Philippine Weaving CHANEL PEPINO

Styles
FA 37 – Indigenous Art
PINILIAN
• Ilocano weaving style
• Ilocos Region
• This pattern is weaved using a pangablan
• “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.”
(Sorilla, 2017)
• Two kinds of pinilian
• Scattered, and;
• continuous supplementary weft techniques.
L-R: two different designs of the Itneg blanket, using the pinilian weaving pattern.
Photo credit: AV Salvador-Amores, 2016
A pinilian blanket with horse and skeiner motifs.
Photo credit: Joven Paolo Angeles, 2016
BONTOC WEAVE

• Bontoc community’s weaving style

• Mountain Province Region
• “The Bontoc textile revolves around the
idea of centeredness, which symbolizes
permanence, order, and balance, key
factors in the life of the Bontoc
people. ” (Sorilla, 2017)
Young Bontoc girls usually weave
this pattern and learn it through
levels of difficulty.

• LANGKIT or edging, the simplest part of the

cloth
• PA-IKID or side panels, using the fatawil
(warp-band) and shukyong (arrow) designs
• 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)
• PA-KHAWA (the center panel) is the center
panel which showcases a band in the middle
and a kan-ay (supplementary weft) at its end

Photo credits: https://www.pinterest.ph/pin/12807180160396008/

KALINGA TEXTILES

• From the Kalinga community

• Province of Kalinga
• Based on the “geometry of weaving
itself” (Sorilla, 2017)
• Usually incorporates the colors red
and blue, with big plain bands or
twills
• Makes use also of tight stripes
• Using the twill-weave technique,
patterns are weaved that make the
Kalinga weaving style is distinct as this
is how they make their designs and
embellishments
• Some of the many images they
incorporate are “miniature lattice,
continuous lozenge pattern locally
called inata-ata, and pawekan or
mother-of-pearl platelets…” (Sorilla,
2017)

Photo credits: http://www.traveltothephilippines.info/wp-

content/uploads/2012/03/Kalinga-woven-products3.jpg
PIÑA
• Aklanon community
• Aklan
• Made from the fibers of leaves of the red
Bisaya pineapple
• “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.” (Sorilla, 2017)
Pinya cloth in the Aklan region. Photo credits: https://www.choosephilippines.com/specials/buy-local/3943/aklans-pinya-cloth-jusi
HABLON
• Kiniray-a and Hiligaynon communities
• Panay Island
• From the root word habol, which means
“to weave”
• “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.”
(Sorilla, 2017)
SAPUTANGAN
TAPESTRY WEAVE
• Yakan community weavers
• Basilan origins
• bunga-sama is a supplementary weft weave, made by using
pattern sticks or heddles in the loom to produce the pattern
• 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
• nalaman is made using an elaborate supplementary-weft
technique, and often used for women’s wraparound skirt
• pinantupan, which is also used for the wraparound skirt,
utilises simple weft pattern arranged in the bands
MABAL TABIH
• From the Blaan community
• Originated from Sarangani and South
Cotabato
• Tabih, in Blaan, refers to the native
tubular skirt, and also to the textile,
while mabal means “woven” or “to
weave”
• The Blaan are renowned weavers for their
skill and embellish their embroideries
• Weaving to the Blaan society is connected
to their spiritual beliefs and is said to be a
gift from Furalo, the goddess of weaving
BAGOBO INABAL
• From the Bagobo Manobo
• Davao del Sur
• Make use of abaca fibers from leaf sheaths
and select the finest ones for weaving their
textiles
• Back-strap loom is used for weaving
• “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.”
(Sorilla, 2017)
DAGMAY
• Mandaya community
• From Eastern Mindanao
• found in the provinces of Davao Oriental,
Davao del Norte, Compostella Valley,
Surigao del Sur, and Agusan del Sur
• Mud-dyeing technique as a reaction from
iron in the mud and tannins applied before
weaving with the threads
• Hand-woven using a back-strap loom
• This is usually used for women’s skirts,
but is weaved also as blankets for the dead
MËRANAW TEXTILE

• Mëranaw
• Lanao del Norte and Lanao del Sur
• Weavers from this region know a
variety of weaving techniques
including weft and warp ikat tie-dye
resist and continuous and
discontinuous supplementary weft
design
• Known for the malong
PIS SYABIT WEAVE

• Tausug
• From the Sulu Archipelago
• They are known for making the pis
syabit (their traditional head scarf) and
the kambot/kandit
• Pis syabit is worn by male warriors
• Female weavers use up to 8 colors
for weaving X patterns into the textile
cloth
T’NALAK
• Tboli community
• Originally from South Cotabato
• “The goddess Fu Dalu visits T’boli
women in their dreams to instruct
them about patterns to weave on
their back looms. The product is
the precious T’nalak, a special
fabric with sophisticated patterns
of woven dyed abaca fibers.”
(Oliveros, 2012)
Photo credits: Daphne Oliveros, 2012
Sources

https://ph.asiatatler.com/life/weaving-the-threads-of-filipino-heritage
https://ovpaa.up.edu.ph/using-interdisciplinary-tools-to-study-an-age-old-
weaving-tradition-in-the-philippines/
https://www.rappler.com/life-and-style/1455-dreamweavers