 Kinasing weaving originates from the Bagobo people of Mindanao,

Philippines. The Bagobo are an indigenous group known for their rich
cultural heritage, including traditional weaving practices like Kinasing. The
intricate design of the Kinasing weaving, resembling a fist-like human
heart, is rich in symbolic meaning. Beyond its aesthetic appeal, this
design likely reflects the Kinasing people's worldview and cultural values.
For instance, the resemblance to a human heart may symbolize the
importance of emotions, relationships, and interconnectedness within the
community. Additionally, the choice of this design for rice pouches
suggests a deep reverence for food and sustenance, emphasizing the
role of agriculture and nature in Kinasing society.
 The use of Kinasing pouches for self-glorification during rituals
underscores their significant role in ceremonial practices. Rituals serve as
vehicles for cultural expression, social cohesion, and spiritual connection
among the Kinasing people. By incorporating woven rice pouches into
rituals associated with harvests, blessings, or other life events, the
Kinasing community reaffirms its cultural identity and strengthens its ties
to ancestral traditions. These rituals not only mark important milestones
but also foster a sense of belonging and continuity within the community.
 The weaving technique employed by the Kinasing people reflects a blend
of skill, tradition, and innovation. The use of palm strips and plates, along
with a visual guide for hand and finger positioning, highlights the
meticulous craftsmanship involved in Kinasing weaving. Each step of the
weaving process requires precision and attention to detail, from selecting
fibers to executing intricate patterns. Through hands-on practice and
knowledge sharing within the community, weaving skills are passed down
from one generation to the next, ensuring the preservation of this cultural
heritage.
 As shown in Figure 1, hang the frond side of the strip by the left hand (for
a right-handed weaver) or by the right hand (for the left-handed weaver).
Proceed to Figure 2 by taking the frond strip in front of you and loop it to
the right with the back strip folding it to the top and the left thumb
supporting it. Figure 3 allows you to take the frond strip at the back and
loop it towards the left with the front strip to the bottom and the left thumb
supporting it. In Figure 4, insert the tail-end of the back strip to the lower
part of the front strip. These four figures are necessary.
 The distinction between right-handed and left-handed weavers speaks to
the adaptability and inclusivity of Kinasing weaving practices. By
accommodating different hand orientations, the weaving process
becomes accessible to individuals with diverse abilities and preferences.
This aspect of Kinasing weaving fosters a sense of unity and collaboration
within the community, as individuals come together to share their
expertise and contribute to the creation of textiles. Hand orientation also
reflects the cultural diversity and individuality within Kinasing society,
celebrating the unique talents and contributions of each member.

In summary, the weaving process of the Kinasing people is not only a

practical craft but also a profound expression of cultural identity, spiritual
beliefs, and community cohesion. Through their intricate designs, ritualistic
practices, and collaborative efforts, the Kinasing people honor their heritage,
 celebrate their connection to the natural world, and weave together the
threads of their collective story.

TINIGIB

 Tinigib weaving originates primarily from the indigenous communities of

the Cordillera region in the northern part of the Philippines. Specifically, it
is associated with the tribes inhabiting the mountainous areas of the
Cordilleras, such as the Igorot people. These indigenous groups have a
rich tradition of weaving various items using natural fibers, and Tinigib is
one of the distinctive weaving techniques that have been passed down
through generations within these communities.
 The text mentions that Tinigib items are no longer commonly seen in city
stalls unless for ritual purposes. This implies that Tinigib weaving might be
a less common or specialized practice today, with its use primarily
confined to traditional ceremonies or rituals rather than everyday use. This
highlights the evolving nature of traditional crafts in contemporary
contexts, where cultural practices may persist but evolve in response to
changing social and economic conditions.
 Weaving Technique: Similar to other traditional weaving techniques like
Kinasing, Tinigib is woven using two fronds. This suggests a specific
method of weaving that is characteristic of Tinigib, involving the
intertwining of two strands of weaving material to create the desired shape
and pattern.
 The process of weaving Tinigib rice pouches begins with meticulous
preparation. Artisans gather two fronds, usually sourced from materials
like rice straw or palm leaves. These fronds are then arranged in parallel,
setting the stage for the intricate weaving to come. With the preliminary
setup complete, the weaver delicately intertwines the fronds, employing a
specific weaving technique that involves crossing them over and under
each other with precision. As the weaving progresses, the weaver
incorporates the desired design into the Tinigib pouch, manipulating the
fronds to form geometric patterns or decorative motifs characteristic of
Tinigib weaving. Throughout the process, maintaining tension in the
weave is paramount. Periodic tightening ensures that the pouch maintains
its shape and structure, preventing the weave from becoming loose or
uneven. Adjustments are made as needed to achieve symmetry and
reinforce weak points, enhancing the durability of the finished product.
Through meticulous attention to detail and skilled craftsmanship, artisans
create Tinigib rice pouches that not only showcase the traditional artistry
of the weaving technique but also serve as functional and durable items to
use

.
 Cultural Significance: Badbaranay holds cultural importance, especially in
rituals dedicated to pleasing underworld spirits. Derived from the Cebuano
language, the word "badbad" implies a connection to the act of untying or
unraveling, which may symbolize a release of negative energies or a means
of communication with the spirit world.
.
.
Weaving Technique: Similar to Kinasing, Badbaranay is woven using two
fronds. These fronds serve as the primary weaving material and are interlaced
in a specific manner to create the desired shape and pattern. The use of two
fronds allows for flexibility and intricacy in the weaving process, enabling the
creation of elaborate designs.
.
.
Availability: Unlike some traditional weaving techniques that are primarily
associated with ceremonial or cultural practices, Badbaranay is commonly
seen in city stalls. It is often paired with barbecues, suggesting a practical or
utilitarian aspect to its use beyond its ritualistic significance. This availability in
urban markets reflects its integration into everyday life and consumption
practices.
.

BINAKI

 The weaving process of Binaki, derived from the Cebuano root word
"baki," meaning frog, involves crafting pouches with a design resembling
the shape of a frog
 Cultural Context: Binaki's name and design draw from the cultural
significance of frogs in Cebuano traditions. The pouch's resemblance to a
frog reflects a deep appreciation for nature's beauty and the
interconnectedness of humans and the environment. This connection is
rooted in classic and animistic traditions, where nature is revered and
celebrated.
 Materials and Design: Binaki typically uses palm leaves as the primary
weaving material. For larger pouches, four strips of palm leaves may be
utilized to accommodate the size. The design of the pouch is crafted to
resemble the shape of a frog, incorporating elements that evoke its form,
such as bulging eyes or extended limbs. This design reflects the artisan's
creativity and skill in interpreting natural elements into woven art.
Weaving Process: The weaving process of Binaki consists of three sets of
weaving processes:
 First Set: The first set involves laying the foundation for the pouch by
weaving the base using the palm leaves. This creates a sturdy
structure upon which the frog-like design will be built.
 Second Set: In the second set, the artisan begins to shape the pouch
into the desired frog-like form. This may involve folding and
 manipulating the palm leaves to create the distinctive features of the
frog, such as its legs and head.
 Third Set: The final set focuses on refining the details of the design
and ensuring the pouch's structural integrity. The artisan may add
finishing touches and reinforce the weave as needed to create a
durable and visually appealing Binaki pouch.

Overall, the weaving process of Binaki exemplifies the craftsmanship and

cultural appreciation of nature's beauty found in classic and animistic
traditions. Through skillful manipulation of palm leaves, artisans create
pouches that not only serve practical purposes but also serve as artistic
expressions of cultural identity and reverence for the natural world.

MANAN-AW

 The weaving process of the Manan-aw, named after the local term for the
phalaenopsis amabilis-eit orchid, is characterized by its symbolism of
beauty and the intricate weaving technique required.
 The weaving process of the Manan-aw demands intense focus and hand
dexterity from the artisan. Each step of the process requires meticulous
attention to detail, as the weaving pattern is complex and requires careful
manipulation of the weaving material. Despite its cultural significance and
the beauty of the finished product, the Manan-aw is unpopular in the
market due to the difficulty of the weaving process. The level of skill and
effort required makes it less commercially viable compared to other woven
items that are easier to produce.
 The Manan-aw serves as a ritual object offered to the highest gods as a
means of seeking special favors such as good health, fortune, and a
bountiful harvest. Its association with rituals underscores its spiritual
significance and importance within the cultural and religious practices of
the community.
.
Weaving Process: The weaving process of the Manan-aw involves several
steps:
.
 Preparing the Fronds: The process begins by preparing eight strips of
fronds, along with four separate head strips.
 Intertwining the Strips: The fronds are intertwined in a specific
pattern to create two separate sets. This intertwining process requires
careful coordination and skill to ensure that the weaving is tight and
uniform.
 Creating the Design: As the weaving progresses, the artisan
manipulates the fronds to create the desired design, which may include
intricate patterns or motifs inspired by the natural beauty of the orchid.
  Finishing Touches: Once the weaving is complete, the artisan adds
any final touches to the Manan-aw, ensuring that it is symmetrical and
well-formed.

Overall, the weaving process of the Manan-aw is a labor-intensive and highly

skilled endeavor that produces a beautiful and culturally significant ritual
object. Despite its challenges, the Manan-aw serves as a testament to the
artisan's craftsmanship and the community's reverence for nature and spiritual
traditions.

BAKAT

 Basket weaving, particularly the Bakat style, is a significant craft practiced

in regions like Basey, Samar, Antequera in Bohol, and Barili in Cebu.
Regions such as Basey, Samar, and Antequera, Bohol, have gained
recognition for their skill in tikug mat weaving, a craft deeply rooted in
local traditions. Among these, Antequera, Bohol, has also specialized in
producing baskets for trade, contributing to the economic development of
the region.
 The production of baskets for trade has had a positive impact on the
economic growth of regions like Antequera, Bohol. By engaging in basket
weaving as a means of livelihood, artisans contribute to local economies
and help sustain traditional crafts while also meeting commercial demand.
 Basket weaving, including the Bakat style, is considered a perishable art
form. This means that the knowledge and skills required for weaving
baskets must be actively passed down through generations to ensure its
continuity and preservation.
 Bakat baskets are characterized by their open design, lacking handles,
and are typically used for storing heavy harvests or goods. Unlike the
puso style of baskets, which use dried bamboo strips or vines, Bakat
baskets are crafted using fresh bamboo strips or vines, giving them a
distinct appearance and functionality.
.
 The process of creating Bakat baskets involves weaving together fresh
bamboo strips or vines in a specific pattern to form the basket's structure.
Artisans carefully manipulate the weaving material to ensure that the
basket is sturdy enough to hold heavy items while also allowing for
adequate airflow due to its open design.

In summary, Bakat basket weaving is not only an important cultural tradition

but also plays a vital role in the economic development of regions where it is
practiced. By preserving and promoting this traditional craft, communities can
sustain their cultural heritage while also benefiting from economic
opportunities.