao Oriental,
and the labur tiyahiran of the Tausugs, among several others.

But little has been told about this recently promoted intricate woven fabric from Maguindanao, the Inaul.

Inaul is the traditional woven cloth of the Maguindanaon. It is the Maguindanaoan word for "woven".

For years this cultural icon has been a "given" among Maguindanao women: they wear it, they weave it, and sell it as "malong". It
was only in 2017 when the province of Maguindanao and the Department of Tourism in Autonomous Region in Muslim Mindanao
(DOT-Armm) decided to highlight the fabric that represents the province as one tapestry, thus the birth of Inaul Festival.

During the opening day of the Inaul Festival last February 8 in Buluan, Maguindanao, while visitors and the rest of the community
were busy joining the festivities, dozens of Maguindanaoan women weavers in the province’s Women Center were weaving
Maguindanao’s fabric of pride and heritage.

These women from 10 participating municipalities of Maguindanao were joining for the Kapaginaul weaving competition, one of the
inaul-related events during the festival along with an inaul gown exhibit, search of the oldest inaul contest, and the Inaul Trade Expo.

“We are here to weave, like we always do,” master weaver Normina Collie, 52, shared even before being asked. She might have
automatically understood, upon seeing me with my pen and camera that I’m a journalist wondering what the bunch of
Maguindanaon women are doing.

Normina is a 7th generation weaver.

In her family alone, Inaul can be traced as far back as 1920s and discussing it would take two days of non-stop narration.

The “bara-bangsa” fabric is first woven and worn mostly by the Maguindanao women from the Royal Houses.

“Before, these aren’t for sale. The design of one Datu shall not be copied by another, they have their own unique designs that only
their family can wear,” Normina said.

Speaking for the present time, she said that some designs made by the weavers from their dream or imaginations can now be
replicated for as long as it is not similar to what the royal houses’ designs are.

There are some 20 known original designs of the fabric, these are the “binaludto” (rainbow), “makabimban” (stripes), “panigabi”
(taro), “sinodengan”, “matampuhay-seko”, “kawang” and “sinukipan” and “binaludan” (wave-like).
It usually takes two to four days to make one length of inaul.

Opposite Normina's loom was Norhaya Gulang, a 40 years old weaver of Datu Piang town. She was with her aunt, Bia Abdullah, 59,
also a weaver.

“I’ve been weaving for 10 years, I started late, I learned it from my parents and relatives like Aunt Bia,” Norhaya said in vernacular.
She learned the art of inaul in just a month.

Weaving Inaul, she said, has become their source of livelihood as it offers a good income given the rising demand for the fabric in
the market.

Today, the market price of a 2 meters x 4 meters inual malong is at P1,000 to P1,800 depending on the design. She said their capital
for a one standard size of inaul is from P500 to P1,000 each for the raw materials. Aside from malong, Inaul can also be used for
making a tubaw and shawl.

The needed raw material for this Maguindanaon fabric is a thread or what they call “tanor.”

Challenges in weaving

Weaving is not easy, Norhaya said.

“Kasi dahil sa detailed design, minsan napuputol ang mga sinulod (thread), pero pag natuto ka na talaga, kaya naman po,” she
shared.

Master weaver Normina also shared that one of the problems the industry is facing that greatly affects the weavers is the excessive
reselling of merchants who buy their products at very low prices.

“Kaming nagwe-weave nahihirap din po kami kasi halimbawa kung ang capital namin is P1,000 tapos kung ibenta namin konti lang
yung tubo pero grabe makatubo yung nagbubuy and sell, yung mga businessmen. Hindi kami masyado nakakapatong kaya hindi
umaangat ang buhay namin, pero okay lang naman kami kasi nakakaraos naman din,” she said.

For instance, Normina said, a P1,500 Inaul malong is being resold at over P2,000 earning the seller an immediate P500 profit per
piece.

“Aside from the money we used to buy raw materials, we put our effort into it. Our real capital here is yung mga katawan at ang
pagod, sumasakit na ang ulo, batok, likod at mata naming just to weave,” the master weaver aid.

Inaul Festival Director Nulfarid “Datu Paul” Ampatuan in a separate interview believes the weavers deserve more given their
products' cultural and labor value.

“With the materials used, the time element, and the painstaking labor of our weavers, I think we should sell it at a higher price, we
should give higher value to this cultural fabric,” he said adding that they are currently fixing the pricing to make it beneficial to the
weaver.

Vibrant industry

Given the focus and promotion earned by Inaul through the Inaul festival, the fabric was catapulted into the limelight resulting to
the continued rising of demand for this cultural icon.

“Unlike before, malakas na talaga ang bentahan ng Inaul ngayon, nagkakaubusan po ng mga Inaul malong,” Normina said.

Maguindanao has some 300 women weavers creating Inaul and filling the massive demand.

Normina admitted that with the present demand, weavers can’t keep up with it.

“We really want to make Inaul for those interested, but how? It is not just a simple fabric that is why we are appealing to all the
customers to give us ample time to make their Inaul,” she shared adding that more weavers are needed to meet the demand the
industry is enjoying.

Envisioning that Inaul may go commercial in no time, Ampatuan underscored that they want to limit the creation of Inaul to
weaving.

“We will definitely not go to commercial printing of Inaul designs, because if we do, it is like we lose the very soul of this fabric, we
want to keep its authenticity,” he said.
From generation to generation

To produce more Inaul and to sustain the culture that is Inaul weaving, the government has trained women to learn the art.

“We have trained around 180 women last year. Our youngest trained weaver is 18 years old. We want to encourage more young
weavers to learn Inaul so we can pass onto them the culture and appreciation for this Maguindanao heritage,” Ampatuan said.

Looming machines and rolls of threads were also given after the training.

Normina, who learned weaving since she was 12 years old said she is more than willing to teach the younger generation, a thing
some of the elders failed to do in their time.

“I got this skill from my lola, I had this not because she was teaching me but because I learned from her by just watching. I thank her
a lot for this is such a huge gift for me, more than inheriting a vast land. But maybe what went wrong before was that most of the
elders kept this from the younger generation, wala kasi talagang lesson for us noon para matuto lang ng Inaul. That is why our call
now is to spread this and let anyone know that those interested to learn are welcome to practice the art of weaving, we are willing
to teach them,” she said.

Anyone can learn Inaul weaving even those who are not pure Maguindanaon. At present, Normina is teaching around 300 weavers
in the province. The master weaver’s children are also into weaving.

Jawahir Abdullah, 20 years old, currently enrolled in the 12th grade of Gali L. Abpi College, Inc., is among the few young weavers in
the province. She is juggling studies and weaving at the same time. Raised in a Inaul-making family, Jawahir learned weaving since
she was still 13. She is the third child of her farmer father and mother weaver.

“Sobra po siyang nakakatulong sa pag aaral namin, wala pa po kasi nakatapos sa amin, wala din pong nag abroad so ito po yung
kabuhayan naming. Sa aking pagiinaul ko kinukuha ang pambaon, pamasahe at pag-aaral ko,” she shared.

On weekdays she’s in school while weekdays she poured her time in weaving.

“I wanted to be a teacher someday but I still want to continue weaving as it became my habit. Aside from I’m earning from it, I also
understand that this is our culture and I need to keep this alive,” the young weaver said.

Bia Abdullah who is weaving for 48 years now, despite opportunities to go abroad, chose to stay here and continue weaving.

“I choose to be here because I am bound and destined to stay here. I also want to put my labor in my country especially in my
province. Also, Inaul weaving is a Halal work and that is important for me,” Bia said in Maguindanaon.

Inaul, a fabric of culture, peace and heritage has indeed weaved the diverse culture in the south and connected boundaries thereby
creating one Maguindanao.

MANILA, Philippines - Mindanao textile is having its moment in Philippine fashion, and it’s not just worn to
express sympathy for Marawi.

Filipinos are learning to appreciate the beauty of this age-old tradition of the Muslims. One of the most visible textiles at the recent
SONA was the Inaul, the intricately-woven textile from Maguindanao. Batangas sixth district Rep. Vilma Santos-Recto came in a
long, green, richly-patterned dress.

Leyte fourth district Rep. Lucy Gomez stunned the crowd with her dark blue, striped skirt while Tourism Sec. Wanda Teo bloomed in
a fuchsia, diamond-patterned dress.

“It is said that Inaul may be a malong, but not all malongs are Inaul. Inaul is synonymous with Maguindanao (the old name of
Mindanao). It is a fabric woven by a great race. It is a symbol of royalty of a great nation that once ruled Mindanao,” says Deputy
Speaker Bai Sandra Sinsuat Sema, representative of the first district of Maguindanao and Cotabato City.

Royalty wore the Inaul as a malong, a tubular fabric, or sablay, loose garment, as they traveled through the riverways that connected
kingdoms.

“Today, Inaul does not only represent the rulers of the sultanate of this magnificent land, but it also amplifies the greatness of the
people,” declares Sema.
Valued for its historical significance, the Inaul is a product of the mixture of the lineage of Sheriff Muhammad Kabungsuan, the first
Sultan of Mindanao, and the natives. Its luxurious texture is a blend of silk and gold threads infused into the pure cotton threads and
woven in complicated techniques. The complicated weaving techniques produce one-of-a-kind designs such as rainbows, stripes and
taro.

Sema points out that the Inaul reflects the character of her region. “A single thread of cotton or silk or even gold is weak when alone
but strong when woven together. Like the threads, Maguindanaons seldom act individually. They believe that in unity there is
strength. They work their land together. They catch fish together. They cook their food, build their house and pray together. They
defend their territory — together,” says Sema.

Its signature colors of yellow and orange represent royalty, while red stands for bravery. Green signifies peace. White, the color of
purity, is also worn during mourning. Black means dignity.

“These colors portray the experiences that the Maguindanaons have gone through,” says Sema.

The lawmaker adds that the distinctive patterns are the result of careful planning and meticulous craftsmanship. This echoes the
character of the Maguindanaons who are known for their precision.

The weaving is time-consuming, and work is never rushed. A tipas or slanting design can only be achieved by two or three weavers
working together. A fabric is completed in five days.

“Maguindanaons value patience, for they know that in due time they will get what they desire. Determination is their key to success,”
says Sema.

“Inaul represents how Maguindanaons preserve their inheritance, strengthen their unity, nourish their culture, defend their land and
share their bounty. It is the embodiment of the past of Maguindanaons, it is the joy of their present, and it is the hope of their future,”
says Sema.

The Bagóbo are a proud people with proto Malayan features and with a strong social structure enabled them, as a group, to integrate
with the main body politic while retaining much of their indigenous customs, beliefs, and values. That said, most of the Bagóbo have
suffered dislocation due to the loss of their ancestral lands and the effects of modern day insurgency. While many are in economically
depressed circumstances, a considerable number have attained a substantial degree of self-sufficiency. For instance, they are renowned
for their metal-craft skills, particularly in the production of brass articles by means of the ancient lost-wax process; weaponry best
exemplify Bagóbo ornate traditions of metal-crafting. While still others of the Bagóbo specialize weaving abacca cloths of earth-toned
hues, as well as, basket-making trimmed with beads, fibers and horse hair.
Their distinct ceremonial attire made of ikat textiles is likely to be referred to as either costume or dress. For the Bagóbo, however,
whichever word is used made a difference. For example, they tend to use kóstyom (costume) when speaking to non-Bagóbo; amongst
themselves, they use ompák (garment or clothing). Kóstyom is not just “costume” pronounced with a local accent, it referred to
something more exact. For the Bagóbo, the implementation of these clothes took on multiple meanings that delineated the many modes
of being a modern Bagóbo. Textiles continue to profoundly connect to ideas of the self in relation to the group, especially with regard
to shared ideals of spiritual understanding and belonging.

The Maranao and their Weaving Tradition

Marawi – For countless generations, the Philippines have introduced various woven products that speak and represent our rich heritage
and way of life. Weaving is a long-held custom deeply rooted in many Philippine communities, as evidenced by several weaving villages
found in the country. Exceptionally regarded locally and abroad, textiles crafted mainly by indigenous communities are sought after for
their intricate designs, originality, and durability.
Among the Islamic kingdoms in Mindanao, the Maranao are famous for their sophisticated weaving with beautiful designs and colors.
The name Maranao means “people of the lake,” referring to their ancestral territory around Lake Lanao in the province of Lanao del
Sur, which is part of the Autonomous Region in Muslim Mindanao. They are the largest cultural minority, numbering more than a
million. Their architecture was influenced by the Indus and Islamic religion.
Long before the Spaniards arrived in the Philippines, the Maranao people already had their own culture and civilization. As early as the
15th century, Arab traders, along with Islamic missionaries and Muslim teachers, influenced native traders, who eventually embraced
the Islamic religion. As a result of the fierce defiance of the Maranaos to adopt Christianity, the Spaniards were unsuccessful in their
attempt to colonize the region. Hence, the culture and traditions of the tribe are well preserved.
Several ethnic groups in the country are well known for their weaving traditions, and the Maranaos are among those recognized for their
superior weaving. Weaving is a cultural tradition mostly practiced by women from generation to generation. At an early age, girls are
trained by their mothers to learn the craft. When these young girls grow up and marry, they successively pass this skill to their daughters.
Furthermore, Maranao women who have knowledge in weaving are revered in society.
Maranao textiles are also famous for their ornate designs and colors. Their textile weaving involves traditional Southeast Asian backstrap
loom weaving using native decorative ornamentation. A versatile garb called malong is a hand-woven fabric with beautifully patterned
designs. It can be worn by all genders and classes, with dominant hues of gold and purple. Malong made of high-quality silk or cotton
are intended for special occasions, and a yellow malong is considered to be royal or high class.
The materials, designs, and colors of a malong usually determine the economic status of the wearer in the society. Landap, andon, and
plaids are some of the different varieties of malong. The process of preparing and weaving the cloth is complicated, and special textiles
such as silk, particularly those worn by the royals, are woven mostly by expert craftswomen. Back in the day, the social and economic
significance of a Maranao can be measured by the number and classes of malong he or she owns.
For most wives, weaving is an alternative source of income for the family. Unfortunately, in the last couple of years, there has been a
lack of promotion of the Maranao weaving industry, not to mention the negative effect of the numerous conflicts that occurred in the
region. Then again, there seems to be a recent trend that hints at the revitalization of indigenous textiles. The popularity of indigenous
products are seeing a resurgence in popularity and demand on the market, exhibits, and trade fairs. With any luck, Maranao weaves will
be fashionable once again.

Filipino textiles are experiencing something of a resurgence. As of late, entrepreneurs and designers have been incorporating them in
everything from bags and laptop cases to shirts, skirts, and even gowns. It isn’t hard to see the appeal of ethnic fabrics—all you have
to do is look at this photo album by Odyssea, an organization that aims to preserve culture and the environment, to appreciate
Mindanao ethnic groups’ intricate and colorful weaving designs.
The album places different tribes’ traditional weaving patterns side by side to showcase unity in diversity. Even though each group has
its own distinct style, there are striking similarities as well, and each design is testament to these groups’ rich colorful heritage.
For example, as explained by Vela Manila (a local accessory brand that aims to promote Filipino heritage), the Yakan tribe’s designs
are inspired by the natural landscape surrounding Lamitan, Basilan. Their fabrics are characterized by geometric patterns and vivid
hues, and are made from “pineapple and abaca fibers dyed with herbal extracts.” The entire process is so labor-intensive that it can
take a week to weave just one meter of fabric.

The T’boli of Lake Sebu, South Cotabato make their fabrics from abaca as well. They believe that their designs and patterns have been
passed down to them by their ancestors through dreams. They’re well known for their t’nalak cloth, which, according to Senator Loren
Legarda, is “used during significant occasions like birth, marriage, and death; the hilets, or belts with brass small bells, are believed to
drive away bad spirits; while the embroidery they use to accentuate their traditional blouses narrate the story of their relationship
with nature and the spirits.”

While most Manileños are probably familiar with the malongs of Maguindanao, few are likely to have encountered the silk malongs
used by Maguindanaons during special events like babies’ hair cutting ceremonies, weddings, and circumcision rituals. As Lourdes
Veloso Mastura explains in her article Textiles of Maguindanao:
“the [circumcised] boy of 12 is king for a day. Dressed in a silk malong, he is paraded around the village early in the day. When he
arrives home he sits on a silk malong or has a silk malong stretched like a curtain against the wall where he is lying.”

Apart from material, the color of textiles can hold significance as well. For the Maranao, yellow is associated with royalty and high
status. As Abdullah T. Madale writes in Textiles in the Maranao Torogan, “A man who wears a yellow shirt and cap is called bananing
i ulo ("yellow headed"). In the past a commoner who wore yellow could be ostracized or even beheaded.” Madale goes on to explain
that Maranaos who want to “appear at once humble and accomplished” would wear green, which stands for “peace, tranquility and
stability.” Red stands for “bravery and violence,” white for mourning, and black for “quiet dignity and purity.”

With all the hidden meaning that a woven piece of cloth could hold, cultural appropriation has become something of a concern. The
last thing you want is to find out that the bolt of fabric you’ve been using as a cool bed cover is actually an Ifugao death blanket. Not
only is it creepy, it’s pretty disrespectful to the Ifugao, who consider them sacred but may have to sell whatever they can to make a
living. Apart from doing your own research, another way to avoid this kind of mishap is to patronize brands who understand which
patterns are and aren’t sacred and who buy textiles from indigenous groups at fair prices.
Thankfully, HABI: The Philippine Textile Council has done all that work for us with their Likhang Habi Market Fair, where you can buy
some unique handcrafted items and watch demonstrations from master weavers like Myrna Puli of the T’boli. This year’s fair will take
place from October 20 to 22 at the Glorietta Activity Center in Makati. It’s a great opportunity to support our local ethnic groups,
learn about our national cultural heritage, and get some Christmas shopping out of the way.