Traditional Craftmanship:

NATIONAL LIVING TREASURES. Singled out in a nation-wide dedicated her life. She was proclaimed in 2012 for textile weaving.
continuing search, indigenous exponents of traditions in the field of Presently living a lonely life among distant relatives where even
craft and performance are declared national icons to emulate as her loom could not even be accommodated in her part of the
guardians who safeguard national cultural heritage. Thus far, the house, her dedicated persistence in the craft has produced an
following National Living Treasures have been awarded the title of unequaled body of work with designs that have dwindled into the
“Manlilikha ng Bayan” (one who creates for the country) in the past, with the color patterns of her people that have long faded in
field of traditional craft: other weavers’ memories.
Mat Weaver. Sama, Tandubas municipality, Tawi- Tawi Tabungaw Casque Maker. Ilocano, San Quintin
archipelagic province, southern Philippines. municipality, Abra province, northern Luzon island, northern
HAJA AMINA APPI already comes from a people famous for the Philippines. An ingrained farmer, TEOFILO GARCIA cultivates
weaving of pandanus mats into works of art. With a face exuding corn, vegetables, rice and tobacco, husbands cattle and is a silvi
serenity, her hands are thick and dye-stained from a lifetime of culturalist. On his freer months, he plants upo, the gourds of which
harvesting pandanus and the drawing out of dream-like designs in he transforms into a casque which sprung from an ancient legacy.
her mats. For her, the most difficult part of her craft is culling from He was proclaimed in 2012 for carrying on the dying traditional
ethnic memory the visualization and execution of design. It is high craft of making tabungaw, which are conical helmets from gourd
precision work, requiring the mastery of the medium and an halves. Weaving its decorative rim and inner head lining using
instinctive sense of proportion and symmetry, even asymmetry. rattan strips requires consummate skill. He has established
Proclaimed in 2004 for mat weaving, she was respected and a specialized training program on raising upo and making
recognized for her artistry even in her own community of weavers. tabungaw linked with the national educational system to usher this
There was gentleness in her teaching of others. And quietly, unique craft to posterity.
she passed away in 2013.
Textile Weaver, T’boli, Lake Sebu municipality, South Tepo Mat- SAMA, TAWI-TAWI ISLAND GROUP PROVINCE,
Cotabato province, Mindanao island, southern Philippines. SOUTHERN PHILIPPINES.
Abaca fiber from the plant, Musa textilis, woven into cloth is a The Sama, in the little island of Tandubas, weaves a mat made of
characteristic craft of only a few ethnic groups in southern pandanus leaves called tepo. The two-layered, abstractly
Mindanao island. The tie-dye design technique is employed in designed mat is unique to the people of Tawi-Tawi.
creating mirror-image panel patterns. Proclaimed in 1998 for THE SAMA MAT of Tawi-Tawi is double- layered and brightly
weaving the abaca ikat cloth called t’nalak by the T’boli, colored. Known locally as tepo, it is traditionally used:
LANG DULAY produces creations that remain faithful to the T’boli as sleeping mat, a gift for newlyweds and even for imams
tradition as manifested in the complexity of her designs reflecting for the recitation of prayers.
the workings of ethnic memory, quality of workmanship and Produced by women, the tepo is made of
excellence of finish. The complex demands of the tie-dye technique pandan (Pandanus spp.) leaves which are pressed to soften and
in weaving designs require from her an instinctive mathematical. boiled to dye before woven in vivid hues. Cultivated pandan
mind. varieties are preferred over the wild ones for their durability.
Textile Weaver. Ilocano, Pinili municipality, Ilocos Norte These mats are highly coveted as they use finer strips woven
province, northern Luzon island, northern Philippines. A tightly, plus they have an narray of intricate and colorful designs.
wisp of frailty, the range of textile designs that MAGDALENA Sama workmanship is considered among the best in the country.
GAMAYO crafts from her frame loom and the incomparable After gathering pandan leaves, the ngalaan hiting (thorns) are
finesse of her weaves do not show the tenacity of her mind in removed and the leaves are cut lengthwise. The raw materials are
bringing to the contemporary world the heritage to which she has brought to a communal paggusan (presser) making the
pandan leaves soft and dry. The strips (dalamba) of pandan are threads. Each insertion of a colored weft thread
hung in a shaded portion outside the house. After a day, the strips fills-in a centimeter block or blocks delineated
are taken and pressed again. After this, they are folded by the fine stripes of either red or yellow warp
(madjangat) and left for three days. Sun drying (palau) follows threads, resulting in a design form and virtually
until the strips are bleached. The strips are dyed with anjibi engulfing the entire design composition that are
(synthetic commercial dye), then subjected again to magpagus locked in a grid.
(pressing) and drying. After a week, the strips are ready for The pis syabit exhibits much sophistication
weaving. The weaving proper starts at one corner of the in design yet it is done in tapestry weave which is considered the
mat. The motifs and designs woven into the mats include: oldest and most traditional
balintung (a mixture of zigzag and diamonds), pinaleko (zigzag technique in producing ornamented woven
design), palang born (large square of different colors), jali (striped textiles, aside of course from the plain weaving
design), kusta sima (stripes and diamonds), kusta (a different technique wherein stripes and plaids are formed. Tapestry weaving
variation of the checkered pattern) and malasa (small does not employ a shuttle-fed weft nor design sticks inserted
hexagons). across pre- designated warp yarns to produce the designs, as is
The woven mat is not considered finished at this stage. It is done in continuous supplementary weft or sus-suk. Both insert the
mounted on a slightly larger, but plainly woven mat (lapis) that weft design yarns by hand or with the use of a finely carved
serves as a backing for the ornately woven piece. This is the wooden tool. Tapestry weaving does not have a principal weft. All
distinguishing feature of the Sama tepo. When it is carried to the weft yarns are disconnected and of variegated colors depending on
market, it is neatly folded with the plain backing on the outside the designs. The
protecting the designed surface. Philippine tapestry weave, as represented by the Tausug pis syabit
and the kumbut/kandit, and the saputangan of the Yakan, are of
Pis syabit- TAUSUG, SULU ISLAND GROUP PROVINCE, geometric designs, with the former exhibiting greater
SOUTHERN PHILIPPINES. geometrization than the latter.
The pis syabit is the multi-colored woven cloth of the Elen-elen (for everyday wear); hap tabuan (for going to
market); ginuna sipagkawin (worn like a veil when attending a
Tausug. It is traditionally worn by Tausug men as a
wedding).
headdress or clothing accessory, folded neatly and
draped over the left shoulder. It is worn along with the lapi
Back-strap Weaving COUNTRYWIDE. People in the interiors of
or upper garments and the sawal or loose trousers. The pis
syabit symbolizes the wearer’s elevated position in society.
the Philippines, like other ancient peoples during the late Neolithic
Nowadays, it is common to see even women, especially Age, use a simple apparatus in weaving textiles – the back-strap
young students, wearing the pis either in its traditional loom. Even today, the back-strap is still in use notably in the island
function or as an accessory in contemporary fashion such as of Mindanao and the Cordilleras of northern Luzon to produce the
shawl and neckerchief, or used as a table cover, wall very colorful and intricately designed textiles that identify the
ornament or tapestry. ethnicity of different people. Some of the people that use this
THE PIS SYABIT is precisely a tapestry are the Ifugao, Bontoc, Itneg, Ilianon, Yakan, Mandaya, Mansaka,
weave. Square in format, measuring 100 x 100
centimeters, the term syabit, meaning to hook,
Maranao, T’boli, Bagobo, Manobo and B’laan .
is a direct reference to the production process THERE ARE MANY variations in the configuration of this loom.
of inserting or hooking-in disconnected weft Principally, it is comprised of the strands of the longitudinal
threads of various colors, white included, across
a generally dark yet finely striped body of warp
threads called the warp, stretched between rods in the outermost called “okir” which can be seen on artifacts, buildings and every
end of the loom (warp-end rods) and the cloth end rods nearest the conceivable available surface in their material culture.the sarimanok
weaver. The warp-end rods are attached by cordage onto a firm embodies okir.
support like a house beam. The warp threads are kept taut by THE SARIMANOK is one aspect of Philippine culture that is taken
means of cords from the cloth-end rods attached to a strap at for granted as it is familiar to all. First, it is an artifact usually
constructed from wood in the form of a bird, and as its name
the back of the weaver – hence the term, back- strap, or back- implies in the vernacular, an artificial bird. It is usually assembled
tension loom. From the top, a lease cord maintains the order of the from de-mountable parts. The head, which slopes into the
threads, often providing an opening between the threads for the beak, is ordinarily integrated with the neck and ovaloid body. The
insertion of the shed roll. The shed roll, often made from a section widespread wings are inserted in sockets on the sides. The tail
of bamboo, divides the warp in half. Below this are the heddle sticks feathers are also insertedinto holes at the rear of the body. The legs
which spirally wrap threads that hold the warp threads. These are likewise accommodated in sockets at the= bottom. What
provide the facility for introducing design patterns into the cloth. distinguishes the sarimanok from all other bird constructions is the
The horizontal threads (weft) are introduced by means of a bobbin presence of a fish dangling from the tip of the beak, clutched in its
pushed in between the warp threads and forced down by a wide talons or both. The approach to the construction, however, is
and heavy beater to add another strand to the cloth being abstract by way of highly conventionalized floriated, vegetal motifs
woven. Design patterns are introduced into the cloth by the prior associated only with the Maranao of the lake region of Lanao del
dying of the warp threads, which result in vertical designs relative to Sur. The entire object is painted all over with primary colors in their
the loom. Otherwise, it could be the weft threads that are dyed to full chromatic strength. Although the sarimanok is not a flag, it is
produce horizontal designs. A combination of these two methods really a part of a system of Maranao flags mdisplayed during
makes a more intricate pattern. Additionally, dyed horizontal important occasions. The entire set is called isa ka laboay (meaning,
threads (supplementary weft) may be added to make the design a set of flags displayed when a boat drops anchor). There are six
more intricate. While the back-strap loom is essentially the same generalized named types that include the huge, swallowtail-like
throughout the country, there are differences in the number of banner, the sambulayang. Traditionally, the display of flags is a
heddle sticks that separate warp threads. The late historian prerogative only of the nobility. The flag types are ranked according
William Henry Scott often wondered why a heddle stick was missing to their ritual significance. When these flags are displayed with
from back-strap looms in the north, while it is present in the south. the sarimanok perched on top of the tallest of the poles, it signifies
The reason may just be a matter of textile design. that the occasion is formal. There are many speculative
interpretations about the Maranao bird. One authority wrote that it
SARIMANOK is symbolic of a bird sent by a prince to bring a message,
MARANAO, LANAO DEL SUR PROVINCE, NORTHWESTERN represented by the fish, to his beloved bai. There are philosophical
MINDANAO ISLAND, SOUTHERN PHILIPPINES. The symbols of a discussions too that can leave one breathless, like its association
people are another form of language that speaks of their state of with the garuda of Indonesia. The fact is, nobody really knows how
being. The culture of the Maranao is profuse with decorative forms it began. It is too far lost in living memory. However, the late Dr.
Mamitua Saber, a Maranao sociologist who knew his ownpeople, Two kinds of weaving: folded type or back strap and upright pedal
aptly said that artists cull concepts from their environment. He loom.
pointed out how the decorative motifs, like the pako (fern), katorai The Filipino artist-producers – cotton farmers, yarn spinners, dyers
flower and all others were derived from nature about Lake Lanao. and weavers – were however exposed to extreme exploitation
What if, he said, the artisan saw a predatory hawk hovering on the of their labor and products at the advantage of the colonizers. It
thermals above the lake diving to snatch with its talons a fish from survived even under exploitive conditions.
the surface of the water? Would this not be a less contentious and Each community or region concentrates on a particular design
more human interpretation? technique and material, further providing a definitive identity of the
cultural group or community.
Patterns of culture in philpippine traditional textile. Philippine culture, as expressed in textiles, is celebratory in
COUNTRYWIDE. Textiles, being one of the basic necessities of disposition and outlook. Abundance, fertility and wealth are
people, imply an early history. Yet, mainly because of their highlightedin the rich depiction of flora and fauna, mountains and
perishable properties, not much material evidence can be gathered rivers and other multiple and repetitive ornamentations such as
to prove this except for related archaeological materials such as curvilinear, X and diamond forms.
spindle whorls of stone and other weaving implements, and textile Fruit-bearing plants with a pair of birds at the pinnacles are
impressions on pottery pieces. The oldest existing textile sample in endearing decorative patterns on upper trimmings of Iloco
the Philippines is a linen cloth found in a wooden coffin in the draperies nand bed covers in inlaid supplementary weftn design
island of Banton near southern Luzon, along with ceramic pieces technique.
dated 14th and 15th centuries. The cloth exhibits sophistication in The tree of life of the Mindanao Muslims is made more ornate in
designs which include bird forms, reverse S and geometric patterns okir or stylized naga (mythical serpent) compositions, and the
in bands of faded black and red hues. It is the earliest existing fruit-bearing plants featured in northern Luzon and western Visayan
specimen of warp tie-dye textile in Southeast Asia. textiles are eloquent expressions of lush abundance, wealth and
TEXTILES ENHANCE people’s interaction with the natural grandeur of the life of the people.
surroundings and the social milieu. Palm leaves and fern patterns are featured in tie-dye design
The design techniques employed are measures of the level compositions of eastern and central Mindanao communities.
of technology attained and provide insights into people’s Delicately formed flowers and leaf patterns are the traditional
interactions with other cultures, imbibing and sharing the designs done in inlaid supplementary weft design technique in the
knowledge with them. The designs express, in the most vivid piña or pineapple leaf fiber cloths of the Panay folks in western
manner, the creative genius of the people, their aesthetic Visayas.
forms and configurations of their culture including their world view, All the foregoing vegetations are significant in the lives of the
belief systems and ideologies. people; their leaves and fruits are edible, medicinal and sources of
In their totality, textiles define the cultural identity of a people – as dye or pigments. Featured in textiles, they are expressions of the
a community and as a nation. In the Philippines, textile art – its people’s reverence and high value for nature’s resources.
production and practice – is a rooted tradition.
The human figure is also given space in the textile design repertoire generalized tube skirts of the Maranao that can be recognized
which features mountains and rivers, plants, eagle wings and according to how they are woven and the manner in which
mythical creatures. The inclusion of human figures is expressive of colors are employed. The different varieties are identified with
the harmonious relations of men with the natural surroundings specific and endearing names at times. The three are: landap,
which encompass the spirit world. andon and plaids which can be striped and checkered.
Landap malong (beautiful to look at) – This type is distinguished by
Langkit : Tobiran and Lakban n( see pics) wide strips of cloth ( r(m), y(b) b, g ) p (K) v ®
MARANAO, LANAO DEL SUR PROVINCE, NORTHWESTERN a. Landap a benaning – yellow landap, (preferred by women in the
MINDANAO ISLAND, SOUTHERN PHILIPPINES. The Maranao of the aristocracy)
two provinces of Lanao del Sur and del Norte, together with parts of Andon malong – This type is woven using the tie-dye method and is
North Cotabato, wear a traditional tubular lower garment called, generally worn by women. Colors vary according to the local
malong. There are several types of malong. One of these is the palette.
landap, meaning “pure”. This garment is essentially made up of Plaids, stripes and checkered types – There is a wide range of
three pieces of plainly woven cloth of solid colors, usually green, geometric design patterns used in this type that are also individually
magenta or purple and yellow. Sometimes the panels are all green Name: ( read meaning)
(gadong), or all black (pangelemen) and the most sought after, all Sub-styles of the malong have fascinating names: mataragandung
yellow (binaning). Narrow strips of tapestry woven cloth join these (darling, maiden) and the pakabinban (seductive, attractive).
three pieces of cloth together to form a single and wider piece. The Andon is a feminine type of wear and is the most complex, artistic
ends of the cloth are then joined together by another tapestry- and expensive; bagadat is an old style with stripes preferred by
woven strip to form the tubular garment. These tapestry panels are elders; bombol a mera (peacock feathers) designs have meanings.
called langkit.
THE LANGKIT is of two kinds: a narrow kind (tobiran) and a wider Metal Casting with Wire Templates
one (lakban). Both are highly ornamental and colorful especially MARANAO, LANAO DEL SUR PROVINCE, NORTHWESTERN
when set off against the solid colors of the plain-woven panels. The MINDANAO ISLAND, SOUTHERN PHILIPPINES. There is a very distinct
intricate designs are in orange, blue, yellow, green, magenta and class of metal objects cast in southern Philippines principally among
purple, usually shaped in curvilinear male design and the female the Maranao and also the Maguindanao. The distinguishing
geometric configurations of the Maranao okir. characteristic of these objects is the presence of wire-formed
A narrow, specialized kind of tapestry loom is used to weave the ornamentation that comes in loops, spirals, circles, curlicues
langkit. Discontinuous weft is used. ( read) and running and interlocked scrolls that are often plant-like as vines
and growing ferns.
Malong Tube Skirt ( see pics) A GREAT DEAL of these objects come in the form of bronze/brass
MARANAO, LANAO DEL SUR PROVINCE, NORTHWESTERN lotoans or betel-nut boxes that come in various shapes such
MINDANAO ISLAND, SOUTHERN PHILIPPINES. There are three as quadrangular, octagonal, cylindrical or lunette.
Occasionally, this decorative technique is applied to enhance the
appearance of kulintang gongs seen as triangular forms The earliest evidence for the existence of rice in the Philippines is
ornamented with wire-like curlicues radiating from the boss. between 2510 and 2130 B.C., dated from the husk of rice.
The process of making this kind of lotoan involves the lost-wax, As early as 1545-1000 B.C., there was already evidence of human
waste-mold technique. occupation in the present town of Banaue. The presence of terraces
The number of molds depends on the number of parts of was reported by the 7th century A.D., thru 1195 to 1380 A.D. in
the object. Bungahalian and Nabyun. But there was definitely a rapid expansion
Final cleaning, repairing, refurbishing and polishing are required of terraces with rice cultivated between 1486-1788
before assembling the parts of the lotoan. For less dense wire A.D. in Bocos, Banaue. embedded in pottery excavated in the
inlays, the grooves are engraved with a narrow onglette graver with Manga Site in Andarayan, Cagayan province.not draft by animals
a swallow-tail profile. The wire is then forced into the groove by Instead, the soil is cultivated by hand using wooden spades. Rice is
hammering. For wider pieces of metal inlays, a square graver is first planted at the beginning of the year and harvested about June – the
used and then an onglette to create the undercut. opposite of lowland rice cultivation. 22 rice rituals.

Mountain Terraces
IFUGAO, IFUGAO PROVINCE, NORTHERN LUZON ISLAND,
NORTHERN PHILIPPINES. The mountain terraces in the Cordilleras
of northern Luzon have been included in the UNESCO World
Heritage Sites list in 1995. Other groups like the Bontoc, Ibaloy and
Kalinga also construct mountain terraces in the Cordillera mountain
ranges.
THERE ARE TWO known methods of cultivation in Ifugao. One is the
universal slash- nand-burn gardening or swiddening, while the
other method grew out of an early technology with the dry field
cultivation of taro (Colocasia esculenta [L.] Schott).
Ifugao elderly enjoy the varities of taro in wet basin.
Actually, this type of taro cultivation, both dry and wet, can still be
seen in the southern Cordillera ranges, esp in NE ( Iwak and
ikalahan)
It has two major groups: the Tuwali and the Ayangan. 3rd kalanguya
( diff language). Originally, the staple food of the Ifugao people were
root crops, taro being one of the oldest and the most relevant in
their rituals, even earning a ritual name. Rice came in later. (lowland
crop)( Diminishes if the field grow higher)