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Saint Louis University Revision No. 01

School of Teacher Education and Liberal Arts Effectivity June 07, 2021
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REF SAMCIS-GART-2020
MODULE 4:
TEXTILE ART AND EMBEDDED CULTURE
Learning Outcomes
 Identify the different symbols, metaphors,

and elements used in different textile art
 Compare the different textile designs
from the different regions
 Interpret textile art through design
ENGAGE When buying clothes, which of the following do you

consider first? Why?
A. Price
B. Type of cloth material
C. Design
EXPLORE “You Are What You Wear”
When we see a person wearing a g-string, or a malong, or a kimona or even a

patadyong, we oftentimes associate such clothing to the place where it came from. Let
us first find out how familiar you are with the different cloths/textile designs from the
various regions by answering the activity that follows.
means, electronic, mechanical, photocopying, recording, or otherwise of any part of this document, without the prior written permission of SLU, is strictly prohibited.2
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Match the cloth/textile to its place of origin.
1. Abra A. Bagobo Inabal
Image from https://nolisoli.ph/26741/philippine-weaves-

habi/
2. Ilocos B. T’nalak

habi/
3. Davao del Sur C. Inabel
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Image from https://www.nardas.com/cordilleran-weaving-

culture/
4. Basilan D. Sinaluan

habi/
5. South Cotabato E. Pinilian
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habi/
EXPLAIN
Textile Art
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.
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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.
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
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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
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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
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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.
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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 practice the old traditions prefer ethnic
clothes made from pure cotton. The
Image from https://www.nardas.com/cordilleran-
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:
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Image from https://www.facebook.com/pg/ifugaoartsandcrafts/photos/
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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/
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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.
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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.
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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:
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
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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.
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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 using
a special kind of back-strap loom, made from
abaca fibers, and following intricate designs
revolving around man and nature, specially the
crocodile.
Image from
https://nolisoli.ph/26741/philippine-weaves-
habi/
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.
Image from https://nolisoli.ph/26741/philippine-
weaves-habi/
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They are know for the malong, a tubular 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.
The pis syabit is traditionally worn by men and

warriors. A most complicated design technique, the
pis syabit tapestry weaving of Tausug has no preset Image from
pattern sticks or pre-designed warp yarns into which https://nolisoli.ph/26741/philippine-weaves-
habi/
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.
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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.
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11. BASILAN Textile
Saputangan Tapestry Weave
Community: Yakan
Origin: Basilan
Known for being highly-skilled, with

impressive weaving repertoires, Yakan weavers
produce textile with five different kinds of weaving, Image from
often differentiated by technique, pattern, and https://nolisoli.ph/26741/philippine-weaves-
habi/
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/
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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, by the skin of
the python. Image from
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.
Image from
d. Saputangan
habi/
A square handkerchief used by the women as a headdress and worn in different ways
depending on the occasion.
Photo Credits:
Patrick Segovia of NOLISoLIPH
Tatler Asia Limited
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ELABORATE Compare and contrast the weaving designs from the

different regions in terms of symbol, theme, and influences
Provide two reasons why these textiles are art. Explain your answers.
Reason 1:
Reason 2:
3. What do the textile designs, patterns and symbols tell about the Philippine community
in general?
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Task 4: My Textile Art Interpretation

EVALUATE
Create your own interpretation of the different textile art by
designing your own scarf (not copied from existing designs). Be
guided by the rubric.
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Indicators and Rating

Drawings are Drawings are Drawings are Drawn objects
recognizable, recognizable recognizable are difficult to
detailed and and colored and recognize
colored accurately. reasonably AND/OR not
accurately. Overall, the accurate. accurate.
Overall, the drawings are They are
Drawings drawings are original and copied,
original and done with some printed or
skillful. skill. traced rather
15 points than original. 6 points
12 points
9 points
The artwork The artwork The artwork The artwork
has three has two has only one lacks
Balance designs/patterns designs/patterns design/pattern designs/patterns
and (examples: (examples: (examples: (examples:
Use of cross, lizard, cross, lizard, cross, lizard, cross, lizard,
Design mountain, etc.) mountain, etc.) mountain, mountain, etc.)
from the given from the given etc.) from the from the given
examples in the examples in the given examples in the
module and module and examples in module. The

one or two own one or two own the module artwork seems
patterns. patterns. The and one own unfinished (too
Objects are design is pattern. much empty
placed for best relatively The artwork space) or there
effect. Overall, it balanced, but seems to have is not enough
just feels right. negative space a little too balance
could be utilized much between
10 points better to create background or foreground and
a more cohesive seems a little background
feel. too busy. causing it to
Balance has seem much too
8 points not been busy and
achieved. unfocused.
4 points
6 points
The artwork has The artwork has The artwork The artwork
been crafted been crafted has been looks hastily
with great care. with some care. completed, thrown together
The lines are Most lines are but it appears or like it was
sharp, colors sharp, colors a little messy. wadded up in a
clear, cutting clear, cutting Smudges, desk. It seems
crisp, and text crisp, and text drips, tears or quite messy.
Crafts-
aligned. No aligned. erasures
manship
smudges, drips, Smudges, drips, detract from
tears or erasures tears or erasures the overall
are seen. are few and do appearance.
15 points not detract.
12 points 6 points
9 points
The artwork has The artwork has The artwork The artwork has
been submitted been submitted has been been submitted
Prompt- on time. 1-2 days after submitted 3-5 six or more days
ness the due date. days after the late.
5 points 3 points due date. 0 point
1 point
TOTAL POINTS: 45 points

Page 29 of 29
Explore exercise answer:
1. C.
2. E.
3. A.
4. D
5. B
References:
https://www.bulatlat.com/2009/08/22/students-learn-about-benguet%E2%80%99s-
traditional-clothes/
https://www.nardas.com/cordilleran-weaving-culture/
https://lifestyle.abs-cbn.com/articles/5670/cultured-one-of-our-oldest-living-ifugao-
handweavers-will-inspire-you-to-love-local-more
https://www.vigattintourism.com/tourism/articles/Indigenous-Arts-and-Crafts
https://iasdr2019.org/uploads/files/Proceedings/vo-f-1273-Kel-R.pdf

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COURSE LEARNING PACKETS TEMPLATE Document Code FM-STL-013

Saint Louis University Revision No. 01

 Identify the different symbols, metaphors,

ENGAGE When buying clothes, which of the following do you

EXPLORE “You Are What You Wear”

When we see a person wearing a g-string, or a malong, or a kimona or even a

Match the cloth/textile to its place of origin.

1. Abra A. Bagobo Inabal

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

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

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

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

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

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

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

characterized Kalinga textile, including miniature lattice, continuous lozenge pattern

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

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

The wrap around skirt worn by women is

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

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

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

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

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

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

Textiles from Other Regions

Origin: Ilocos and Abra

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

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 well-known for their handweaving, a

They use the pedal loom, locally

Considered the finest of Philippine textiles, the piña

Communities: Kiniray-a and Hiligaynon

Hablon is Hiligaynon for “something

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

In a Panayanon legend, ten datus from Borneo landed on Panay Island,

Origin: Negros (Antique, Panay, Oton, Miagao, Ilo-ilo)

A type of hablon (Ilonggo term for woven

handloom called tiral or habulan locally. The

The traditional rivals of the

Pis syabit and Kambut

A multi-colored headdress is traditionally worn by men that features symmetrical

5. SARANGGANI and SOUTH COTABATO Textile

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

6. DAVAO DEL SUR Textile

Community: Bagobo Manobo

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

7. EASTERN MINDANAO Textile

The Mandaya, which can be found in the

The Mëranaw of Lanao del Norte and Lanao del

Pis Syabit Weave

The Tausug women are experts in tapestry

The pis syabit is traditionally worn by men and

10. SOUTH COTABATO Textile

The traditional textile woven by the Tboli

The tedious creation of the t’nalak starts

11. BASILAN Textile

Saputangan Tapestry Weave