○ Gender Role: Weaving is an exclusive
DREAMS, SOUL, AND SPACE task for women.
Textile Art ● Weaving Process:
● Definition: A process of creating something ○ Iwalangan: Spinning, winding, and
using fibers gained from sources like plants, skeining threads.
animals, insects (silkworm), or synthetic
materials. ○ Dyeing: Warping the colored threads.
● Purpose: People develop textiles to: ○ Actual Weaving: Involves two females
to operate.
○ Keep warm
● Types of Blankets:
○ Protect surfaces
○ Adolna: Body of the blanket.
○ Insulate dwellings
○ Balingbing: Side pieces.
○ Talungtung: Narrow band with fringes.
Philippine Textile Art Traditions ○ Odogna: Back of the blanket.
1. Invention of the Loom ○ Putuna: Reverse side.
○ Definition: The loom is a manually ● Types of Blankets Based on Use:
operated device that holds the warp
threads steady while filling weft threads ○ Gamong: For the dead.
are woven through them.
○ Hape: For the wealthy.
○ Weave: The interlace of warp and weft
threads. ○ Kintog: Used for exchange for pigs.
○ Oban: Used for carrying babies.
○ Bayaong: Most common blankets (dark
Cordillera Administrative Region – Woven Fabrics blue).
● Kalinga Textiles ● Traditional Ifugao Wear for Men:
○ Characterized by dominant red stripes ○ Wanno (G-string): Traditional wear.
and geometric patterns, as well as nature
symbols. ■ Infra: Plain without designs.
○ Color Scheme: White, yellow, black ■ Binuhlan: Large red stripe
fibers. (habak).
○ Style: Colorful, bright, bead-accented. ■ Dayude: Loose end in front of
the G-string.
● Ifugao Textiles
■ Iwitan: The one at the back.
○ Dominated by blue stripes and diamond
stripe motifs of white and red.
○ Style: Less colorful and darker in tone.
● G-string Variations:
○ Tinannong: Poor man’s G-string, Region IV-B Palawan – Woven Fabrics
completely white.
● Ammutina Grass: Only found in Palawan and
○ Piniwaan Nilihha: Richer G-string used for weaving.
version of binuhlan.
○ Process:
○ Piniwa: G-string design made through
dyeing. 1. Dye the grass into desired
colors.
● Design Representation and Meaning:
2. Dry the grass and dye the fibers.
○ Linuhhong: Mortars.
3. Wrap the threads needed for
○ Tinatagu: Men. weaving.
○ Inulog: Snakes. 4. Draw harvested threads through
heddle wires and reeds.
○ Bittuon: Stars.
5. Waft the threads by pushing
○ Bannia: Iguanas. pedals.
○ Hinolgot: Spears. 6. Batten the weaves.
Ilocos Region – Woven Fabrics Mindanao Region
● Abel: A textile from the Ilocos Region. 1. T’nalak (South Cotabato) – Woven Fabrics
● Binakul: One of the most recognizable patterns. ○ Made by the T’bolis in Lake Sebu.
○ Popularity: End of the 19th century. ○ Material: Abaca fibers.
○ Uses: Blankets, pillow cases, ○ Color Scheme: Red, black, and the
contemporary fashion, and personal original color of abaca leaves.
accessories.
2. Mandaya (Davao Oriental) – Woven Fabrics
○ Material: Cotton yarns dyed with sap
from a plum called Sagut. ○ Made from abaca-handwoven cloth.
○ Design: Intricate designs revolving
around man and crocodile.
Region IV-A Aurora Province – Sabutan – Woven ○ Use: Dagmay is worn as women’s skirts,
Fabrics and also used as blankets and wraps.
● Sabutan: Strong and durable with texture 3. Pisyabit (Jolo, Mindanao) – Woven Fabrics
resembling that of a Panama hat.
○ Created by the Tausug.
○ Characteristic: Unbleached, as the
material does not bleach readily. ○ Use: Head scarf worn by the Tausugs,
used to tie around the hilt of the kris
(sword), and as a sign of rank.
4. Seputangan (Basilan and Sulu) – Woven Filipino Concept of Space
Fabrics
● Unlike Westerners who value privacy, Filipinos
○ Created by the Yakan. prefer communal living spaces.
○ Use: Worn by women around the waist ● Family Structure: Three or more generations
or as a head cloth. often live under one roof, sharing a common
living space.
○ Design: Patterned after the colors of the
rainbow. ● Cultural Concept: Follow the Asian tradition
of shared space and limited privacy.
Soul and Space
The Art of Okir or Ukkil
● Definition of Space in Filipino Architecture:
● Definition: Geometric and flowing designs,
○ Simple structures intended for basic often seen in Maranao and Muslim-influenced
shelter, constructed from local materials artwork in Mindanao (especially in the Sulu
and tools. Peninsula).
○ Built by people to suit specific needs ○ Medium: Carving, basketry, pottery,
and available space. and weaving.
○ Style: Similar to the Arabesque and Art
Nouveau in Western design.
Philippine Folk Architecture ○ Significance: Symbol of power and
prestige, often worn during festivals.
1. Lean-to Shelter:
● Cultural Groups Applying Okir/Ukkil:
○ Usage: Portable houses for the Aetas or Tausug, Maranao, and Yakan.
Negritos, suited to their nomadic
lifestyle.
UNIT VII. DREAMS, SOUL, AND SPACE
○ Design: Reflects the Agta hunting and
gathering way of life.
○ Structure: Based on the principle of a
tripod using strong, light branches and PHILIPPINE TEXTILE ART
palm fronds.
● Overview: Some years back, Philippine
traditional weaving practices and colorful
2. Higaonon Tree House (Agusan and Misamis
indigenous textiles were put into the spotlight
Oriental):
when it was put on permanent exposition at the
National Museum through the exertion of Sen.
○ Built from lashed saplings, nipa or
Loren Legarda. Entitle, "Hibla ngLahing
cogon grass, split bamboo, rattan, and
Pilipino:
tree bark.
● Key Influences: The Artistry of Philippine
Textiles," the discussion highlighted the distinct
○ Use: Defenses against enemy attacks.
creativity and DNA of the people among other
cultures through the fabric. (Soralla, 2017).
○ Capacity: 60 people.
Eventually, the exposition was graced by Queen
Sofia of Spain, Paolo Zegna of Ermenegildo
Zegna, and Lady Lynn Forester de Rothschild, ● Origin: Province of Kalinga
among many others, and continued to gain
popularity. ● Details:
○ Motifs: Red and blue bands, geometric
patterns, and stripes.
Pinilian Weave
○ Technique: Twill-weave for texture.
● Community: Ilocano
○ Patterns: Miniature lattice and inataata
● Origin: Ilocos Region (diamond design).
● Details:
○ Known for handweaving, an ancient
tradition. Piña Fabric
○ Materials: Capas or cotton. ● Community: Aklanon
○ Weaving is done on a pedal loom ● Origin: Aklan
(pangablan) using multiple techniques.
● Details:
○ Types of Weaving: Sparse and
continuous supplementary weft ○ Made from the leaves of the red Bisaya
techniques. pineapple.
○ Unique technique: Impalagto, a type of ○ Process: Extraction is delicate,
civilian weaving using concurrent warp involving both bastos (coarse thread)
and weft floats. and liniwan (fine cotton).
○ Use: Primarily for the barong Tagalog,
with embroidered floral or vegetal
Bontoc Weave designs.
● Community: Bontoc ○ Famous centers: Lumban, Laguna, and
Taal, Batangas.
● Origin: Mountain Province
● Details:
Hablon Weave
○ Symbolizes balance and order.
● Communities: Kiniray-a and Hiligaynon
○ Complex weaving technique: Kan-ay
and langkit. ● Origin: Panay Islands
○ Woven symmetrically with a ● Details:
warp-striped design.
○ Known for plain cloth with plaid and
striped patterns.
○ Legend: Datu Lubay introduced
Kalinga Textiles weaving to Panay.
● Community: Kalinga ○ Use: Often used in patadyong (Visayan
wraparound skirt) and panuelo
(headcloth). ○ Made from abaca fibers.
○ Weaving Method: Uses backstrap
Saputangan Tapestry Weave loom, ikat designs.
● Community: Yakan ○ Use: Commonly used for native tubular
skirts like sinukla and bandira.
● Origin: Basilan
● Details:
○ Known for highly intricate and rich Dagmay
design.
● Community: Mandaya
○ Technique: Tapestry weave, optical
illusions created in patterns. ● Origin: Eastern Mindanao
○ Variants: Bunga-same and siniluan ● Details:
weaves.
○ Woven from abaca fibers using a
backstrap loom.
○ Themes: Designs often depict man,
Mabal Tabih nature, and spirits, especially crocodiles.
● Community: Blaan ○ Use: Primarily for women's skirts, but
also used for blankets or funeral wraps.
● Origin: Sarangani and South Cotabato
● Details:
○ Made from abaca fibers using the Maranaw Textile
backstrap loom.
● Community: Maranaw
○ Dyeing: Uses the warp tie-dye resist
(ikat) method. ● Origin: Lanao del Norte and Lanao del Sur
○ Designs: Features crocodiles and curls, ● Details:
traditionally embroidered.
○ Known for malong, a tubular garment.
○ Cultural Significance: Woven by
women of high status, has spiritual ○ Techniques: Weft and warp ikat tie-dye
significance. resist, with supplementary weft designs.
○ Patterns: Langkit and geometricized
crocodile forms.
Bagobo Inabal
● Community: Bagobo Manobo
Pis Syabit Weave
● Origin: Davao del Sur
● Community: Tausug
● Details:
● Origin: Sulu Archipelago
● Details:
○ Weaving Skill: Weavers use no preset PHILIPPINE FOLK ARCHITECTURE
patterns, imagining designs as they go.
Bahay Kubo (Nipa Hut)
○ Materials: Uses seven to eight colors in
each piece. ● Details:
○ Use: Traditionally worn by men and ○ A one-room house with an attic.
warriors.
○ Built using bamboo rods, with thatched
roofs made of anahaw or nipa.
○ Represents rural Filipino culture.
T’nalak
● Community: Tboli Ivatans (Batanes)
● Origin: South Cotabato ● Details:
● Details: ○ Built with limestone walls and cogon
roofs.
○ Known as "dream weavers," with
designs bestowed through dreams. ○ Features narrow doors and windows
with wooden shutters.
○ Materials: Abaca fibers.
○ Colors: Traditionally black, red, and Torogans (Maranaw House)
white.
● Details:
○ Cultural Use: Worn in royal
ceremonies, symbolizes birth, life, and ○ A symbol of elite status.
death.
○ Used as a courthouse and community
meeting hall.
Ukkil Motifs of the Sulu Archipelago Badjao’s Stilt Houses and Houseboats
● Types of Motifs: ● Details:
1. Sumping (Floral): Includes motifs like ○ Platform made on both ends of the
sampaka (frangipani) and lotus. boats.
2. Birdo (Tree/Plant): Curvilinear leaf and ○ Kitchen typically located at the back.
vine designs, symbolic of fertility and
prosperity.
The Lean-To
3. Hashas (Serpent): Includes snakes,
dragons, and aquatic animals. ● Details:
Symbolizes water, fertility, and royal
power. ○ Portable structure used by the Aetas.
○ Built with a tripod base, easily carried
during hunting.
2. Naga (Serpent):
EFFECT OF SPACE IN DAILY LIVING ○ Design Features: Characterized by a
dynamic S-curve body, with a long
● Concept of Space: flaring beak at one end and a forked tail
at the other.
○ Space refers to the arrangement and
utilization of an area for living or other ○ Motifs: Richly decorated with
functions. curvilinear okir motifs.
● Significance: ○ Cultural Meaning: Naga (meaning
"snake" or "serpent" in Sanskrit) has
○ Good space management improves positive associations in Hindu-Buddhist
functionality, comfort, and overall traditions as a sacred guardian and
well-being in daily life. protector.
3. Pako Rabong (Growing Fern):
○ Design Features: A plant with floral
Significance of Philippine Textile Arts Today and curvilinear motifs, originating from
a curving base that tapers symmetrically
● Cultural Heritage: Textiles represent identity, into a bud-like apex (pyramid style).
traditions, and craftsmanship.
● Revival: Increased interest in Filipino fabrics in
modern fashion and design.
UKKIL/UKIR: DISTINCTIVELY MINDANAO
ART
● Cultural Context: A distinctive art form from
Mindanao, notably practiced by the Tausug,
Samal, Badjaw, and Jama Mapun of the Sulu
OKIR/UKKIL: WOODCARVING DESIGN Archipelago.
● Region: Muslim South (Maranao and Tausug) ● Meaning: Ukkil or Ukkir (from ukit) refers to
both the art of sculpting and curvilinear designs
● Related Term: Ukir (Maranao) or Ukkil akin to arabesques (ornaments or flowers).
(Tausug), both derived from the Tagalog word
ukit meaning "to carve."
Common Types of Ukkil Lukis:
Principal Okir Designs: 1. Sumping (Floral Motif)
1. Sari-manok (Bird with Fish): 2. Birdo (Tree-plant Motif)
○ Symbolism: Represents Maranao life 3. Hashas (Serpent Motif)
and culture, particularly around Lake
Lanao.
○ Cultural Context: The bird with fish
symbolizes the Maranao way of life and MOTIF DESCRIPTIONS
is rooted in ancient epics.
1. Sumping (Floral Motif):
○ Common Symbols: Sampaka
(frangipani), Sumping Kayapu’ (lotus
flower). (a bird-like figure), are often used to
symbolize various natural elements.
○ Cultural Significance: The lotus flower
motif, inspired by Indian religious
symbolism, is central to local decorative
art. It is considered sacred in Buddhism,
symbolizing the divine. COMMON MEDIA OF Ukkil/Okil
○ Use: Commonly embroidered on ● Basketry
garments, wall coverings, and canopies.
Found on ancient coral stone grave ● Cloth Weaving
surrounds in Tawi-Tawi.
● Embroidery, Applique, and Cutwork
○ Historical Connection: The lotus motif
is often seen in grave markers, ● Carving
specifically the "comblike" shape of
female grave markers. ● Pottery
2. Birdo (Tree-plant Motif): ● Blacksmith and Casting
○ Symbolism: Represents fertility, ● Goldsmith & Silversmith
prosperity, life, and paradise, deeply
rooted in Sufism and other spiritual
practices.
○ Design Features: Curvilinear foliate CREATIVE EXPRESSION
designs, with stylized dahun (leaf) and
begun (vine). ● Design Exploration: Using the common
elements of Lukis Ukkil, experiment with
○ Tree of Life: The motif symbolizes patterns and create your own unique designs.
timelessness, infinity, and eternity.
● Motif Creation: Focus on the key
○ Cultural Significance: Known in local motifs—Sumping (floral), Birdo (tree-plant), and
traditions as the taubi or katsura tree, Hashas (serpent)—to generate new art forms
representing the Hindu "Tree of that reflect the cultural richness of Mindanao's
Paradise" or the Buddhist "Wishing traditional woodcarving art.
Tree."
○ Common Use: Found in canopies and
wall covers during important occasions.
3. Hashas (Serpent Motif):
○ Creatures Depicted: Includes snakes,
dragons, aquatic animals like fish, eel,
dolphin, lizard, and crocodile.
○ Cultural Context: These creatures are
central in the arts and oral traditions of
the region. The dragon (sarinaga) is
often used to symbolize energy and
duality (e.g., fire and water, destruction
and creation).
○ Design Features: Serpent motifs,
especially in the form of the Sarimanok
