TEXTILE ART

AND
THE ART
OF
WEAVING
A Detailed Narrative Report

Submitted to Malyn I. Pogosa

Faculty of the Education Department

Eastern Visayas State University - Ormoc Campus

Ormoc City

In Partial Fulfillment

Of the Requirements for the Course GEN ED 005

ART APPRECIATION

CELIS, REMY
PAGALAN, ELIZABETH M.
PAREDES, NIHCA
RELANO, REGINE O.
REPOLLO, ROSE D.
RIVERA, RECEL ANN M.
RONDINA, LYNNEL A.
TAMPOS, MARY MARIANE A.
TUAZON, WILFREDO
VALIENTE, MARY ANN

MARCH 2024
 I. LESSON OVERVIEW
Have you wondered how the clothes we wear are made and how baskets,
mats, blankets, pouches and other fabrics are produced? All these items we keep
asking about are products of human hands through the art of weaving, before the
industries produced these in great volume through the aid of machines. Why do we
need to learn the art of weaving, despite the technological gadgets that we have?
Many, especially the young, find this art of weaving archaic and unnecessary.
Despite this art’s unattractive notion, we need to assert its relevance for a cultural
value that our past generation held on in order to recognize our identity as a Filipino.
II. LESSON OBJECTIVES
At the end of this Chapter, you are expected to:
1. draw out metaphors from local myths so you will value cultural roots and,
2. deepen your understanding of imaging
III. LEARNING CONTENTS AND ACTIVITIES
Before delving into the planned activities outlined in this learning module, it's
essential to explore the selected pieces of weaving art in Philippines. Weaving holds
significance in the local culture, evident in regional myths and literature classes.
Educators have fostered appreciation for this craft through activities like paper
weaving, enhancing students' fine motor skills and creativity. (Inocian, 2018)
1. THE TEXTILE ART
Textile art is a versatile form of creative expression that utilizes fibers derived
from animals, plants, or synthetic materials to produce both functional and decorative
items. Its origins can be traced back to the earliest human civilizations, where it
served as a vital means of protection against the elements and adverse weather
conditions. Across different geographical regions, textile weavers have played a
crucial role in providing clothing suited to varying climates and environments, ranging
from heavy, insulating garments for colder latitudes to lightweight, breathable fabrics
for tropical regions.
Textile art draws from the natural world for inspiration, incorporating motifs
inspired by landscapes, flora, and fauna. Anthropologists trace its origins back
hundreds of thousands of years when early humans used animal skins for basic
clothing. Today, textile production involves weaving fibers into fabric, which can then
be fashioned into various items. Skilled craftsmanship and knowledge of fibers and
weaving techniques are crucial. Textile design adds creativity, with weavers
experimenting with colors, textures, and patterns. Overall, textile art reflects the
creativity and ingenuity of generations of artisans.

OLD TEXTILE ART MODERN TEXTILE ART

Figure 1. The Contrast of Design between Old and Modern Textile Arts by Swanson
(2020) and Delaunay (2020)
In Figure 1, we observe the transformation of textile art throughout the years.
Originally, textile designs were handcrafted by women using their needlework
abilities to create items such as quilts, pillows, blankets, and table covers as part of
home industries. However, with time and technological advancements, these manual
methods have been replaced by machines to meet the increasing demand for
domestic and office fabrics. Although the evolution of textile art has led to new styles
and imaginations, it doesn't mean we disregard the old methods. The products of
traditional textile art hold immense value and are preserved in museums as a
representation of our cultural heritage. Educational institutions and designers are
making efforts to revive and appreciate these ancient techniques, incorporating them
into modern designs to pay tribute to our ancestors and maintain cultural gratitude
(Youngs, 2013).
COMMON TECHNIQUES IN TEXTILE ART
To produce textiles, one must rely on thread or yarn, typically crafted from a
variety of fibrous materials such as wool, silk, and cotton. In the Philippines, fibers
like hemp from abaca, pineapple leaves, and grass are processed to create fabric.
Notably, the Barong Tagalog, a distinguished national attire for men, is meticulously
made from the finest pineapple fiber, making it exceptionally prestigious. Similarly,
the Mestiza or Balintawak Gown utilizes abaca fiber or other indigenous materials.
After the fiber undergoes processing, it undergoes spinning to form thread, which is
then utilized in crochet, embroidery, knitting, and weaving processes, as outlined in
Table 1.

Table 1. Techniques in Textile Art

Terms Descriptions
 Crocheting It is using a single hook to hook the loops together directly on
the piece of fabric.

Embroidery It is using a thread to stitch the decorative designs onto the

fabric.

Knitting It is Using a pair of long needles to form the loops, moving a

set of loops from one after the other; the stitches are held on
the needle.

Weaving It is creating or producing fabric by interlacing threads.

The techniques in Table 1 are ancient traditions of textile art, forming part of
folk art and needlecraft. Figure 2 illustrates knitting, crocheting, and embroidering
done by hand, while weaving uses a backstrap loom. Embroidery, rooted in myths
and folklore, often portrays flora and fauna, reflecting cultural identities globally
(Youngs, 2015). Yakan weavers from Basilan are known for their tennun cloth,
adorned with suwat pemalan embellishments (Pasilan, 2018). Crochet has become a
popular hobby, with enthusiasts creating various items like clothing, bags, and home
accessories (Watson, 2013).
Embroidery and crocheting are popular hobbies for those seeking relaxation
at home, whether lounging in front of the TV, rocking in a chair, or winding down in
bed. Knitting is preferred for making winter accessories like sweaters, gloves,
scarves, beanies, and bonnets, especially in colder regions and higher elevations.
Weaving is a widespread practice across different seasons and locations. In the
Philippines, tribal groups maintain their cultural traditions through traditional weaving
methods and a close connection to nature. The T'Boli use abaca fiber and natural
dyes for t'nalak, while the Mandaya and B'laan create dagmay and ikat respectively.
The hablon weavers of Argao, Cebu, have revived tangkal in their hablon weaving
through the efforts of the Community Extension Project at Cebu Technological
University's Argao Campus.

CROCHETING EMBROIDERY
 KNITTING WEAVING

Figure 2. Pictorial Presentation of the Four Techniques of Textile Art

To promote the revived folk-art tradition, Dexter Alanzas, a known Cebuano
designer organized the Hablonuevo to promote the industry to wider public,
recognizing cebuano cultural identity in weaving. If one decides to keep crocheting as
a hobby, Mollies Makes Crocheting offers the basic terminologies in crocheting as
shown in figure 3.
beg begin(s):beginning MH make bobble

CC contrast color MC main color

ch chain mm millimeter(s)

ch-sp chain space rem remain

cm centimeter(s) RS right side

 corner-sp corner space sc single crochet

dc double crochet sc2tog single crochet two

stitches together
(decrease by one stitch)

dctog double crochet two sp(s) space(s)

stitches together
(decrease by one stitch)

dec decrease sl st slip(ped) stitches

DK double knit st(s) stitch(es)

(yarn weight)

dtr double treble crochet tr treble

g gram(s) WS wrong side

hdc half double crochet yd yard(s)

inc inc yo yarn over

‘ inch(es)
Figure 3. Watson (2013)
THE TEXTILE PROCESS
Figure 4 shows the seven steps in the textile process to guide anyone who
wishes to engage in this art.
STEP 1: FIBER PRODUCTION
The wide varieties of textiles are made up of fibers that are arranged in
different ways to create the desired strength, durability, appearance and texture. The
fibers can be of countless origins, but can be grouped into four main categories.
Natural fibers, with the exception of silk, have a relatively short fiber length,
measured in centimeters. Silk and man-made fibers have on the other hand very long
fiber lengths (filaments) ranging from hundreds of meters to kilometers long.
 Fiber
Production
Manufacturing
And
Selling Yarn
Production

Finishing
Treatment
Fabric
Production

Dying
And Pre-
Printing Treatment

Figure 4: Textile Process of Production

Plant fibers, primarily derived from cotton, linen, hemp, or bamboo, are
predominantly made of cellulosic material. However, cotton cultivation, the most
common source, poses significant environmental challenges due to its resource-
intensive nature, requiring substantial amounts of water, pesticides, insecticides, and
fertilizers, unless grown organically or sustainably. On the other hand, animal fibers,
such as wool and silk, are protein-based. Wool, sourced from various animals,
necessitates the use of pesticides and insecticides to enhance growth and wool yield,
with dipping being a common practice in sheep farming for parasite control, utilizing
both organic phosphates and synthetic pyrethroids. Additionally, wool fibers undergo
chemical treatment during scouring and washing processes after shearing.
Man-made fibers like viscose (rayon) and lyocell are derived from cellulosic
raw materials, typically wood pulp, but undergo extensive chemical treatment before
spinning into fibers. This process is highly resource-intensive and involves hazardous
chemical substances. Synthetic fibers are produced from monomers sourced from
fossil oil feedstocks, polymerized into various fibers. Polyester is the most common
synthetic fiber, followed by polyamide, polyacrylic, and aramid. The manufacturing
process may involve numerous chemicals depending on the monomers used. Some
synthetic fibers, like polyester, can be dyed during manufacturing.
STEP 2: YARN PRODUCTION
After the fibers are formed, the next step is to spin them into yarn. This
process enhances fiber strength and reduces friction during spinning by adding
spinning oils. These oils play a crucial role in maintaining mechanical strength and
minimizing breakage during the spinning process.
STEP 3: FABRIC PRODUCTION
Fabric production is essential in textile manufacturing and can be achieved
through various methods, including weaving, knitting, or producing non-woven
fabrics. To prevent yarn breakage during these processes, it's crucial to strengthen
the yarn and reduce friction. This is achieved by adding sizing chemicals and
lubricants, which enhance yarn strength and minimize friction, ensuring smoother
and more efficient fabric production.
STEP 4: PRE-TREATMENT
Pre-treatment processes are essential in textile manufacturing and can
involve fibers, yarns, or fabrics. These processes prepare the material to accept dyes
and functional chemicals for subsequent processing. The pre-treatment is typically a
multi-step process, customized based on the type or blend of fiber and the intended
treatment. Some fabrics are pre-treated for later garment dyeing procedures,
undergoing specific steps tailored to their composition and intended use.
STEP 5: DYEING AND PRINTING
Textile dyeing and printing processes involve the use of hazardous chemicals
and dyestuffs. Dyes serve dual purposes for both dyeing and printing, necessitating
fixation and washing steps. Pigment printing and plastisol printing are common
methods, with the latter often containing hazardous chemicals like phthalates, though
alternatives exist. Dyeing occurs at various stages, from spinning fibers to fabric and
garment stages. Full-width printing is typically done on pre-treated fabrics, but direct
garment printing is also common.
STEP 6: FINISHING TREATMENTS
In the finishing step of textile processing, various chemicals are employed to
impart specific technical properties or aesthetic enhancements to the fabric. These
can range from flame retardancy and water resistance to antibacterial treatment and
protective coatings, as well as fashion-oriented treatments.
STEP 7: MANUFACTURING, TRANSPORT, SALE AND RETAIL
Once the fabric achieves the desired color and properties, it's transformed
into finished products like sweaters, jeans, shoes, carpets, furniture, or car seats.
This involves cutting, sewing, and adding details like buttons and zippers. Garments
may undergo dyeing and printing after fabrication, with pre-treated fabric. Garment
dyeing involves the use of various dyestuffs and chemicals, sometimes opting for
those with poor wash permanence to achieve a worn-out look. Plastisol prints (PVC)
are common in garment printing, although alternatives based on acrylate or
polyurethane exist. Biocides are often used for transport preparation to protect
against mold during transportation and storage.
TEXTILE ART PROCESS
● Exploring, Finding and Collecting
It involves a set of guidelines for picking plants that can be a good source of
generating raw materials in making thread fibers. Usually. it utilizes trial and
error methods anchored on experimental process to ensure a good quality of
thread fibers in creating beautiful fabrics for textile art.
 ● Natural Color
The world of textile art focuses on searching the best raw materials from
plants that can be sources for natural colors. In creating textile art, it is also
necessary to plan the design ahead in order to know the thread fiber colors
that are part of creating a masterpiece.
● Rust Marks
Making rust prints (it is a kind of textile art that looks like a light- brownish
result of fabrics) is like producing an olden art which ideally, is made of the
textile process with the presence of salt water.
● Foraged Fibers
These are raw materials that can be used for manufacturing the thread fibers
for textile art. Locally, the usage of plants like pineapple, abaca and water lily
are great sources of found thread fibers. To be environment-friendly, less
consumption of chemicals in producing textile art is ideal.
● Combining Techniques
Combining techniques dealing with textile art is the latest trend in this fast-
growing industry worldwide. This includes the mix-and-match of techniques
that can be utilized in textile crafts. The layering of fabrics and designs can be
of great usage to create textile art masterpieces.
● A Sense of Place
There will always be a market for the textile art industry across the globe In
fact, every country has a distinct trademark that is distinctive to one In fact.
There might be similarities but there will always be a special place of
uniqueness and individual ownership and identity. Museums and galleries
showcase wonderful masterpieces of textile art.
2. T’NALAK: A PRODUCT OF SOUL DREAMS AND
IMAGINATION
T'nalak, a textile art woven by the T'boli people of South Cotabato, Mindanao,
is a masterpiece crafted from shoca fibers dyed with organic extracts from local flora.
Inspired by dreams and guided by the spirit Fu dalu, weavers create intricate designs
using red, black, and natural white abaca fibers. The dyeing process takes 3 weeks,
while weaving and finishing require an additional 2 weeks. Weaving is done without
set patterns, solely guided by mental images. After weaving, the fabric is washed in a
river, stretched, and beaten with a wooden stick. Community members contribute to
the process, with men handling farming and finishing, and women leading the
weaving. Interestingly, some designs require weavers to abstain from intimate
activities to preserve their purity. Additionally, not all weavers know every design, as
some are passed down within families across generations.
 T’NALAK PROCESS BLOUSE

T’NALAK FABRIC

Figure 5. t’nalak vitu (2016). Gida’s Tinalak International & Canoy (2012)

At the right side is the most notable persona

of the T’boli, Lang Dulay. She led the
preservation of tradition of the T’boli group
which earned various national recognition for
herself. This includes NCCA National Artist -
Gawan Manlilikha ng Bayan (the highest
given award by the Philippine government to
a national artis)t. Further, she opened the
Manlilikha ng Bayan Center to train other
women to become dream weavers in order to continue the legacy of this T’boli pride-
the t’nalak.

3. PIS-YABIT OR SEPUTANGAN

Figure 7. Pis-yabit Art

Source: Youchengco Museum Collection
Pis-yabit, known as seputangan among the Yakans, is a revered art of
weaving among the Tausug people of Sulu, Philippines. Derived from the Tausug
words for "headcloth" and "geometric," pis-yabit features intricate geometric motifs. It
holds significant cultural importance, symbolizing rank and status, and is commonly
worn during special occasions like weddings. Beyond clothing, pis-yabit has found
new uses as frames, tokens, and home draperies, reflecting its enduring significance
and adaptation within Tausug and Yakan communities.
4. DAGMAY AND IKAT

Figure 8. Dagmay Fabric of the Mandaya of Davao Oriental

Source: Garcia(2019)
The Mandaya weavers of Davao Oriental are known for their ikat (a weaving
pattern) made basically with abaca fiber (Bueno, 2017). The ikat is also prominent
among the Bagobo, B'laan, T'boli, Yakan, Tausug and the rest of the tribes of
Mindanao. Dagmay is a popular textile of the Mandaya exhibiting patterns of man
and crocodile (Bueno, 2017).

5. INAUL
The Maranaos in Maguindanao are known for the heirloom piece called nui,
as a technique in the making of malong wraparound skirts commonly won by both
genders. Literally, inaal means woven, using silk and gold threads inted with cotton
threads depicting intricate designs, Inaul is a cultural ersiblen of Maguindanao

Figure 9. Inaul Fabric of the Maranao in Maguindano

Source: MyMindanao
6. BANIG
Banig, traditional mats woven in the Philippines, are crafted from palm leaves
such as buri and pandan, as well as sedges like tikug. Originally used for sleeping in
the humid tropical climate, banig holds cultural significance as gifts for weddings and
foreign guests among indigenous communities. However, with the modern
preference for mattresses, banig's use for sleeping has declined, leading to its
adaptation into various accessories like bags, table runners, and wall hangings.
Additionally, the Bontoc people of Luzon utilize mats for ritual purposes outside their
homes.

Figure 8. Banig
 Like in textile art, the straws used for weaving of banig are dyed with the use
of colors extracted from the juice of selected plants and herbs. Table 2 presents
different varieties of plants from the three major geographical islands in the
Philippines where organic colors are

Table 2. Organic Colors

Ethno- Endemic Flora Parts of the Organic Colors
Linguistic Plants
Group
Bicolano and the Tangan-tangan Straws were buried Shades of Gray
Tagalog (Ricinus communis L.) in the mud, driend and Black
and mixed with the
juices of these
leaves
Tagalog Talisay (Terminalia Straws were buried Shades of Gray
catappa) in the mud, driend and Black
Ivantan Savidug and mixed with the
juices of these
leaves
Ikolano Tayum Straws were buried Shades of Gray
Tagalog Tagum (Tinctoria in the mud, driend and Black
indigofera) and mixed with the
juices of these
leaves
Bicolano Bahai Straws were buried Shades of Gray
Bisaya Ago, tagomtagom in the mud, driend
Pangasinan Damortis, taguarare and mixed with the
Romblon Tiagkot juices of these
Tagalog Kamalamsilihan, leaves, effective for
malasaga, tikue, raw buri straws
tigi(Pithecellobium
subacutum Benth)
Bicolano Malabahi Leaves and Twigs, Red Orange
Bisaya Sagingsagin effective for raw
Iloko Kandong, Sisirai straws for mats,
Pangasinan Diok especially buri
Tagalog Bayan,kolis, kulis
(Memecylon ovatun
S., M. tinctorium Bl)
Bisaya Deora, dauda,daura Leaves and tender Red Orange
Samar Dala-uda(Peristrophe stems, effective for
tintoria) raw straws for mats
confined within the
visayas and
mindanao areas
only
Basilan Chanang Seeds and Pulp of Shades of Yellow
Fruit, effective for
 Nueva Vizacaya Aputut dying straws for
Cebuano Asuetes, mats and cotton
Aschuete(bixa
Orellana L.)
Ilokano Kulyao, kunig Rhizomes, Shades of Yellow-
Pampango Angai effective for raw Orange
Panay Bisaya Lampuyang straws for mats,
Samar-Leyte Dulau silk, wool and
Bisaya cotton
Subanon Lauag
Tagalog Dilaw (curcuma longa
L.)
Bisaya and Bangkoro, bangkuro, Thin roots and root Shades of Red
Tagalog nino, lino bark from trees
Ilokano Apatut(Morinda three to four years (can also produce
citrifolia L.) old, effective for purple and
raw straws for mats chocolate brown)
and silk
Bisaya, Sulu, Sibukau Heartwood made Shades of Red
Tagalog into chips or
Bisaya, Ilokano, Sapang reduced to powder (can also produce
Tagalog and fermented range of colors
Zambales Hapang(Caesalpinia from pink to
sappan L.,) scarlet)

Source: Agung (2017)

7. PUSO
Puso, a traditional woven pouch of rice, holds cultural significance across
different regions of the Philippines. Known as tamu among the Tausugs and patupat
in Northern Luzon, it reflects animistic traditions and farming rituals. While its
ceremonial use diminishes with modernization and Christianity, its culinary presence
persists as a street food, often paired with local delicacies like barbecues and siomai,
particularly catering to lower-income populations in Cebu.
Weaving of puso in Six Designs
Nocheseda (2009) explores various designs of puso found across the
Philippines, with Cebu boasting six distinctive styles: kinasing, binaki, badbaranay,
manan-aw, tinigib, and binosa. Weaving puso requires intricate fine motor skills, with
the weaver's finger movements determining success. Smaller sizes are woven faster,
while larger ones take longer. Plates A to F offer a guide to weaving each design.
The Weaving Process of the Binosa
The binosa is a simple puso design woven with just one palm leaf strip,
resembling a small wine glass. While easy to weave, its tiny size means it's not
commonly sold for eating, as it doesn't satisfy hunger. However, for business-minded
weavers, its small size can be disadvantageous as it requires more time to weave
with multiple fronds. Today, few weavers produce binosa, mainly for farmers using it
in planting and harvesting rituals, where it symbolizes utilitarianism in ritual offerings.
 Plate A. The Pictorial Process of Weaving Binosa (Inocian, 2015)
Plate A provides a step-by-step guide to weaving the binosa puso design.
Starting with Figure 1, the process begins by interlacing one palm strip firmly held by
the thumb. Figure 2 demonstrates looping the leg strip to form the lower coil, followed
by inserting the head strip in Figure 3 onto the upper coil. Figure 4 shows inserting
the tail end strip to form the bottom of the pouch. Continuing, Figure 5 illustrates
interlacing the leg strip to the lower end of the head strip. Figures 6 and 7 depict
finishing the braiding process and tightening the pouch. Figure 8 demonstrates filling
the pouch with rice, and Figure 9 shows locking the tail strips in preparation for
boiling, the initial cooking step.
The Weaving Process of Kinasing
The kinasing is a common rice pouch design resembling a human heart or
fist, used for ritual practices such as thanksgiving for harvest, luck, and protection. It
is woven with two palm strips and is divided into three sets of plates for the weaving
process. Plate B1 provides the preliminary steps, with four figures showing hand and
finger positioning for interlacing, with the left hand supporting the strips for right-
handed weavers and vice versa for left-handed ones.
 In Plate B1, the initial steps for weaving the kinasing are outlined across four
figures. In Figure 1, the frond strip is held by the left hand (for right-handed weavers)
or by the right hand (for left-handed weavers). Figure 2 demonstrates looping the
front strip to the right, with the back strip folding to the top and supported by the left
thumb. Figure 3 involves looping the back strip towards the left, with the front strip at
the bottom and supported by the left thumb. Finally, in Figure 4, the tail-end of the
back strip is inserted into the lower part of the front strip. These steps set the
foundation for the intricate weaving process detailed in Plate B2.

Plate B2. The Pictorial of the Intricacies of Weaving Kinasing (Inocian 2015)
 Plate B2 provides a detailed continuation of the kinasing weaving process
through nine figures, from Figure 5 to Figure 14. In Figure 5, the weaver inserts the
tail-end of the front strip to the lower part of the back strip. Figure 6 illustrates
inserting the tail-end of the front strip between the two head-strips and releasing it to
the rear side. Figure 7 demonstrates the same process for symmetry, releasing the
strip to the front side. Figures 8 and 9 show how to weave the leg-strip directly
toward the bottom, both in front and at the back. Figure 10 guides twisting the leg
strip towards the right and weaving upward with right-over-left interlacing. Figures 11
and 12 instruct intertwining the leg strip with horizontal strips. Figure 13 depicts
releasing the hand and twisting the leg strip towards the left, weaving upward with
the third horizontal strip. Finally, Figure 14 shows the completion of the weaving
process before the tightening step, detailed in Plate B3.

In Plate B3, the final steps of weaving the kinasing pouch are illustrated
across four figures. Figure 15 demonstrates releasing the hand to tighten the pouch.
This is followed by Figure 16, which involves pulling the head strips down to the tail
strips on both the front and rear sides of the pouch. Figure 17 depicts pouring rice
grains into the pouch, ensuring the amount is half of the pouch's size. Finally, Figure
18 shows how to lock the tail strips in preparation for boiling, completing the weaving
process.
The Weaving Process of the Tinigib
The tinigib, similar to the binosa, holds utilitarian value, resembling a
carpenter's chisel, making it primarily used for rituals rather than being sold in city
stalls. Like the kinasing, it is woven with two fronds, with Figures 1 to 10 mirroring
those in the kinasing weaving process. However, variation begins in Figure 11 to
create a flattened bottom resembling a chisel's edge, continuing until Figure 18. The
weaving process follows similar preliminary, intricate, and tightening steps as seen in
Plates C1, C2, and C3.
 In Plate C1, the preliminary process for weaving the tinigib mirrors that of the
kinasing, with four figures identical to those in Plate B1. Similarly, the intricacies of
weaving from Figures 5 to 10 in Plate C2 are akin to the kinasing found in Plate B2.
The main distinctions between these two designs lie in Figures 11 to 14 in Plate C3.
In Figure 11, the leg strip is intertwined with the second woven horizontal strip,
followed by Figure 12, which intertwines the leg strip with the first woven horizontal
strip for balance. Figure 13 then intertwines the leg strip with the third woven
horizontal strip. Plate C2 concludes with Figure 14, where the hand is released,
preparing to tighten the pouch.

The tightening process of the tinigib involves constantly pulling the head strips
down the pouch at the reverse side, alongside pulling the tail strips to ensure even
tightening. This is demonstrated in Figure 16. Following this, in Figure 17, rice grains
are poured into the pouch, with the amount being half of the pouch's size to prevent
spillage. Finally, Figure 18 illustrates locking the tail strips in preparation for boiling,
completing the weaving process.
The Weaving Proces of the Badbaranay
Badbaranay, derived from the Cebuano word "badbad" meaning to untie,
serves a religious purpose in ritual ceremonies, particularly in opening up ceremonies
to appease underworld spirits. Like the kinasing, it is woven with two fronds and is
commonly paired with barbecues in city stalls. Plate D1 provides four basic figures as
preliminary steps in weaving the badbaranay.
 In Plate D1, Figure 1 demonstrates holding the two leg strips with one
common bead amp in an open position. Figure 2 instructs interlacing the open leg
strips right over left. Moving to Figure 3, you're guided to take the two leg strips
together and form a spiral in the front side of the open hand, locking it with the rest of
the fingers providing support. Figure 4 requires repeating the process from Figure 3
on the right side to form a second spiral, with the possibility of making a third spiral if
the leg strips are long enough.

Plate D2 depicts the intricate weaving process of the badbaranay through

Figures 5 to 10. In Figure 5, both hands hold the pouch to spread the coils and
interlace the curls right over left with the first coiled spiral. Figure 6 illustrates the
interlacing of the second coiled spiral on both sides. Figure 7 demonstrates
interlacing the remaining third coiled spiral on both sides to increase the pouch's
size, with Figure 8 repeating this process on the rear side for balance. If additional
leg strip length is available, Figures 6 and 7 are repeated. Figure 9 instructs releasing
the coiled strips from the hand and inserting the tail-end to close the pouch, while
Figure 10 shows releasing the coiled strips until they reach the opposite side in
preparation for the tightening process.
Plate D3 outlines the essential tightening process of the badbaranay through
Figures 11 to 14. Figure 11 demonstrates positioning the hand in preparation for
tightening, while Figure 12 guides pulling both head strips to tighten the pouch until
the tail-end of the leg strip is halfway through the pouch's size. Following this, in
Figure 13, rice grains are poured into the pouch, with the amount being half of the
pouch's size to prevent spillage. Finally, Figure 14 illustrates locking the tail strips in
preparation for boiling, completing the weaving process.

The Weaving Process of the Binaki

The binaki, derived from the Cebuano word "baki" meaning frog, is named for
its frog-like shape, exemplifying an appreciation for nature's beauty and animistic
tradition. Utilizing four strips of palm leaves, the binaki creates a larger pouch
compared to other designs. Like other designs, its weaving process is divided into
three sets, as detailed in Plates E1, E2, and E3.
 Plate E initiates the preliminary weaving of the binaki with four figures. Figure
1 instructs opening two head strips to create four equal leg strips, positioning the
hand for weaving. Figure 2 demonstrates interlacing the four strips right over left, with
the two heads in opposite directions. Figure 3 illustrates twisting the two inner leg
strips, and the process concludes with Figure 4, holding the inner leg strips firmly in
the same position.

Plate E2 presents fifteen figures detailing the actual weaving process of the
binaki. Figures 5 and 6 repeat the twisted interlacing of Figures 3 and 4 for the
second and third rounds to form the pouch's body. Figures 7 and 8 instruct releasing
the hand slightly to interlace the leg strips with the head strips on opposite sides.
Figures 9 and 10 interlace the leg strips individually to the right and left sides. Finally,
Figure 11 interlaces all four leg strips to form the opposite end of the pouch's body.
Figures 12 to 19 in Plate E2 depict further steps in weaving the binaki. Figure
12 involves twisting the two inner leg strips to form a point, while Figure 13 closes
and interlaces the outer leg strips following the same pattern as the inner leg strips.
Figure 14 interlaces the first head strip, and Figure 15 interlaces the second head
strip in the opposite direction. Figures 16 and 17 demonstrate looping the leg strips
with the head strips towards the opening, and Figure 18 interlaces them towards the
left. Finally, Figure 19 interlaces the remaining two leg strips right over left to close
the opening.

Plate E3 demonstrates the tightening process of the woven binaki through

four figures. Figure 20 concludes the interlacing of the pouch, signaling the need for
tightening. Figure 21 guides tightening the pouch by pulling down both the head and
four leg strips toward the opening. In Figure 22, rice grains are poured into the
pouch, amounting to half of its size. Finally, Figure 23 illustrates locking the tail strips
in preparation for boiling, completing the weaving process.
The Weaving Process of the Manan-aw
The Manan-aw design, derived from the Cebuano word "tan-aw" meaning to
watch or view, is named after the local term for the Phalaenopsis amabilis orchid,
known for its captivating blooms. This design, characterized by its intricacies and use
of eight palm leaf strips, is the largest among the six designs mentioned. Due to its
complexity and the time required in the weaving process, the Manan-aw is less
popular in the market compared to other designs with smaller sizes.
When used as a ritual object, the manan-aw is offered to the highest gods
especially for asking special favors like good health, good fortune and a good harvest
(Inocian, 2015). Plate F1 shows the four figures in the preliminary process of weaving
manan-aw. Figure 1 positions the weaver to prepare eight strips of fronds with four
separate head strips byintertwining them to have two separate sets.

In Plate F1, Figure 2 positions the hand for right-over-left interlacing. Figure 3
interlaces the first four strips towards the opposite first pair of four, while Figure 4
demonstrates twisting the two inner leg strips right over left and interlacing them in
the same direction with the two outer leg strips. Plate F2 continues with the weaving
intricacies of the manan-aw from Figures 5 to 19. Figure 5 interlaces the second set
of four strips towards the second pair of four, with support from the fingers at the
interlaced end of the pouch. Figure 6 repeats the process of twisting the two inner leg
strips right over left and interlacing them with the outer leg strips. Figure 7 guides
releasing the other four leg strips and starting interlacing the first set of four leg strips
right over left.
Figures 8 to 19 in Plate F2 illustrate the intricacies of the weaving process of
the manan-aw. Figure 8 interlaces the other four leg strips at the opposite side. In
Figure 9, the left hand holds the other two leg strips while the right hand interlaces
the first two leg strips towards the first head strips. Figures 10 to 12 continue
interlacing the remaining leg strips towards their corresponding head strips. Figures
13 and 14 interlace the leg strips right over left on both sides. Figures 15 and 16
interlace the leg strips towards the two head strips on each side. Finally, Figures 17
to 19 interlace the leg strips towards the pouch's opening. These 15 figures complete
the weaving process of the manan-aw before the actual tightening process.

In Plate F3, the tightening process of the manan-aw consists of four figures.
Figure 20 interlaces the fourth leg strips toward the pouch's opening. Figure 21
demonstrates holding the finished pouch for tightening. Figure 22 guides pouring rice
grains into the pouch, amounting to half of its size. Finally, Figure 23 illustrates
locking the tail strips in preparation for boiling, completing the weaving process.

8. BAKAT
In addition to Basey, Samar, known for tikug mats, Antequera, Bohol is
recognized for producing various baskets, contributing to its economic growth.
Basket weaving, like other crafts, is a perishable art. Barili, Cebu, is renowned for
weaving bakat, open baskets without handles, ideal for storing heavy harvests.
Unlike puso, which uses fronds, bakat utilizes fresh bamboo strips or vines from the
natural environment (Inocian et al., 2019).
 Before weaving bakat baskets, artisans undergo a meticulous process to
prepare bamboo strips, the essential material. Plate G1 outlines five steps: breaking
the bamboo pole, slashing it into strips, smoothening the skin to make it bendable,
removing excess stalks, and ultimately producing 18 to 24 strips for weaving.

Plate G2 outlines the seven-step weaving process for bakat baskets. Step 1
involves forming the base through a plotting formation, followed by Step 2, where a
hexagram shape is created to initiate the weaving process. In Step 3, the base of the
basket is formed using a molder as a guide, which becomes unnecessary for expert
weavers. Step 4 entails bending the strips to shape the circular sides of the basket,
coiling horizontal strips with radiating ones. Finally, the molder is removed once the
base and lower body are shaped.
In Step 5, the weaving process extends from the base to form the lower body
of the basket, with additional strips added to create the upper body and reach the
desired height. Step 6 continues the weaving to shape the upper body, with the
weaver tightening the rim once the ideal height is achieved. Step 7 involves creating
the basket opening using a thicker strip to coil into the rim, enhancing strength and
shape. The opening is tightly secured to ensure quality and durability.
 VISUAL ELEMENTS
IN THE
PHILIPPINE
TRADITIONAL MOTIFS
AND
CRAFTS

A Detailed Narrative Report

Submitted to Malyn I. Pogosa
Faculty of the Education Department
Eastern Visayas State University- Ormoc Campus
Ormoc City

In Partial Fulfillment
Of the Requirements for the Course GEN ED 005
ART APPRECIATION

CELIS, REMY
PAGALAN, ELIZABETH M.
PAREDES, NIHCA
RELANO, REGINE O.
REPOLLO, ROSE D.
RIVERA, RECEL ANN M.
RONDINA, LYNNEL A.
TAMPOS, MARY MARIANE A.
TUAZON, WILFREDO
VALIENTE, MARY ANN

MARCH 2024
I. Lesson Overview
With the proliferation of technological advancement and advent of
globalization, Filipinos have expressed themselves artistically through the use of
technology. Tiktok Mobile App. Photo Animator, Facetune Editor and Enlight
Pixaloop are some of those photoshop softwares that create artistic backgrounds, so
they experience being connected with the world (Dachis, 2018). These devices
somehow stress Filipinos much love and zeal for other cultures. Unfortunately, this
seems to have a negative repercussion on their love for Filipino arts, crafts and
motifs. Are you one of those who have forgotten the value of Philippine traditional
arts? This learning module brings you back to Philippine visual arts-traditional and
modern-while you make use of technology. The succeeding activities also immerse
you in the continuum of using Philippine traditional motifs and crafts in addressing
environmental problems in the country. Walking through the Intended Learning
Outcomes (ILO), hopefully you will become a responsive citizen whose skills in
Filipino arts are instrumental to conserving the balance of environment for
sustainable development.

II. Intended Learning Outcomes