Weaving

HUM081: Indigenous Creative Crafts

Mylah D. Nazario
 Topics

A. Cultural Roots
B. Different Techniques
and Processes
C. Indigenous mapping
D. Threats

HUM081: Indigenous Creative Crafts

 B. Weaving
Techniques
1. Decorative Dyeing,
2. Decorative Weaving and
3. Supplementary Thread
Techniques.
Of the 588 finite designs and repeated patterns examined, 138
were woven using the decorative dyeing technique, 59 using
decorative weaving techniques and 391 using the supplementary
thread technique
HUM081: Indigenous Creative Crafts
 Weaving:
Weaving is done on a Definition
loom. The warp threads
run vertically from the
warp beam towards the
weaver while the weft
threads run perpendicular
to the warp threads, that
is, from left to right or
vice versa, in relation to
the weaver.

HUM081: Indigenous Creative Crafts

Weaving Techniques:
1. Decorative Dyeing: Ikat
Ikat is a term for describing the decorative
dyeing technique. The process involves
binding or knotting several threads together
at certain intervals and then submerging the
entire mass of threads in a dye. The knotted
portions will resist the dye, from which the
pattern may be seen. Some knotted threads
may be unraveled and the whole mass
soaked once again in a different dye to
produce a more complex pattern.

HUM081: Indigenous Creative Crafts

Ikat weaving
Weaving Techniques:
Decorative Dyeing
1.1. Warp Ikat
• This process may be repeated several
times. The ikat used in the Philippines is
primarily warp ikat. This means that it is
the warp rather than the weft threads that
are soaked in dye, so that a pattern
emerges when weft threads are
interwoven through the dyed warp
threads.

HUM081: Indigenous Creative Crafts

 Weaving Techniques:Decorative Dyeing :
1.1. Warp Ikat
Example: The T’bolis from Lake Sebu, Cotabato, in
southern Mindanao, use wild abaca thread to produce
ikat patterns, usually colored black, red and natural
beige, the original color of the abaca leaves. The warp
threads are secured on a frame and portions are knotted
to resist the dye. These threads are submerged in black
dye and dried. Next, the areas that are to be colored red
are untied and the threads boiled in red liquid. The rest
of the knotted portions are then untied, and these
become the areas that appear in the natural color of the
abaca leaves. Weft threads are then interwoven
perpendicular to the patterned warp threads to produce
the cloth. The ikat cloth is referred to by the T’bolis as
the t’nalak.
HUM081: Indigenous Creative Crafts
 The Bagobos, indigenous
people from the Davao
Decorative region in southern
Mindanao, and the Ifugaos
Dyeing: Warp and Kankana-eys from the
Ikat Cordillera region in
northern Luzon also
employ the warp ikat.
Bagobo Kankan-ey

HUM081: Indigenous Creative Crafts

 Weaving Techniques Decorative Dyeing
1.2. Weft Ikat

The Maranaos from

southwestern Mindanao, on the
other hand, employ the weft
ikat technique in their weaving,
where the weft threads are
soaked in dye. An example of
the Maranao art is the malong.

HUM081: Indigenous Creative Crafts

https://www.youtube.com/watch?v=_q88hYP2lAE
In decorative weaving techniques, the
patterns are created not through dyeing
but through the weaving process itself.
The simplest among these is the plain
weave, where the weft passes over and
under every other warp thread (one-
over-one-under).

HUM081: Indigenous Creative Crafts

Weaving Techniques: Decorative Weaving
2.1. Face to Face Weave
This basic weave is common among all
weaving communities. Plaids or stripes are the
more familiar forms of decorative weaving,
and the hablon of the Hiligaynons, in Iloilo,
western Visayas, demonstrates this kind of
weave. It is usually used for the patadyong,
the Visayan wrap-around skirt. The result of a
one-over-one-under weave is a fabric whose
back pattern is the ‘negative’ (with respect to
color) of the front pattern. As such, it is
sometimes called a ‘face-to-face weave’.
(much like crossstitch)

HUM081: Indigenous Creative Crafts

Weaving Techniques: Decorative Weaving
2.2. Use of Pedal Frame Loom
• More variety can be achieved by setting differently
colored warp threads on the loom in irregular
intervals or by changing the color of the weft threads.
• example is the binakul pattern from northern Luzon;
the yarns are arranged in such a way that, when the
weft yarns interlock with the warp yarns, squares and
rectangles of varying sizes are formed. Two hues of
yarn are used (positive white and negative black, blue
or deep red), and the result is an optical pattern
giving an illusion of swirling circles or ripples,
intended to cause dizziness to evil spirits. This kind
of decorative weave technique is achieved using a
pedal frame loom and is common among the weaving
communities in the Ilocos region and Abra in
northern Luzon
HUM081: Indigenous Creative Crafts
 Weaving Techniques:
Decorative Weaving
2.3. Warp Float/ Weft
Float
Another option to achieve variety is to make
the warp ‘float’ or skip over two or more weft
threads, or to make the weft float over two or
more warp threads. These techniques are
called warp float and weft float, respectively.

HUM081: Indigenous Creative Crafts

 Weaving Techniques:
3. Supplementary Thread
Techniques

Supplementary warp or weft techniques involve

the insertion of additional extra warps or wefts to
create designs. These threads are supplementary or
extra in the sense that if they were removed the
woven cloth would still be complete, though
without the original pattern. In the supplementary
weft technique, the additional weft threads are
made to float over warp threads in a planned
sequence to create the design or pattern. If the
supplementary threads extend from edge to edge,
they are ‘continuous’, but if they only go back and
forth in small areas where they are needed, they are
‘discontinuous’.

HUM081: Indigenous Creative Crafts

 Weaving Techniques: Supplementary
Thread Techniques
3.1 . Continuous Supplementary Weft.
For the Tinguians and Bontocs in northern Luzon, the most common
weaving technique is the continuous supplementary weft, which is
evident in their blankets. Most of the Tinguian blankets are woven
using the pinilian or dinapat styles. These depict flora, leaves,
human figures or animals; a common motif is the rider and horse
These motifs are highly valued, and the blankets are often used for
funeral ceremonies. Pinilian means ‘separated’ or‘divided’, referring
to the checkerboard-like grid style of laying out the motifs. Note how
a motif of the repeated pattern is created by the insertion of weft
threads, producing 15 different horizontal weft configurations that
are employed in a repeated sequence. Each weft configuration floats
from left to right at repeated intervals. Meanwhile, dinapat denotes
‘full’ or ‘total’, referring to the repeated pattern that occupies the
whole blanket. The dinapat blanket in shows that, even without
varying the breadth of the warp and weft yarns, patterns other than
checkered or plaid can be produced,i.e.the manner in which the weft
yarns are inserted produces red and white isosceles right-angled
triangles.

HUM081: Indigenous Creative Crafts

Weaving Techniques: Supplementary
Thread Techniques
3.2 . Discontinuous Supplementary
Weft.

• A related technique is the discontinuous

supplementary weft, very prominent among
the Yakan weavers in southwestern
Philippines. In this weave, the additional
weft yarns are not woven across the entire
length of the warp; they may be cut and be
limited to a few warp yarns Weft yarns are
discontinuous, so it is possible to produce
designs or patterns that change colors from
left to right across the warp yarns.

HUM081: Indigenous Creative Crafts

The Yakans employ this weaving technique to
create colorful clothing with intricately woven
designs. Their traditional clothing includes
narrow cut pants resembling breeches, usually
with rainbows (palipattang)and cloth wrapped
around the waist by women as a tubular skirt
or used by men as a waistcloth where a
weapon can be inserted. Traditional motifs
include diamond motifs the bunga sama
inspired by the skin patterns of a python and
the dawen-dawen, meaning leaf of a vine The
head cloth used by men is called saputangan
and often shows geometric motifs. The
Aklanon from Panay, western Visayas, also use
the discontinuous supplementary weave in
creating patterns in their pina textiles, made
from the fibers of the leaves of the red Visayan
pineapple

HUM081: Indigenous Creative Crafts

• Out of the 16 GAMABA awardees, eight 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; Haja Amina Appi, Sama mat
weaver of Tawi-Tawi; Estelita Bantilan, B’laan
matweaver; Ambalang Ausalin of the Yakan
community in Basilan; and Yabing Masalon
Dulo, also of the Blaan community in South
Cotabato.
Schools of Living Traditions (SLT).

HUM081: Indigenous Creative Crafts

• 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.

HUM081: Indigenous Creative Crafts

 B. Weaving
Techniques
1. Decorative Dyeing,
2. Decorative Weaving and
3. Supplementary Thread
Techniques.
Of the 588 finite designs and repeated patterns examined, 138
were woven using the decorative dyeing technique, 59 using
decorative weaving techniques and 391 using the supplementary
thread technique
HUM081: Indigenous Creative Crafts
•End of Part 2
C. Indigenous
Mapping
Different weaving
from Luzon, Visayas
and Mindanao

HUM081: Indigenous Creative Crafts

 Luzon Visayas Mindanao
• Yakan
• Binakol • Piña • T’nalak
• Bontoc • Hablon • Mabal Tabih
• Kalinga • Inabal
• Dagmay
• Meranaw
• Tausug
 NORTH:LUZON
• Using backstrap loom, blankets and
articles of clothing are used for
functional purposes and also play a
part in religion and ritual.
• Cordilleran weaving, attest to the
fierce nature of the canao
practitioners of the mountains.
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.
• Tingguian, Ilocos

HUM081: Indigenous Creative Crafts

 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.

HUM081: Indigenous Creative Crafts

Type of Binakol:
Pinilian Weaving
A type of binakol 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
https://www.youtube.com/watch?v=nmwHmYU5b0c
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.
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.

HUM081: Indigenous Creative Crafts

BONTOC WEAVE
Origin: Mountain Province

HUM081: Indigenous Creative Crafts

 KALINGA TEXTILES
Origin: Province of Kalinga
• The 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 characterised
Kalinga textile, including miniature lattice,
continuous lozenge pattern locally
called inata-ata, and pawekan or mother-
of-pearl platelets, among others.
HUM081: Indigenous Creative Crafts
Central:Visayas
• The central groups with their
flowery and nature-inclined
designs reflect the peoples’ calm
disposition.
• Colorful mats with birds and
flower designs
• Large mat implies strong familial
values, at the same time reflecting
the environment and even
historical change.
Currently, one of the favorites is
the San Juanico Bridge- which
made traveling between the
provinces easier.

HUM081: Indigenous Creative Crafts

• 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
PIÑA
process. The extraction of the fibers is a most Origin: Aklan
delicate and tedious process.
• 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.
• Piña fabric comes from the fruit’s mature leaves
which are scraped until only the fibers are left,
washed, and cleaned of any plant material. These
are then dried, spooled, and woven as itself or into
other textiles. Piña fibers can be mixed with silk—
piña seda, or abaca—piña jusi.
https://www.youtube.com/watch?v=yRvWiiGoOzI
(Pina)

HUM081: Indigenous Creative Crafts

 HABLON
Origin: Panay Island
• Communities: Kiniray-a and Hiligaynon

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.
• The hablon is usually a plain weave and
Hiligaynon
has plaid and striped designs. It is
usually used for the patadyong, the
Visayan wraparound skirt, and panuelo.

HUM081: Indigenous Creative Crafts

Type of Hablon: 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.
HUM081: Indigenous Creative Crafts
 South:
Mindanao
• South’s colorful
fabrics serve as
an image of
the different
cultural groups
thriving
together in the
region—
Muslims,
Christians and
lumads.
(https://www.manilati
mes.net/2014/12/27/w
eekly/the-sunday-
times/preserving-
culture-
weaving/151517/

HUM081: Indigenous Creative Crafts

 YAKAN
Community: Yakan, Origin: Basilan
• The Yakan community in Basilan has settled
in Zamboanga to escape the conflict in their
hometown. Their intricate weaving utilizes a
back strap loom and features various
designs that are representative of nature to
Islamic sacred geometry.

inspired by the natural

landscape surrounding Lamitan, Basilan

HUM081: Indigenous Creative Crafts

Yakan
1. Bunga Sama
2. Peneh pitumpu
3. Sinaluan
4. Saputangan Tapestry Weave

HUM081: Indigenous Creative Crafts

Type of Yakan: 1.
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.

HUM081: Indigenous Creative Crafts

Type of Yakan:
2. Peneh pitumpu
Literally translating to “70
designs/patterns,” the weave
was originally reserved for
aristocrats and considered
the most intricate. Only an
Peneh pitumpuhexpert can
weave this tapestry which
includes all 70 designs within
one meter of cloth featuring
the kadjang (fairy wings) or
kabba kabba (butterfly).

HUM081: Indigenous Creative Crafts

Type of Yakan: 3.
Sinaluan

• Flaunts a striped pattern that

represents bamboo stalks and
nature. The traditional fabric is
used as clothing, mostly pants,
for men and women.

HUM081: Indigenous Creative Crafts

Type of Yakan: 4. SAPUTANGAN
TAPESTRY WEAVE

• Known for being highly-skilled, with impressive weaving

repertoires, Yakan weavers produce textile with five
different kinds of weaving, often differentiated by
technique, pattern, and function.
• 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).

HUM081: Indigenous Creative Crafts

 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.
• 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. As such,
the t’nalak is a prized possession used by
the T’bolis on special occasions such as
births, weddings or funerals. Though
currently, it is utilised as blankets and
clothing.
• Do not use T’nalak below the waist
29 steps to create T’nalak textile

HUM081: Indigenous Creative Crafts

Mindanao Tboli of
Cotabato
• Tnalak (made of abaca) uses tie-dye
process in a decorative dyeing
technique.

Wide variety of motifs

A. G’mayaw bird- created with the
sense of flapping wings
B. Frog- signifying fertility
C. Dancing Man- which calls for rain

These attest to the Tbolis deep-seated

sense of harmony between human
beings and nature, expressed in song
and dance.

HUM081: Indigenous Creative Crafts

MABAL TABIH
Community: Blaan
Origin: Sarangani and South
Cotabato
• 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.

HUM081: Indigenous Creative Crafts

MABAL TABIH • Tabih, in Blaan, refers to the
native tubular skirt, and also to
Community: Blaan the textile, while mabal means
Origin: Sarangani and South Cotabato “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.
• HUM081: Indigenous Creative Crafts
 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.
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.

HUM081: Indigenous Creative Crafts

 DAGMAY
Community: Mandaya
Origin: Eastern Mindanao
• 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.

HUM081: Indigenous Creative Crafts

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.

HUM081: Indigenous Creative Crafts

• 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.”

HUM081: Indigenous Creative Crafts

Tausug Tapestry
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.
Type of Tausug:
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 pattern sticks
or pre-designed warp yarns into
which the weaver inserts the desert
yarn.

HUM081: Indigenous Creative Crafts

Type of Tausug:
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.

HUM081: Indigenous Creative Crafts

• 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.”

HUM081: Indigenous Creative Crafts

• The weaving community in
Kiangan, Ifugao, look to nature
for symbols and patterns they
can use for their weaves. Here
are some of the patterns you
might spot:

HUM081: Indigenous Creative Crafts

Binanniya
• This pattern resembles a lizard,
which was sent down by the gods to
teach Ifugaos about water irrigation.
The lizard is also a symbol for wealth
and nobility.

HUM081: Indigenous Creative Crafts

• Linuhhung –
• This pattern
represents a
mortar vessel.

HUM081: Indigenous Creative Crafts

• Hinnikitan –
This pattern
refers to the
weaver gods,
who are
consulted
before
weavers start
working on
sacred
patterns. This
pattern
resembles the
shuttle
weavers use.

HUM081: Indigenous Creative Crafts

Hinappiyo – This
pattern resembles
the shield used by
pre-colonial
warriors during
battles or in
ceremonial war
dances.

HUM081: Indigenous Creative Crafts

Binituwon – The
pattern refers to a sign
of abundance and
fertility for the
Ifugaos, which is
represented by a star.

HUM081: Indigenous Creative Crafts

Innidol and
Innulog – These
patterns resemble
serpents. The
innidol refers to
serpents as a sign
of prosperity,
while the innulog
refers to the
importance of
boundaries.

HUM081: Indigenous Creative Crafts

• The crocodile or ‘big lizard’ is a
powerful motif used by the weaving
communities among the Bagobos and
Ifugaos in their tie-dyed fabrics;
amphibious forms are regarded as
vehicles of spirits traveling the world
and beyond (Respicio, 2003).
• It is also a symbol of wealth and
nobility.

Bagobo fabric with imagery of the crocodile as if seeing it from above.

Sinaunang Habi: Philippine Ancestral Weave,
by Marian Pastor-Roces. Pg. 284.
HUM081: Indigenous Creative Crafts
Process of Haja Amina Appi
https://www.youtube.com/watch?v=mzz_uJn-bVk
 Luzon Visayas Mindanao
• Yakan
• Binakol • Piña • T’nalak
• Bontoc • Hablon • Mabal Tabih
• Kalinga • Inabal
• Dagmay
• Meranaw
• Tausug
•End of Part 3
Threats
1. Dying Tradition
2. Replaced raw materials
3. Commercialization

HUM081: Indigenous Creative Crafts

D. Threats:
Dying Tradition
• Weavers from the rural areas
have aged along with their craft,
as documented in Dreamers, a
documentary on the t’nalak
weaving tradition in Lake Sebu,
South Cotabato.

HUM081: Indigenous Creative Crafts

D. Threats:
Replaced raw
materials Cotton

• In Ilocos, production of traditional cotton

started to decrease because of a new cash
crop introduced in the 1950s – the
Virginia Tobacco. “There was a rapid
decline in the cultivation of cotton in the
area, until it was completely out” Dr.
Norma A. Respicio, author of Habi Book 3,
Weaving Ways: Filipino Style and
Techniques, said.

Tobacco HUM081: Indigenous Creative Crafts

D. Threats: • Commercialization also poses a threat to indigenous weaving.
Patterns from woven cloth are appropriated and easily
Commercialization duplicated by factories. Indigenous-inspired accessories are
manufactured without due credit to artisans.

HUM081: Indigenous Creative Crafts

Threats
• 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.

HUM081: Indigenous Creative Crafts

 Manobo cries fouls
The Manobo artists earlier claimed the “Bagani”,
a television drama fantasy series, does not reflect
the real culture of the indigenous peoples and a
“blatant disrespect of taking advantage of our

Cultural appropriation culture and tradition for their selfish interest.”

• Cultural appropriation is defined as the unacknowledged or inappropriate adoption of the

customs, practices and ideas, etc. of one people or society by members of another and typically
more dominant people or society,” Caroline explained in her response. The Ifugao Heritage School
goes on to say cultural appropriation is when you claim another culture as your own, when you’re
unaware of the context of the cultural property you’re using, and ultimately disrespecting a
culture. It all comes down to knowing about what you’re buying and wearing before putting
them on.

HUM081: Indigenous Creative Crafts

 • “cultural
appropriation,” an act
which devalues an
indigenous textile or
craft when you treat
the item with
disrespect (like using
funerary cloths or
bulol liberally as
décor), or if you gain
Cloth for the dead used as covering for sofa
an exorbitant profit
from the item without
the original crafter
benefiting from it.
Cultural appropriation
 cultural
appropriation vs
cultural
appreciation

• "People need to ask themselves:

'Do I understand the significance
of what I'm doing here?,' 'Am I
honoring this culture or just
imitating it?,' and most
importantly, 'Will I offend anyone
who belongs to this culture?'"

HUM081: Indigenous Creative Crafts

Threats
1. Dying Tradition
2. Replaced raw materials
3. Commercialization

HUM081: Indigenous Creative Crafts

Sources:
• De Las Peñas, M. L. A. N., Garciano, A., Verzosa, D. M., & Taganap, E. (2018). Crystallographic patterns in
Philippine indigenous textiles. Journal of Applied Crystallography, 51(2), 456-469.
https://nolisoli.ph/26741/philippine-weaves-habi/
• MUNI (Karina Abola, Reichelle Castro, Lilibeth L. Leh-Arcena, Angelica Misa, Denise Subido).Report design and
illustrations: Kay Aranzanso. Commissioner: Malaya del Rosari(2020)Crafting Futures:Sustaining handloom
weaving in the Philippines. British Council
• https://www.youtube.com/watch?v=l57EhJwNBUU (T’nalak, Lake Sebu)
https://www.youtube.com/watch?v=_Np4pZjpemc (T’nalak)
• http://www.nomadperspectives.com/2016/07/tnalak-art-amidst-modernity-and-festival.html#.YJOvY90RW00
https://ifugaonation.com/blogs/news/weaving-symbols

HUM081: Indigenous Creative Crafts

Thank you!