UNIT VII.

DREAMS, SOUL,
AND SPACE

Melanie J. Yambot/Instructor
 Identify the different folk
Identify
architecture of the Philippines.

Determine the different

Determine
Philippine textile art

Know the effect of space in

Know
daily living

Learning
Create an ideal house through
Objectives Create
drawing
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 PHILIPPINE TEXTILE ART
-Some years back, Philippine traditional weaving practices and colorful
indigenous textiles were put into the spotlight when it was put on permanent
exposition at the National Museum through the exertion of Sen. Loren
Legarda. Entitle, "Hibla ng Lahing Pilipino:
-The Artistry of Philippine Textiles," the discussion highlighted the distinct
creativity and DNA of the people among other cultures through the fabric.
(Soralla, 2017). Eventually, the exposition was graced by Queen Sofia of
Spain, Paolo Zegna of Ermenegildo Zegna, and Lady Lynn Forester de
Rothschild, among many others, and continued to gain popularity.
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 Filipino artistry and creativity are apparent in various art forms.
What makes the weaving culture novel is its power to unite
people as strong, resilient communities bound by living
tradition and colorful textile patterns and motifs.

PINILIAN
➢ Community: Ilocano
➢ Origin: Ilocos Region
➢ The Ilocano of northwestern Philippines is famous for their handweaving, a
tradition with ancient roots
➢ Capas or cotton as the primary material.
➢ They supply the pedal loom, locally called pangablan; employ different weaving
techniques, and have numerous designs/patterns.
➢ There are two kinds of pinilian: sparse and continuous supplementary weft
techniques. The weavers of Pinili, Ilocos Norte, are mentioned to be adept in
the concurrent warp, and weft-float type of civilian called the impalagto, a
technique unique in the town.

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 BONTOC WEAVE
➢ Community: Bontoc
➢ Origin: Mountain Province
➢ The Bontoc textile turns around centeredness, which symbolizes
permanence, order, and balance, key factors in the life of the
Bontoc people. Weavers teach this idea through the direction of
their weave, from the edge to the middle, to the cloth
construction's symmetry and the repeated warp-striped design.
➢ Because of the complex method of adding the kan-ay, the center
panel would be woven last. When all the components are ready,
they would be sewn jointly in the reverse order of their creation,
and it ends with the langkit.
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 KALINGA TEXTILES
➢ Community: Kalinga
➢ Origin: Province of Kalinga
➢ The Kalinga textiles exhibit motifs carry out as though they are embedded in
the geometry of weaving itself. It has a strange dialogue between red and blue,
90 expressing itself in broad red and blue bands of simple or twill weave, and it
creates a densely-composed circle of tight stripes.
➢ The Kalinga weavers, specifically in the upper Kalinga area, put textures on the
striped bands using the twill-weave technique.
➢ Tiny motifs, patterns, and embellishments have characterized Kalinga textile,
including miniature lattice, unceasing lozenge design locally called
inataata,pawekan, or mother-of-pearl platelets, and among others.

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 PIÑA
➢ Community: Aklanon
➢ Origin: Aklan
➢ Considered the refined 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 tissues
is the most delicate and tedious process.
➢ The leaves provide two kinds of fibers: the Bastos, the coarse thread, the liniwan, or the fine
cotton. a shard of Chinese porcelain usage, the stripper eliminates the leaf's epidermis,
exposing the lustrous bastos fiber. After taking down the rough textures' sheets, the
stripper then runs a coconut shell on the inner layer of the leaf to expose the liniwan.
➢ The Aklanons of western Panay Island are famous 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 have known embroidery centers. The piña is the
commonly material for the barong Tagalog.

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 HABLON
➢ Communities: Kiniray-a and Hiligaynon
➢ Origin: Panay Islands
➢ Hablon is Hiligaynon word for "something woven," comes from the root word
habol, "to weave." It specifies to the hand-woven fabric by Kiniray-a and Hiligaynon
weavers.
➢ In a Panayanon myth, ten datus from Borneo landed on Panay Island, firm
settlements, and ushered in an era of development. One of the legendary statuses
was Datu Lubay, who is said to introduce the art of weaving textiles.
➢ The hablon is usually a plain cloth and has plaid and striped patterns. It is normally
used for the patadyong, the Visayan wraparound skirt, and panuelo.

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 SAPUTANGAN TAPESTRY WEAVE
➢ Community: Yakan
➢ Origin: Basilan
➢ famous for being highly-skilled, with impressive weaving repertoires, Yakan
weavers produce textiles with five variants of weaving, often differentiated by
technique, pattern, and function.
➢ The Bunga-same is also weft weave, made using pattern sticks or heddles in the
loom to produce the pattern. A warp-floating design characterizes the colorful
striped siniluan. 91
➢ Saputangan is a square thread best known for its intricate and rich design,
involving optical illusion to create depth in the patterns.
➢ The saputangan is example of a tapestry thread. It is known the oldest and most
traditional technique in producing ornamented woven textiles, aside from the plain
weave technique wherein stripes and plaids are formed.
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 MABAL TABIH
➢ Community: Blaan
➢ Origin: Sarangani and South Cotabato
➢ Tabih, in Blaan, known to the native tubular skirt and the textile, while mabal
means "woven" or "to weave." The Blaan thread the tabih using abaca fibers and
the backstrap loom. The thread are dyed using the warp tie-dye resist ikat method
and natural dyes from endemic plants. Designs usually illustrates crocodiles and
tiny curls.
➢ The Blaan are famous to be accomplished embroiderers, and the tabih is
commonly meticulously embellished with embroidery. A skill traditionally
reserved to women of high status, threading has a huge spiritual context in Blaan
society, think to be the gift from Furalo, the goddess of weaving. Aside from the
tubular skirts, the abaca fabrics is used for making a clothing for men, as well as
covering for essential materials such as knives.
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 BAGOBO INABAL
➢ Community: Bagobo Manobo
➢ Origin: Davao del Sur
➢ The Bagobo, a little group of the Manobo, are experts in extracting
the abaca's fibers from the leaf sheaths and selecting the very fine
ones for weaving their textiles.
➢ They use the backstrap loom for weaving inabal abaca fiber textiles
with ikat-or tiedyed resist designs forming mother-and-baby
crocodile figures in geometricized abstracted forms.
➢ Beeswax, which is used to the beater during the weaving process,
adds to the sheen during the finishing procedure. The Bagobo textile
is commonly used for creating the native tubular skirt, of which there
Presentationare
title two types, sinukla, and the bandira. 20XX 11
 DAGMAY
➢ Community: Mandaya
➢ Origin: Eastern Mindanao
➢ The Mandaya, which can be form 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 using
a special kind of backstrap loom, produced from abaca fibers, and following
ellaborate designs revolving around man and nature, especially the crocodile.
➢ Dagmay patterns usually tell the story about the weaver and her community
and the spirits that live on Earth. The dagmay is traditionally used for women's
skirts, but it is also used as blankets or wraps for the dead

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 MARANAW TEXTILE
➢ Community: Maranaw
➢ Origin: Lanao del Norte and Lanao del Sur
➢ The Maranaw of Lanao del Norte and Lanao del Sur knew a wide range of weaving
techniques including the weft and warp ikat tie-dye resist and continuous and
discontinuous supplementary weft design.
➢ They are known for the malong, a tubular lower clothing. Among its several types,
the malong a andon is the most highly valued. This is followed by the malong a
landap known for its tapestry bands called langkit, often used to join the large
panels of silk together. Another kind is the malong a bagadat, made from similar
wide groups in contrasting colors and separated by narrow bands of warp ikat.

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 PIS SYABIT WEAVE
➢ Community: Tausug
➢ Origin: Sulu Archipelago
➢ The Tausug women are proficient in tapestry weaving and embroidery, while men do the large
hangings in appliqué. They specialize in the production of pis syabit (headscarf) and kambot/kandit.
➢ Men and warriors traditionally wear the pis syabit. A most complicated design skill, the pis syabit
tapestry weaving of Tausug, has no preset pattern sticks or predesigned warp yarns into which the
weaver inserts the desert yarn.
➢ The weaver has to imagine the pattern in her mind as she inserts one colored weft yarn one at a time
to fill up space in the warp, in a sequence her mind only knows. The weaver produces a perfectly
symmetrical composition of squares and Xs with hooks and seven to eight colors.

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 T’NALAK
➢ Community: Tboli

➢ Origin: South Cotabato

➢ The Tboli women weaved the traditional textile, t'nalak symbolizes birth, life, union in marriage and death, and shows the
indigenous group's uniqueness and identity. It is often utilized as blankets and clothing and worn in royal wedding ceremonies on
rare occasions. The Tboli weavers are known "dream weavers," but this applies only to a few dedicated weavers. It is known that
the designs and patterns are bestowed on them by Fu Dalu, the abaca's spirit, through their dreams.

➢ The tedious design of the t'nalak starts with extracting the abaca fibers, which are then combed to remove the sap. They are
associated from end to end and knotted and prepared for a design before resist-dyeing, known as the ikat method.

➢ A t'nalak traditionally has three colors: black, red, and white. The thread is then woven using the backstrap loom. The fiber is then
washed in the river, beaten with a wooden stick to flatten the knots, and burnishing the surface with a cowrie shell.

➢ Filipino fabrics 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 (Guttierez,
2017)

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 Ukkil of the Sulu Archipelago
There are 3 types of Ukkil motifs;
1. Sumping (floral) – these are conventional motifs embroidered on garments, wall coverings, and
canopies, which usually includes, sampaka (grangipani) and the sumping kayapu’ (lotus flower).
2. Birdo (tree palnt) – these are curvilinear foliate design associated with fertility or prosperity and
symbolic of life and paradise in Sufism. Artists employ at random variety of stylized dahun (leaf) and
bagun (vine) to compose a birdo pattern.
3. Hashas (serpent) - it is universally includes snakes, dragons, and aquatic animals like fish, eel, dolphin,
lizard and crocodile. Portrayal of these exotic creatures in the arts and oral tradiations of Muslim Filipinos
shows fascination with the serpent, especially its saringa (dragon) form. Serpent motifs symbolizes water,
virility, fertility and royal power. These are typical embellishments on prow, sidings, crossbeams, eaves,
and even the pulleys of old watercrafts

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 PHILIPPINE FOLK ARCHITECTURE
BAHAY KUBO (NIPA HUT)
➢ It is also known as kamalig
➢ It serves as an icon for Filipino
lowland and rural culture.
➢ It is made up of bamboo rods and
bamboo mats or sawali, and a
thatched roof made up of anahaw
or nipa
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BALE OR IFUGAO HOUSE
➢ It is a one-room house with an
attic for storage
➢ The exterior of the home looks
like a pyramid resting on four
posts
➢ The interior is enclosed by
slanting walls and ceiling that
appears to be spherically
formed by the loft
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 IVATAN HOUSE IN BATANES
➢ Most of the house is built with limestone walls and
cogon roofs
➢ It has narrow doors and windows with wooden
shutters and often secured by wooden bars.

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 TOROGANS OR MARANAO’S HOUSE
➢ It means "a place to sleep."
➢ It is a stately house for the elite members of the Maranao tribe
in Mindanao.
➢ It is a symbol of status in leadership.
➢ It also serves as a courthouse, hall for community meetings, and
its courtyard as rituals areas for weddings.
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 BADJAO’S STILT HOUSES AND HOUSEBOATS
➢The strong platform is made on both ends of the
boats.
➢The kitchen is usually found at the back.
➢Its foundation is carefully placed in between coastal
rocks and corals.
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 THE LEAN-TO
➢A portable house built by the Aetas
➢It is a tripod base house where the Aetas could carry
away their home when they were hunting animals.

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Direction: Read and comprehend each question and answer
creatively, write your answer on the space provided
1.What is your own concept of space?
2. How does affect your life by having a good space in daily
living?
3. What do you think the significance of different textile art of the
country nowadays?

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 Thank you
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