1

ART DAY EXPERIENCE

Appreciation or Appropriation?

Analyzing Batik Rosalinda’s Interpretation of the Yakan Tennun

STS 1: Science, Technology, and Society 1

August 1, 2022

Piece Description
I have been repurposing old garments into wearable clothing for two years now. This hobby has led
me towards an interest in the quality, history, and processing of fabrics. One such piece in my

Note: Due to photographs, the pages have exceeded the recommended number.
 2

possession was of particular significance. This is a Yakan tennun-inspired decor textile, designed by
Batik Rosalinda (BR). Tennun is a Yakan term that signifies woven cloth that is used to make Yakan
fabrics. The cotton material is pure, not waterproof, and does not appear to be mixed in with
synthetic fabrics such as elastane, polyester, or acrylic. The most notable observation about this
textile is that its Yakan pattern is achieved by wax dyeing, and not weaving. The pattern is
imprinted—not sewn into the fabric, and leaves a dull appearance on the underside.

Figure 01. Underside of Batik Rosalinda piece.

It draws creative substance from the Yakan and is distributed as a wax dye textile, which makes it an
ideal subject for analysis. In particular, it has moved me to evaluate how commercialization of fabric
has affected the way we interpret and value our indigenous textiles, and how the sacredness of Yakan
weaving can be preserved, amidst efforts to promote its appreciation among the general public.

Essential Elements
Color
Yakan weaving is bold and brightly colored—“technicolor” even (Bramhall, 2016). Weavers
strategically place alternating grooves of bright and dark colors that provide the visual contrast that
gives the Yakan pattern its signature textured look. The same can be said of BR’s interpretation,
which uses vibrant shades of orange, blue, yellow, turquoise, and white to juxtapose the black
background behind it.

Note: Due to photographs, the pages have exceeded the recommended number.
 3

Figure 02-03. Yakan saputangan pattern (left), Batik Rosalinda pattern (right).
Size
A Yakan saputangan (headscarf) is traditionally square, measuring approximately 74 centimeters
(2.43 feet) on all sides (Narra Studio, 2020). BR’s piece is rectangular, and measures at 2.50x1.08
meters.
Motif
Yakan textiles are known for their intricate geometric patterns. Their weaves are adorned with
multiple, tiny square shapes that form a single shape or figure. For saputangan (headscarf), the
pussuk (center) contains the piece’s main motif or focus. Traditionally, these motifs resemble stars,
flowers, zigzags, parallelograms, and triangles and diamond shapes. The motif is consistent and is
repeated across the length of the tapestry (Narra Studio, 2020). The edges of the fabric, parikat
(border) contains smaller versions of the motif shape. The borders of the tapestry are lined with a
contrasting color, bringing harmony to the symmetry of the motifs within it (Harvard University,
2019). In BR’s interpretation, the motifs which resemble a flower and a compass, have a uniform size
all throughout the fabric. BR’s also has no identifiable center, instead, repeating the motif along with
the background color as horizontal stripes.

Technology, Mathematics, and Superstition of the Tennun

The Yakan are inidigenous people originating from Basilan, renowned for their mastery in weaving,
among other ethnic crafts (NCCA, 2018). The saputangan is one component of their cultural attire,
and usually the most expensive, due to their complexity. Only seasoned weavers are intended to

Note: Due to photographs, the pages have exceeded the recommended number.
 4

execute certain designs and categories of loom. Hence, each one is not like the other (Harvard
University, 2019). Creating a tennun is spiritual, as much as it is technical.
Weaving Technology
To make a tennun pattern, a design technique called suk-suk is used. Suk-suk refers to a
“discontinuous supplementary weft technique” (TIRCIS, 2020). The primary weft is traditionally
cotton, and the supplementary weft is silk. While there is not much published about suk-suk, the
technique is said to use 70 sticks for a single pattern. The weaver is seated in front of the loom with a
awit (belt) wrapped around the waist, suspended by a deddug (warp beam). They place their feet on
tindakan (piece of wood) to keep threads in place. The threads then bass through sud (bamboo comb)
to be evenly spaced. The closer the comb’s teeth are, the tighter and more intricate designs. Sellag
(background thread) is wound on anak tulak (stick). The less thread used on the sellag mintedde
(primary weft) and the more embossed the design, the more skilled a weaver is. The sulip
(supplementary weft) is placed in between the warp thread to create the pattern (Pasilan, 2016).

Figure 04. Yakan woman weaving with apparatus.

Mathematics
Patterns in tennun employ mathematical symmetry. The bunga sama (python pattern), is most
commonly used and is inspired by python skin. It consists of large hexagons and rhombuses.
According to Dr. Louise De Las Peñas of Ateneo de Manila University, it belongs to the planar
symmetry group pmm. It has reflections with perpendicular axes. The rotations are half-turns, with
the lattice as a rectangle.

Note: Due to photographs, the pages have exceeded the recommended number.
 5

Figure 05-07. pmm symmetry (left), bunga sama (right).

The red lines are the axes, and the points show the 180 rotations about the center of each hexagon
and rhombus. You will notice that the center holds the vertical and horizontal axes of symmetry
reflection (Nelson et al., 2012).
Superstition
The Yakan’s relationship with textiles is woven [pun intended] into the mindset of the people.
Women of Yakan are presumed to be skilled weavers, even before birth. Such is supported by their
cultural superstitions. At the birth of a female, the pandey (midwife) cuts the umbilical cord with
bayre, the same wooden bar that is used when “beating in” the weft of the loom in the weaving
process. This practice is believed to produce an offspring that would eventually become a skillful
weaver (Pasilan, 2019).
Symbolism
Yakan believe that art comes from nature, hence their desire to capture the beauty of nature through
their crafts. Ther designs are thematically associated with agriculture, with palay as the basis. The
small, intricate details of each pattern represents their sense of “community”, “togetherness” or
“harmony”. Renowned Yakan weaver, Ambalang Ausalin believes that mata (diamond shapes)
symbolize grains of rice, and thus, wealth. Possible subtext here is agriculture as riches. Four stars

Note: Due to photographs, the pages have exceeded the recommended number.
 6

combined into a diamond shape symbolize a plentiful harvest. While some say the mata-mata are the
eyes of the ancestors, Ausalin believes that these are mountains. “X” symbols are rice mortars, and
when combined with “X”s and mata-mata, make an abundant harvest (Pasilan, 2016).

Analysis
We inevitably come to question if Batik Rosalinda’s interpretation of the tennun is as good as
counterfeit; to me, it certainly is. Looking back on the essential elements of the tennun, BR’s design
makes an attempt to capture its color, size, and motif requirements, minus the complexities of skillful
weaving. Having fulfilled all of these, it desires to achieve the same look and purpose of a tennun,
and thus making it more of an imitation material than one “inspired” by the source. I believe the goal
of an imitation piece is to be a substitute for the original, which is why it is created in the same
likeness. An inspiration on the other hand, does not strive to serve the function of the original. It
merely selects elements that it wishes to pay homage to, and re-interprets the visual aspect in such a
way that it expresses how the viewer perceives the art. We can further discuss how cultural
appropriation and appreciation work in this context. Cultural appropriation happens when an aspect
of an ethnic culture is taken and used for personal gain, without reverence for cultural artifacts or
practices. Cultural appreciation is when a culture is studied and learned in order to foster
understanding on the significance of practices to a cultural group.

In a day and age where mass production is the vehicle of consumerism, BR’s work contributes to the
theft of artistic property. Clothing manufacturers have committed numerous atrocities towards the
working conditions of factory employees just to keep operating costs low, causing consumers to turn
away from quality products in search of economically feasible alternatives. This is in no way the
consumer’s fault—merely a natural reaction to the way capitalism has caused consumers to seek out
cheap goods; BR’s imitation is no different. It undermines, undervalues, and underrepresents the
mastery and culture behind the Yakan tennun. Taking complex Yakan patterns that have been passed
down from generations, and wax dyeing them onto substandard materials is utterly disrespectful to
the weaving culture, to say the least. tennun-making requires immense skill and memorization. Being
able to take these designs reduces the spiritual and artistic aspect of the weaving to a mere template.
Considering that each of the patterns are created with intention; to pay homage to symbols of nature
and abundance, mass production of the tennun diminishes its spiritual significance. The manual
weaving technologies of tennun ensure that not one piece is like the other, but with Batik Rosalinda’s
version, each piece is identical. All in all, the commercialization of an indigenous textile makes the

Note: Due to photographs, the pages have exceeded the recommended number.
 7

art lose more than its uniqueness; the spirituality, craft, and skill required to produce a remarkable
piece of national pride is lost as well.

Conclusion
Suppose that the intention of Batik Rosalinda is to create a version that would be accessible to the
general public, the fact still remains that tennum, in any shape or form, shouldn't even be a
commodity in the first place. Tennun is a rarity that only adds to its value. It was never meant to be
distributed. It is sacred, complex, and acquiring it comes with a premium—even for the Yawkan
themselves. Preserving this art with legal action is ideal, but protecting indigenous patterns from theft
is easier said than done. It is possible to apply for a textile trademark with the DTI so that Yakan
patterns can be legally protected. However, this might not be a feasible option for indigenous groups
who may have issues with legal and financial aid—and even then, not all patterns in existence would
be legally protected. The weaving process is impossible to replicate, but patterns are vulnerable to
theft, due to advancements in technology. Reproducing ethnic patterns is becoming increasingly easy
with the help of digital software that can replicate images and shapes. At the consumer-level, we may
not be able to enforce a ban on imitation of indigenous patterns. Thus, our advocacies should focus
on educating the general public about the damaging effects of commercialized patterns to our
indigenous art. Attributing the value to our indigenous Filipinos is key to understanding why we
should not support imitation goods. We should refrain from considering imitations as substitutes for
real, skillful weaving, as they will never hold the same value. The best way to show our support and
appreciation for indigenous textiles is by purchasing authentic pieces from a reliable source,
respecting the exclusive rights of their patterns, and discouraging forms of replication when we find
them.

Note: Due to photographs, the pages have exceeded the recommended number.
 8

References

Bramhall, D. (2016, March 16). Meeting the Yakan people in Zamboanga city. RAPPLER.
https://www.rappler.com/life-and-style/125827-yakan-tribe-wedding-zamboanga-sulu/

De Las Peñas, L. (2015, June 28). Bunga Sama. Mathematics in Indigenous Philippine Artwork.
https://mathinphilippineart.wordpress.com/patterns-by-region-2/muslim-mindanao/yakan-2/k
aban-buddi/

Harvard University. (2019). Yakan Saputangan headscarf. The Collection of Historical Scientific
Instruments.
https://waywiser.fas.harvard.edu/objects/23487/yakan-saputangan-headscarf;jsessionid=CA7
E699620C80818DC5DEA7033BAEBE8

Narra Studio. (2020, May 5). The Yakan Saputangan: A showcase of skill, a kaleidoscope of colors.
https://narrastudio.com/blogs/journal/the-yakan-saputangan-a-showcase-of-skill-a-kaleidosco
pe-of-colors

NCCA. (2018, October 12). Peoples of the Philippines: Yakan. National Commission for Culture and
the Arts.
https://ncca.gov.ph/about-culture-and-arts/culture-profile/glimpses-peoples-of-the-philippines
/yakan/

Nelson, A., Newman, H., & Shipley, M. (2012). 17Plane symmetry groups. Teaching blog.
https://caicedoteaching.wordpress.com/

Pasilan, E. (2016). Apuh Ambalang and the Yakan weaving tradition. National Museum.
https://www.nationalmuseum.gov.ph/2022/04/01/apuh-ambalang-and-the-yakan-weaving-tra
dition/

Pasilan, E. (2019, September 3). National living treasures: Ambalang Ausalin. National Commission
for Culture and the Arts.
https://ncca.gov.ph/about-culture-and-arts/culture-profile/gamaba/ambalang-ausalin/

Note: Due to photographs, the pages have exceeded the recommended number.
 9

TIRCIS. (2020). Hallwin Int. Ltd. development and industrialization: Sets of decoration for shops
and premiums customization. Hallwin Int. Ltd. development and industrialization: sets of
decoration for shops and premiums customization.
https://www.hallwin.com/window-decoration-shop-fitting/handloom-weaving.html

Note: Due to photographs, the pages have exceeded the recommended number.