Textile Art and the Art of Weaving using cotton, nylon, wool, silk and any kind thread.

A
fabric is a piece of cloth or any material produced by
The soul should always stand ajar, ready to welcome weaving together cotton, nylon, wool, silk, or other
the esctatic experience." products of threads. A thread or yarn is a len thin
- Emily Dickinson strand of cotton, nylon or other fibers used in the craft
of sewing or weaving Textile design is a creative and
I. Lesson Overview technical process by which threads or yarn fibe sub
woven or interlaced to form a flexible, functional and
Have you wondered how the clothes we wear are
decorative cloth, which subsequently printed upon
made and how baskets, mats, blankets, pouches and
adorned by individuals.
other fabrics are produced? All these items we keep
asking are products of human hands through the art of Figure 1. The Contrast of Design between Old and
weaving, before the industries produced these in Modern Textile Arts by Swanson (2020) and Delaunay
greater volume through the aid of machines. Why do (2020)
we need to learn the art of weaving, despite the
technological gadgets that we have? Many especially Figure 1 shows the contrast of the design of textile art
the young, find this art of weaving archaic and before and now. Before, textile designs were products
unnecessary. Despite this art's unattractive notion, we of women's human hands using the needlework skills.
need to assert its relevance for a cultural value that Women, in the past, wove quilts, pillows, blankets and
our past generation field on in order to recognize our table covers using the manual hands as part of home
identity as a Filipino. industries. Today, the old textile art is overtaken with
the aid of technology and machines to produce greater
LEARNING CONTENT AND ACTIVITIES volumes in responding to the human population's
greater demand for domestic and office we fabric. The
The Textile Art
evolution of time affects the imagination and styles of
Textile Art is a creative art and craft that uses fibers textile art; but it does not mean we discard the old.
taken from pla animal, or synthetic material to create The products of the old textile art are greatly valued
practical or decorative objects (What Textile Art?, and are priceless because these are kept in museums
2016). This art is one of the oldest forms of art in as a symbol of our cultural identity. Efforts by the
human civilizati to provide protection of the body from school and other institutions are recognized in reviving
harsh environment and bad wearie conditions. In the old textile art of our ancestors, in paying tribute to
different geographical locations, textile weavers pay a them and in instilling the value of cultural gratitude.
major to in providing protection of the human bodies, Hence, many contemporary designers find inspiration
by providing thick clothes in midők and high latitude from ancient and traditional patterns for the 21"
countries, and thin and loose fabric in equatorial designs (Youngs, 2013).
regions Across the deserts, savannahs and tropics,
Common Techniques in Textile Art
textile art is invariably inspired by by beauty of nature,
ranging from the geometric and naturalistic to foliar, It is impossible to produce a textile without the use of
floral, animal motifs. Hence, textiles have been a thread or yam. Threads are produced from fibrous
functional part of human life since the beginning of materials ranging from wool, silk and cotton. In the
time to serve its primary function for clothes and Philippines, hemp a fiber from abaca, pineapple leaves
blankets to kee the bodies warm during evening time and grass are processed to produce a fabric. The most
as well as in colder places and season Anthropologists expensive Barong Tagalog, a National Costume for
estimate the earliest accounts of this art between men in the Philippines, is made from the finest
100,000 to 500 years ago during the prehistoric times, pineapple fiber. The Mestiza of Balintawuk Gown is
when our ancestors used fabric from animal skins and also made from abaca fiber or other indigenous
fur. materials. After the fiber is processed, it undergoes a
spinning process to produce a thread, before it is used
The product creation of these fibers is called textile or
for crochet, embroidery, knitting and weaving
a fabric. A cloth fabric being produced by weaving
processes as shown in Table 1.
 Terms Descriptions and bonnets These are personal accessories to be
worn in places with winter seasons and places with
Crocheting is using a single hook to
higher elevations. Across different locations and
hook the loops together
seasons, weaving is a common spinning of thread to
directly on the piece of
fabric. produce a fabric. Tribal groups in the Philippines
weave their fabric with the use of traditional weaving
Embroidery It is using a thread to stitch practices and naturalists worldviews. Abaca fiber and
the decorative designs onto natural and organic dyes were used by the T'boli
the fabric.
produce a r'nalak: by the Mandaya to produce a
Knitting It is using a pair of long dagmay; and by the B'laant produce an ikat. Hablon
needles to form the loops, weavers of Argao, Cebu revive the use of tangkal for
moving a set of loops from ther hablon using the traditional weaving practices by
one after the other; the the Community Extension Project of the Cebu
stitches are held on the Technological University in Argao Campus.
needle
Figure 2. Pictorial Presentation of the Four Techniques
Weaving It is creating or producing of Textile Art
fabric by interlacing threads.
To promote the revived folk-art tradition, Dexter
Alazas, a known Cebuano designer organized the
TABLE 1 Techniques in Textile Art Hablonuevo to promote the industry to wider public
recognizing Cebuano cultural identity in weaving. If
MERON TONG TABLE DI KO PA NACOCOPY SA PAGE one decides to keep crocheting as a hobby, Mollies
276 Makes Crochet offers the basic terminologies in
crocheting as shown in Figure 3
These techniques in Table 1 are centuries-old
traditions of textile art a part of folk art and MAY TABLE DIN HERE page 278
needlecraft. As shown in Figure 2, three techniques-
knitting crocheting, and embroidering use needle by Figure 3. Watson (2013)
the hand; while weaving uses backstrap loom. The art
The Textile Process
of embroidery takes its ancient roots from myths and
folklore relating to religious and the spirit world, Figure 4 shows the seven steps in the textile process to
depicting the surrounding flora and fauna plantıs and guide anyone who wishes to engage in this art.
animals that shape the cultural identities of every
country in the world (Youngs 2013). The Yakan Step 1-Fiber production
weavers of Basilan are known for their tennun (woven The wide varieties of textiles are made up of fibers
cloth) to be used for suwak pendan (embroidery-like that are arranged in different ways to create the
embellishment) (Pasilan, 2018). Lake embroidery, desired strength, durability, appearance and texture.
crochet becomes a hobby among many, engaging in The fibers can be of countless origins, but can be
different patterns and techniques using the needle grouped into four main categories Natural fibers, with
hook and the yarn to create lovely clothing, pouches, the exception of silk, have a relatively short fiber
hats, bags, furniture covers, table runners, draperies length measured in centimeters. Silk and man-made
(Watson, 2013), place mats, dollies, (wall décor) and fibers have on the other hand very long fiber lengths
other personal and home accessories. (filaments) ranging from hundreds of meters to
Embroidering and crocheting become a common kilometers long
hobby among individuals who want to paint their lives Plant fibers consist of cellulosic material, normally
red at home while watching televisions, sitting on s derived from cotton, linen, hemp or bamboo, but any
rocking chair and resting on the bed waiting to plant with extractable cellulose can be used. Cotton is
slumber. Knitting is a popular technique in the by far the most commonly used plant fiber. The
production of sweaters, hand gloves, scarves, beanie cultivation of cotton is enormously resource-intensive,
with high inputs of water, pesticides, insecticides and Sizing chemicals and lubricants are therefore added
fertilizers leaving a large toxic footprint where grown, within this step.
if not cultivated organically or under specific
sustainable conditions. The animal fibers consist of
proteins. Wool and silk are the most commonly used Step 4-Pre-treatment
fibers from this group, but the wool can come from a
number of different animals. In order to make animals Pre-treatment processes can be carried out with
grow faster and produce higher yields of wool, fibers, yarns or fabrics They enable subsequent
pesticides and insecticides are used to prevent disease. processing of the material, which needs to be
Dipping is a common practice to control parasites in prepared to accept dyes and functional chemicals. This
sheep farming, making use of both organic phosphates is done in a multi-step process. What steps the fabric
as well as synthetic pyrethroid. After the wool fibers goes through depends on the type or blend of fiber
have been sheared, they are treated with chemicals and how it will be treated afterwards. In some cases,
during the scouring and washing processes. pre-treated fabrics are manufactured for later garment
dyeing procedure.
Man-made fibers such as viscose (rayon) or lyocell are
based on cellulosic raw material, normally from wood Step 5-Dyeing and printing
pulp. They are heavily treated with chemicals before
Throughout dyeing and printing, both hazardous
the new fiber is spun. The whole process of producing
chemicals and dyestuffs are used. Dyes used for
fibers from wood pulp is very resource intensive,
dyeing, can also be used for printing, but must then
involving the use of several hazardous chemical
undergo the same fixation and washing steps after the
substances. Lastly, the synthetic fibers are made from
dying process. The most common way to print a fabric
monomers sourced from fossil oil feed sto Lastly, then
in full width is to use pigment prints, where the
are subsequently polymerized into different fibers.
pigments stick to a surface using polymeric resin or a
Given all the possible monomers that can be made
binder. No washing processes are needed. For
from a synthetic feedstock, the possible combinations
garment printing, plastisol printing is very common.
are endless. However, the most common synthetic
The PVC- based paste often contains hazardous
fiber is polyester followed by polyamide, polyacrylic
chemicals, such as phthalates, but there are also
and aramide. Depending on the monomer used to
alternatives based on acrylate or polyurethane. Dyeing
produce the fiber, an endless number of chemicals
of fabrics can take place in several steps when
may be used in the process For some of the synthetic
processing the textile. It can be done when spinning
fibers such as polyester, dyeing can be achieved
the synthetic or man-made fibers, as loose natural or
already when the fiber is manufactured
regénerated fibers and in the form of yarns or fabrics.
Step 2 Yarn production Garment dyeing is also common. Full-width printing of
fabrics is carried out on pre-treated fabrics, but it is
-as soon as the fiber has been harvested or produced also possible to put a print on a garment or
the next step is to spin The fibers into a yarn. It easy to manufactured textile product by screen or transfer
believe that this step, which is a mechanical one uses printing. Digital printing is another method.
no chemicals.But in order to increase the strength of
fiber, increase fiber cohesion and reduce friction Step 6-Finishing treatments
during the spinning process, spinning oils are added.
This step of the textile process is all about adding
Step 3-Fabric production special technical properties or desired, such an
aesthetic appeal to the finished fabric. Depending on
What is essential of textile manufacture is fabric the properties desired such as flame retardance,
production. Fabrics can be created il many different enhanced water resistance, antibacterial treatment,
ways, the most common are by weaving, knitting or protective coatings or specific fashion treatments, a
through production of non-woven fabrics. To prevent diverse range of chemicals are utilized.
the yarn from breaking during these processes, it is
important to strengthen the yarn and reduce friction. Step 7 -Manufacturing, transport , sales and retail
As soon as the fabric has the desired color and environment-friendly, less consumption of chemicals
properties, it is made into finished products such as in producing textile art is ideal.
sweaters, jeans, shoes or other special items like
carpets, furniture or car seats. This step includes Combining Techniques
processes such as cutting, sewing and the addition of Combining techniques dealing with textile art is the
buttons and zippers, for example. In some cases, latest trend in this fast-growing industry worldwide.
dyeing and printing the finished garments, with such This includes the mix-and-match of techniques that
the fabric only pre-treated occurs at this step.In can be utilized in textile crafts. The layering of fabrics
garment dyeing there are a lot of dyestuff and and designs can be of great usage to create textile art
chemicals used (showed in step 5). Sometimes dyestuff masterpieces.
with quite bad wash permanence are chosen to give
the clothing fashion a worn-out look. For garment A Sense of Place
printing, Plastisbosen to give the clothing common, but
There will always be a market for textile art industry
there are other types available for example based on
across the globe In fact, every country has a distinct
acrylate or polyurethane. In terms of the transport
trademark that is distinctive to one another. There
preparation, which includes protection from mold
might be similarities but there will always be a special
during transportation and storage, biocides are mostly
place of uniqueness and individual ownership and
used.
identity. Museums and galleries showcase wonderful
Textile Art Process masterpieces of textile art.

Exploring, Finding and Collecting 2. T'nalak: A Product of Soul Dreams and Imagination

It involves a set of guidelines for picking plants that The t'nalak is a textile art of weavinghand-crafted by
can be a good source of generating raw materials in the T'boli weavers in the province of South Cotabato in
making thread fibers. Usually, it utilizes trial and error Mindanao. This magnificent work is made from abaca
method anchored on experimental process to ensure a fibers dyed with organic juices from fermented roots,
good quality of thread fibers in creating beautiful leaves and bark of local flora made available in the
fabrics for textile art. natural environment.Its intricate designs originated
from the weavers dreams hence, t'nalak weavers
Natural Color earned the title as "dream weavers" Wonderful t'nalak
The world of textile art focuses on searching the best designs are products of soul dreamers; they use red,
raw materials from plants that can be sources for black and natural white of the abaca fiber. There is no
natural colors. In creating textile art, it is also chemical-based procedure used in the dying of the
necessary to plan the design ahead in order to know abaca fibers. Every dream depicts a unique and
the thread fiber colors that are part in creating a brilliant conceptualized design under the guidance of
masterpiece. Fu dalu.

Rust Marks The calling of the abaca spirit - Fu dalu (guardians of

the t'nalak designs) in the process of a dream, is the
Making rust prints (it is a kind of textile art that looks starting point of making the t'nalak (Beuno, 2017), It
like a light- brownish result of fabrics) is like producing takes up to 3 weeks to do the dying process of the
an olden art which ideally, is made of the textile abaca fibers to achieve its desired hues. In addition, it
process with the presence of salt water. takes up to two weeks to finish a t'nalak from the
weaving part up to the finished product. During the
Foraged Fibers actual weaving, there is no pattern of design that is
These are raw materials that can be used for followed and used. It is purely mental image of the
manufacturing the thread fibers for textile art. Locally, figures After it is woven, the fabric is thoroughly
the usage of plants like pineapple, abaca and water lily washed in a river so that the entire piece can be
are great sources of found thread fibers. To be stretched following the waves and flow of the river.
After washing and air drying, the t'nalak is beaten
repeatedly with a hard and round wooden stick in Source: Youchengco Museum Collection
order to flatten and smoothen the knots of the fabric.
As much as possible all the members of the 4. Dagmay and Ikat
community take their respective part to do this The Mandaya weavers of Davao Oriental are known
masterpiece. In this case, men are in-charge to do the for their ikat (a weaving pattern) made basically with
farming, harvesting and putting the t'nalak in glossy abaca fiber (Bueno, 2017). The ikat is also prominent
state, using a cowrie shell as finished product. On the among the Bagobo, B'laan, T'boli, Yakan, Tausug and
other hand, women are fully in-charge of the weaving the rest of the tribes of Mindanao. Dagmay is a
process. popular textile of the Mandaya exhibiting patterns of
One interesting factual trivia in this art is that there are man and crocodile (Bueno, 2017).
certain designs which require the weaver not to Figure & Dagmay Fabric of the Mandaya of Oriental,
engage in an intimate marital activity in the entire Source: Garcia (2019)
duration of the weaving process, in order to protect
the purity of the design. Moreover, not every t'nalak 5. Inaul Textile Art
weaver knows every design. Some of the designs are
The Maranaos in Maguindanao are known for the
well-kept within the family of those who originally
heirloom piece called inal, as botechnique in the
dreamed it and wove these across generations.
making of malongen for the heirloom picommonly
Figure 3. nalak vita 12016 Goda Tinalak berestant & won by bath condens. Literally, inaud meaning
Care (2012) wraparound skirts commonds infused of Maguition
threads depicting inthaten, using silk and gold threads
At the right side is the most notable persona of the emblem of Maguindanao
T'boli, Lang Dulay. She led the preservation of tradition
of the T'boli group which earned various national Figure 8. Inaul Fabric of the Maranao in Maguindanao,
recognition for herself. This includes NCCA National Source: MyMindanao
Artist - Gawad Manlilikha ng Bayan (the highest given
6. Banig
award by the Philippine government to a national
artist). Further, she opened the Manlilikha ng Bayan The tropical regions of the Philippines offer several
Center to train other women to become dream varieties of plant resources for the weaving of banig
weavers in order to continue the legacy of this T'boli's (mats). Banig (mats) are plaited from straws extracted
pride the t'nalak. Moreover, Lang Dulay started to from palms such as buri (Corypha elata), pandan
become a dream weaver at the age of 12. She was (Pandanus spp) and sedges like tikug (Scirpusgrous, S.
born in 1928 and died in 2015. erectus, S. lacustris, Fimristylis utilis) (Alvina, 2017).
Banig is crafted because of its several uses. The
3. Pis-yabit or Seputangan
fundamental purpose of bamig is used for sleeping to
True of being Muslims, the Tausugs in Sulu, Philippines provide a cozy sleep in a very humid tropical climate.
are loyal to their geometric motifs and designs in their Among the indigenous peoples in the country, banig is
art of weaving known a the pis-yabit. The art is derived used to as gift for a newlywed couple and foreign
from a Tausug word pis (headcloth) and yabit guests. Today almost everybody sleeps on his/her
(geometric) which is commonly worn among Tausug comfy mattress. The use of banig for sleeping is no
men (Vestribia, 2019). For the Yakans in Basilan calls longer fashionable. Its use is shifted to the creation of
pis-yabit as seputangan (Bueno, 2017). Pis-yabit or accessories like bags, table runners, dollies, wallets,
Seputangan is a prized handwoven fabric, which is purses and wall plasters. The Bontocs of the
worn in special occasions like weddings. The fabric is a Cordilleras of Luzon use a mat for ritual purpose
symbol of rank and status among the Tausug. As part outside of the house (Alvina, 2017)
of promotion, this fabric is used now as frames, tokens
Figure &. Banig, Source: Alvina (2017) & Inocian Banig
and home draperies
Collection
Figure 7. Pis-yubit Art
TABLE SA TABLE 2 FOR ORGANIC COLORS PAGE 286 braided, it resembles a shape of a small wine glass.
naman This is not often seen for sale in stall for eating
because of its very small size. Hence, for the folks, its
7.Puso size does not satisfy the craving of an empty stomach.
One vehicle that contributes to the preservation of the For business-oriented weavers, its size utilizes several
animistic traditions of our early ancestors in the pieces of fronds to weave that consumes longer time
Philippines is the puso. Among the Tausugs in to braid. Today, only few weavers are interlacing this
Mindanao, called puso as tamu. The patupat in design, exclusive to farmers who perform rituals
Northern Luzon, sold in the bustling city of Baguio, is during the planting and harvesting seasons. When
similar to this, but they cook this with brown sugar to used as a ritual object, the binosa fills the perceived
sweeten it. Cebuano farmers in the upland areas use utilitarianism in the opening of a ritual offering.
several pieces and designs of puso as a ritual object Plate A. The Pictorial Process of Weaving Binosa
related to farming life practices. Although the practice (Inocian, 2015)
of wearing puso is disappearing because of the
advancement of knowledge, technology and the Plate A illustrates nine figures to weave the binosa.
Christian faith, the art of weaving puso is still around The positioning of the hand and the palm strip in
to fulfill the gastronomic needs among the lower Figure 1 by taking one strip and interlacing it right over
income people in Cebu. Puso is visible as a street food left firmly held by your thumb. This proceeds to the
in the city's vibrant sidewalks, local stalls in food initial weaving in Figure 2 by taking the leg strip and
courts, and bus terminals paired with barbeques. looping it to the rear side to form the lower coil. The
siomais and other local foods. weaving continues in Figure 3 by taking the head strip
and inserting it right over left on the upper coil. To
Weaving of Puso in Six Designs form the bottom part of the pouch in Figure 4, the
Nocheseda (2009) elaborated on several designs of weaver takes the tail end strip and inserts it to the rear
puso from the different parts of the Philippines. side of the lower coil. Figure 5 shows how to insert the
However, as mentioned in Chapter 1, there are six leg strip and interlace to the lower end of the pouch's
designs of puso visible in Cebu's market namely: head strip.
kinasing, binaki, badbaranay, manan-aw, tinigib, and To finish the braiding process, insert the leg strip and
binosa. Weaving of puso is one of the challenging skills interlace the upper end of the upper coil as shown in
of the weaver. This art is crafted with our fine motor Figure 6. As given in Figure 7, tighten the newly woven
skills. Its success is determined by the speed pouch by pulling down both the head strip and leg
movement of the weavers' fingers to interlace the strip to the tail end. The pouch is ready for rice
palm, strips during the weaving process. The smaller containment. As shown in Figures 8 rice grains are
the puso size the faster it is woven, and the bigger its poured into the pouch in the amount that is half of its
size the longer it is woven. Plates A to F provide you a size. Figure a shows the locking in the tail strips in the
guide on how to weave each of the puso designs. ration for boiling as the first step in the actual cooking.
Reviving some of these forgotten pouches, the Cebu The Weaving Process of the Kinasing
Normal University Museum holds a complete
collection of these six designs. Part of the advocacy Another common visible design of a rice pouch
and the goals and objectives of the Culture, Arts and available in the market today is the Kinasing.This
Design Association of the Philippines, Incorporated design resembles a shape of a fist like a human heart .
(CADA-PHI) is to help the preservation and promotion Hence, it looks like a heart. In the ritual practice, the
of the local Cebuano culture, arts and design through kinasing is used for self glorification in a willful
education, training and conferences. thanksgiving for a bountiful harvest, luck, health
protection and other personal needs. The kinasing is
The Weaving Process of the Binosa woven with two palm strips. The weaving process is
The binosa is the easiest way to weave because it is divided into three sets of plates. Plate B1 shows its
interlaced with only one strip of a palm leaf. Once preliminary process with four figures. These figures
show the proper positioning of the hand and fingers to with upward following the right over left interlacing.
start the interlacing of the pouch. If the weaver is a Figure 14 shows the intertwining of the leg strip with
right-handed, the strips are placed in the left hand for the third woven horizontal strip .This figure ends
support; if the weaver is a left-handed, the strips are before the tightening process is done found in Plate
positioned in the right hand and the left hand will do B3.
the interlacing process.
Plate B3. The Pictorial of the Tightening Process of
Plate B4. The Pictorial of the Preliminary Process of Weaving Kinasing (Inocian 2015)
Weaving Kinaxing (Inocian 2015)
Figure 15 shows how to release your hand to tighten
As shown in Figure 1, hang the frond side of the strip the pouch.It follows Figure 16 by always pulling the
by the left hand (for a right-handed weaver) or by the head strips down to the tail strips on both the front
right hand (for the left-handed weaver). Proceed to and the rear sides of the pouch.Figure 17 shows how
Figure 2 by taking the frond strip in front of you and to pour rice grains into the pouch. Make sure that the
loop it to the right with the back strip folding it to the amount of rice grains to be poured in is half of the
top and the left thumb supporting it. Figure 3 allows pouch's size. Finally, Figure 18 shows how to lock the
you to take the frond strip at the back and loop it tail strips in preparation for boiling.
towards the left with the front strip to the bottom and
the left thumb supporting it. In Figure 4, insert the tail- The Weaving Process of the Tinigib
end of the back strip to the lower part of the front Similar to the binosa, the tinigib, once used in the
strip. These four figures are necessary. The intricacies ritual, exhibits the value of perceived utilitarianism
of the kinasing weaving are undertaken in Plate B2. because of its shape that looks like a chisel used by a
Plate B2. The Pictorial of the Intricacies Process of carpenter in constructing for furniture. This design is
Weaving Kinasing (Inocian 2015) no longer visible in the city's stalls, unless used for
ritual purposes. Like the kinasing, the tinigib is woven
There are nine Figures from 5 to 14. Plate B2 shows with two fronds. In fact, Figures 1 to 10 are identical
how to continue with the interlacing of the kinasing to with the same figures in the kinasing. It is only in
completion. In Figure 5 the weaver inserts the tail- end Figure 11 that variation begins to create a flatten
of the front strip to the lower part of the back strip. bottom like the edge of a chisel, until it is completed to
Figure 6 shows how to insert the tail-end of the front Figure 18. Its weaving follows the preliminary, intricate
strip to the upper part in between the two head-strips and tightening process in Plates C1, C2 and C3.
and release the strip out to the rear side. To observe
symmetry, Figure 7 shows how the weaver inserts the Plate Cl. The Pictorial of the Preliminary process of
tail-end of the front strip to the upper part in between weaving.Tinigib(Inocian 2015)
the two head-strips and how to release the strip out to The preliminary process found in plate c1 in four
the front side. Figure 8 indicates how to loosen-up figures are the same with the kinasing. To weave
your left hand and take the leg-strip in front and tinigib you simply follow the description found in
weave directly toward the bottom following the figures 1 2 3 and 4 in plate b1 it's intricacies of weaving
position of the head strip. Figure 9 shows how to from figures 5 to 10 found in plate c2 are similar with
loosen up your left hand and take the leg-strip at the the kinasing found in plate b2 also the only distinction
back and weave directly toward the bottom following of these two designs are in figures 11 to 14 in plate c3
the position of the head strip. Figure 10 guides you to in figures 11 intertwined the leg strip with the second
take the leg strip to the front side and twist it towards woven horizontal strip this is continued in figure 12 by
the right and weave upward following the right over intertwining the leg strip with the first woven
left interlacing. Figure 11 directs you to intertwine the horizontal strip to observe balance figure 13
leg strip with the second woven horizontal strip. Then intertwines the leg strip with the third woven
proceed to Figure 12 to continue intertwining the leg horizontal strip plate c2 ends with figure 14 by
strip with the fourth woven horizontal strip. Figure 13 releasing your hand ready to tighten the pouch.
shows you how to release your hand and take the leg
strip at the rear side and twist it towards the left and
Plate C2. The Pictorial of the Intricacies of Weaving over left with the first coiled spiral. Figure 6 shows the
Tinigib (Inocian, 2013) interlacing of the second coiled spiral on both sides. To
increase the size of the pouch, Figure 7 illustrates the
Plate C3. The Pictorial of the Tightening Process of interlacing of the remaining third coiled spiral on both
Weaving Tinigib (Inocian 2015 sides. Figure 8 requires you to repeat Figure 7 to the
The tightening process of the tinigib starts with Figure rear side to provide balance. If the length of leg strip is
15 by constantly pulling the head strips down to the still available, then repeat Figures 6 and 7. Figure 9
tail strips on both the front and the rear sides of the requires the release of the coiled strips from your
pouch. Continue tightening the pouch at the reverse hand; insert the tail-end to close. Figure 10 shows how
side by constantly pulling the head strips down to the to release the coiled strips from Your hand until they
tail strips of both the front and the rear sides of the reach the opposite side, to prepare for the tightening
pouch as shown in Figure 16. To prepare for cooking, process.
Figure 17 shows how to pour rice grains into the Plate d3 shows figures 11 to 14 as essential process in
pouch; the amount is half of the pouch's size to the tightening of badbaranay. Figure 11 shows you,
prevent rice from spilling. Figure 18 requires the how to position your hand in preparation for the
weaver to lock the tail strips in preparation for boiling. tightening. Figure 12 guides you to tighten the pouch
The Weaving Process of the Badbaranay by pulling both head strips down until the tail end of
the leg strips. Figure 13 shows you how to pour rice
Badbaranay is derived from Cebuano word badbad, grains into the pouch: the amount is half of the
which means to untie. When used in rituals, the pieces pouch's size. After pouring rice inside, figure 14
of badbaranay are used to open up the ritual complete to lock the tail strips and preparation for
ceremonies to please the spirits of the underworld. boiling.
Hence, pieces of this pouch are essential in the ritual
ceremonies. They are used for a religious purpose. Like Plate D3. The Pictorial of the Tightening Process of
the kinasing, this pouch is interlaced with two fronds Weaving Badbaranay (Inocian, 2015)
and are commonly seen in the city stalls to pair with The Weaving Process of the Binaki
barbeques. Plate D1 shows four basic figures as
preliminaries in the weaving of the badbaranay. The binaki is derived from the Cebuano root word baki
which means frog. The pouch name suggests a
Plate D1. The Pictorial of the Preliminary Process of froglike-shape. Binaki exemplifies a classic and
Weavin Badbaranay (Inocian, 2015) animistic tradition appreciation nature's beauty. This
Figure 1 shows you how to hold the two leg strips with design creates a bigger size of the pouch because it
one common head strip in an open position. In figure utilizes four strips of palm leaves. Similar to other
2, interlace the open leg strips right over left. Figure 3 designs mentioned, this design also consists of three
guides you to take the two leg strips together and sets of weaving processes as found in Plates E1, E2 and
bring this once to the right side to form a spiral in front E3.
side of the open hand, locked by the thumb with the Plate El. The Pictorial of the Preliminary Process of
rest of the fingers providing support. Figure 4 requires Weaving Binaki (Inocian, 2015)
you to repeat figure 3 for the second time to form the
second spiral. If the leg strips are long, make a third Plate e has four figures to start the preliminary
spiral. weaving of the binaki figure 1 directs you to open two
head strips to make four equal leg strips to position
Plate D2. The Pictorial of the Intricacies of Weaving your hand for weaving figure two shows you how to
Badbaranay (Inocian, 2015) interlace the four strips right over left with two heads
The intricacies of the weaving process of badbaranay in opposite directions figure three shows how to twist
are illustrated in Plate D2 in Figures 5 to 10. Figure 5 the two inner leg strips the preliminary process ends
shows both hands holding the pouch carefully and with figure four by holding the inner leg strips firmly in
openly to spread the coils and interlace the curls right the same position.
Plate E2. The Pictorial of the Intricate Process of preliminary process of weaving manan-aw. Figure 1
Weaving Badbaranay (Inocian, 2015) positions the weaver to prepare eight strips of fronds
with four separate head strips byintertwining them to
Plate E2 shows the fifteen intricate figures in the actual have two separate sets.
weaving of the bisaku. To form the pouch's body,
Figure 5 directs you to repeat Figures 3 and 4 for the Plate F1. The Pictorial of the Preliminary Process of
second round of twisted interlacing. Figure 6 continues Weaving Manan-aw (Inocian; 2015)
to repeat Figures 3 and fotecond twisteded interlacing.
Figure 7 shot strips. Figure 8 also directs thit and Figure 2 positions your hand for the right over left
interlace the two leg strips with the first head strips. interlacing. Figure 3 interlaces the first four strips
Figure 8 also directs you to release your hand a bit and towards the opposite first pair of four. Figure 4 shows
interlace the other her tees the testrips with the how to twist the two inner leg strips right over left and
second head strips at the opposite sides. Figure the interlace in the same direction with the two outer leg
interleg sthitwo leg strips to the night si head stripver strips. Plate F2 shows the intricacies of weaving
left. Figure 10 interlaces the two leg strips to the left manan-aw from Figures 5 to 19. Figure 5 interlaces the
sideright over left. Figure 11 interlaces the four leg second other four strips towards the second pair of
strips right over left to form the opposite end of the four, while the rest of the fingers are providing support
pouch's body. to the interlaced end of the pouch. Figure 6 shows
how to twist the two inner leg strips right over left and
Plate E3. The Pictorial of the Tightening Process of interlace in the same direction with the two outer leg
Weaving Badbaranay (Inocian, 2015) strips. Figure 7 guides you to release the other four leg
strips and to start interlacing the first set of four leg
Plate E3 shows the four figures in the tightening strips right over left.
process of the woven binaki. Figure 20 shows that the
interlacing of the pouch is concluded that needs to be Figure 8 interlaces the other four leg strips at the
tightened. Figure 21 shows the tightening of the pouch opposite side. With your left hand, Figure 9 shows how
by pulling down both the head and four leg strips to hold the other two leg strips while the right hand
toward the opening of the pouch. Figure 22 illustrates interlaces the first two leg strips towards the first head
how to pour rice grains into the pouch; the amount is strips. Figure 10 interlaces the second leg strips toward
half of the pouch's size. Figure 23 shows the locking of the second head strips. Figure 11 interlaces the third
the tail strips in preparation for boiling. leg strips toward the third head strips. Figure 12
interlaces the fourth leg strips toward the fourth head
The Weaving Process of the Manan-aw strips. Figure 13 interlaces right over left the first four
Manan-aw is a derivative from a Cebuano word tan- leg strips. Figure 14 interlaces right over left the
aw, which means to watch or to view. The noun second four leg strips on the opposite side. Figure 15
manan-aw is local term for phalaenopsis amabilis-an interlaces the first four leg strips toward the two head
endemic orchid that aftracts everyone to watch its strips. Figure 16 interlaces the second four leg strips
cascading beautiful flower once it blooms. Its blooms toward the two head strips on the opposite side.
also seem to watch, in return, those who' admire its Figure 17 interlaces the first leg strips toward the
beauty and charm. Among the six designs of puso, the pouch's opening. Figure 18 interlaces the second leg
manan-aw is the biggest, because of its eight strips of strips toward the pouch's opening. Figure 19 interlaces
palm used in the weaving process. Hence, this design is the third leg strips toward the pouch's opening these 1
the most difficult to weave that requires focus and Figures complete the intricacies of the weaving
hand dexterity to braid. The length of time and the process of manan-aw before the actual tightening
intricacies of weaving make this stuff unpopular in the process is done.
market compared to other designs with smaller sizes Plate F2. The Pictorial of the Intricate Process of
When used as a ritual object, the manan-aw is offered Weaving Manan-aw (Inocian, 2015)
to the highest gods especially for asking special favors Like the other designs, the tightening process consists
like good health, good fortune and a good harvest of four figures as illustrated in Plate F3. Figure 20
(Inocian, 2015). Plate F1 shows the four figures in the
interlaces the fourth leg strips toward the pouch's basket using a molder (usually a finished basket) as a
opening. Figure 21 shows how to hold the finished guide. Once one becomes an expert weaver the
pouch for tightening. Figure 22 guides the weaver on molder is no longer needed to form its base. Step 4 is
how to pour rice grains into the pouch; the amount is the bending of strips to form the circular sides of the
half of the pouch's size. Figure 23 shows how to lock basket. From the base, the strips are bent to form the
the tail strips in preparation for boiling. basket's body. Horizontal strips are coiled with
radiating strips. Once the base and lower body are
8. Bakat shaped, the molder is removed.
The Philippines is known for the art and craft of Step 5 is the weaving of the strips that forms the lower
weaving. Aside from the town of Basey, Samar that is body of the basket that extend from the base. More
known for the weaving of tikug mats, the town of strips are added to form the upper body until the rim
Antequera, Bohol is one of the recognized towns in the is formed. More horizontal coils are formed to reach
Visayas that produces several types of baskets for the desired height of the basket. Step 6 is the weaving
trade that boost its economic development. Basket of the strips to form the upper body of the basket,
weaving is another example of a perishable art. The which is extended from the lower body. Reaching the
town of Barili, Cebu is known for their art of weaving ideal height of the basket, the weaver decides to
bakat. It is a type of an open basket with no handle, tighten the rim. Step 7 is the making of the basket
which is used to store heavy weight of harvest such as opening with a thicker strip to coil into the rim. This
vegetables and fruits. Unlike puso that uses of fronds, coil warrants strength and strengthens its shape. The
bakat uses fresh bamboo strips or vines found in the opening is tightened closely to ensure its quality and
natural environment (Inocian et al., 2019). durability.
Plate G1. The Pictorial Process of Bamboo Stripping
(Inocian et al., 2019)

Before the weaving of the bakat, weavers need first

the bamboo strips as the essential element in the
weaving process. Plate G1 shows the five steps in the
stripping process from the bamboo poles. Step 1 the
breaking of the bamboo pole with the use of a
machete. Step 2 is the slashing of the broken pole into
several strips. Step 3 is the first-degree smoothening of
the skin of the strips, with a machete enough to make
the strips bendable. Step 4 is the second-degree
smoothening of the strips to remove the excess stalk,
so that only the fine skin of the strips remains. Step 5
is the third-degree smoothening of the strips to
produce the needed 18 to 24 pieces of strips needed in
the actual weaving.

Plate G2. The Pictorial Process of Weaving Bakat

(Inocian, 2015)

Plate G2 shows the seven steps in the weaving process

of bakat. Step 1 is the plotting formation of two pairs
of bamboo strips to form a hexagram shape of is eyes
to initiate the weaving process. Step 2 is this to form a
hexagram shape of Strips are added parallel to the six
sides of the first hexagram formed in Step 1. This
process is repeated until the desired size of the base is
formed. Step 3 is the formation of the base of the