Lesson Proper for Week 13

TEXTILE ART
“Textile art is one of the oldest forms of art in human civilization. At its inception, it was not focused on
looks, but for practical purposes—such as clothing or blankets to keep warm. This dates all the way back
to prehistoric times, and anthropologists estimate that this is between 100,000 to 500,000 years ago.
These goods were made from animal skins, furs, leaves, and more.”
(Barnes, 2017)
 
Textile art is the process of creating something using fibers gained from sources like plants, animals,
insects (think silk worms), or synthetic materials. Making textiles is an extremely old art form. Textile
fragments have been found dating back to prehistoric times and there's a good reason for this.

Direct Quote:
“As time wore on and the Neolithic cultures settled, textiles become increasingly complex. Many early
pieces were made with felting, which agitates animal fibers (like wool) to interlock them in a strong bond.
Beyond that, though, humans also spun fibers to create strands of thread. They were woven together and
resemble more of what we’re used to today. Creating clothing and other textiles was laborious—
everything had to be done by hand. This included gathering fibers from plants or animals and then
twisting them to make it into yarn. In addition to being a tedious process, making an article of clothing was
expensive; tailors and seamstresses altered garments to ensure that they lasted a long time. Depending
on how wealthy someone was, they could get imported fabrics and colorful dyes. The Silk Road trade
routes brought Chinese silk to India, Africa, and Europe. While clothing was still the dominant type of fiber
art, the aristocracy could also afford to decorate the walls, floors, and furniture of their palaces in lush and
vibrant pieces.
The Industrial Revolution was a turning point for textiles. With the invention of the cotton gin, spinning
jenny, and power loom, creating fabric was now automated and could be produced on a massive scale.
Textiles were not just for the wealthy anymore; as prices dropped, they were available to more of society.
It also meant that these materials were not as precious, and creative people could experiment with them
in previously unseen ways.
The rich history of textiles has laid the groundwork for contemporary creatives. In modern times, the terms
fiber art or textile art generally describe textile-based objects that have no intended use. Although this
realm has previously been seen as “women’s work,” artists—particularly female artists in the 1960s and
70s—started to reclaim the field and elevate it into high art.
 
POPULAR TECHNIQUES IN TEXTILE ART
   Textile art is broad term that can encompass many types of approaches:

1. Weavingis one of the earliest techniques. Here, threads are laced together on a loom at
intersecting angles to form cloth. This is commonly seen in garments, but weavings can also be
made into display artwork. These are often displayed as wall hangings, and modern weavers
like Genevieve Griffiths are experimenting with yarn weight and stitch length to create highly
textured works.
 2. Embroideryis another popular form, in which artists use thread to stitch decorative designs onto
fabric. Often referred to as hoop art, the images mostly stay within the confines of the circular
frame. But contemporary embroidery has no rules, so it’s not unusual to see fabric and thread spill
from the hoop. Ana Teresa Barboza is a great example of this method of practice. In her artwork,
she creates landscapes that extend well beyond the hoop and flow towards the floor.

3. Knittingand crocheting are two other techniques for working with textiles. In both, large needles
are used—double and single, respectively—to twist thread into different stitches, which in turn
create larger patterns. These approaches are extremely common in your favorite sweater or
blanket, but artists have co-opted as a means of expression. Joana Vasconcelos uses crochet
to cloak animal statues in colorful patterns. Likewise, the artist Olek “yarn bombs” buildings—
including covering an entire home in bright pink crochet.”

(History of Textile Art and its Development Through the Years, 2017)
TEXTILE ART IN THE PHILIPPINES
Direct Quote:
“Filipino artistry and creativity are evident in various art forms but what makes the weaving culture distinct
is its power to unite people as strong, resilient communities bound by living tradition and colorful textile
patterns and motifs.
 

1. Pinilian – The Ilocano of northwestern Philippines is well-known for their hand weaving, a tradition
with ancient roots, with thekapas or cotton as the main material. They use the pedal loom, locally
called pangablan; employ several weaving techniques; and have numerous designs/patterns.
Different weaving techniques include the basic plain weave, the double-toned basket weave
or binakul, and the multi-heddle weave (binetwagan or tinumballitan), among others. Among the
complicated one is the brocade weave or pinilian, which uses sticks inserted on selected warp
threads to create designs that float on the threads. There are two kinds of pinilian: scattered and
continuous supplementary weft techniques. The weavers of Pinili, Ilocos Norte, are said to be
adept in the simultaneous warp and weft-float type of pinilian called the impalagto, a technique
unique in the town.

2. Bontoc Weave – The Bontoc textile revolves around the idea of centeredness, which symbolizes
permanence, order, and balance, key factors in the life of the Bontoc people. Weavers
demonstrate this idea through the direction of their weave, from the edge to the middle, to the
symmetry of the cloth construction and the repeated warp-striped design. Bontoc weavers learn
the craft through various stages. Young Bontoc girls usually start their training with the simplest
part of the cloth, thelangkit or edging. Next, they move on to pa-ikid (side panels), learning simple
designs such as fatawil (warp-bands) and shukyong (arrows). After mastering this level, they move
on to the most challenging part, the sinangad-am design which represents the Sinamaki weaving.
The center panel features a band in the middle and a kan-ay (supplementary weft) at its end.
Because of the complex process of adding the kan-ay, the center panel would be woven last.
 When all the parts are ready, they would be sewn together in the reverse order of their creation,
ending with the 

3. Kalinga Textiles – The Kalinga textiles exhibit motifs executed as though they are embedded in
the geometry of weaving itself. It has a distinct dialogue between red and blue, expressing itself in
broad red and blue bands of plain or twill weave, and creating densely-composed groups of tight
stripes. The Kalinga weavers, particularly in the upper Kalinga area, put textures on the striped
bands using twill-weave technique. Tiny motifs, patterns, and embellishments have characterized
Kalinga textile, including miniature lattice, continuous lozenge pattern locally calledinata-ata,
and pawekan or mother-of-pearl platelets, among others.
4. Piña – Considered the finest of Philippine textiles, thepiña fabric is made from the fibers of the
leaves of the red Bisaya pineapple through an arduous process. The extraction of the fibers is a
most delicate and tedious process. The leaves provide two kinds of fibers—the bastos or the
rough fiber, and the liniwan or the fine fiber. Using a shard of Chinese porcelain, the stripper
removes the epidermis of the leaf, exposing the lustrous bastos  After stripping the leaves of the
rough fibers, the stripper then run a coconut shell on the inner layer of the leaf to expose
the liniwan. The degumming process entails repeated rinsing, beating, and air-drying of the fibers.
When the fibers are completely dried, the weaver connects each strand through knotting to
produce long continuous strands before the weaving process, which uses the pedal loom. The
Aklanons of western Panay Island are known for the piña with inlaid supplementary weft designs
or more often embroidered with floral or vegetal designs on the lattice ground. Lumban in Laguna
and Taal in Batangas are known embroidery centers. The piña is the preferred material for
the barong Tagalog.”

(Sorilla, 2017)
T’NALAK AND T’BOLI ART
Direct Quote:
“T’nalak is a sacred cloth woven by the T'boli people in communities around Lake Sebu, Mindanao
island. Traditionally made by women of royal blood, thousands of patterns that reference folklore and
stories are known to the T’boli women by memory. Fu Dalu, a spiritual guardian, guides T’nalak weaving,
a process that is enriched with taboo and ritual.
T’nalak has a distinctive tri-color scheme: White for the pattern, red for relief elements and black (or deep
brown) for the background. Fibers used in weaving are harvested from the abaca tree and prepared in a
process known as kedungon. Two metal blades are used to quickly remove the pulp and reveal the
filaments, which are worked by hand into fine threads. During tembong, an artisan will connect individual
threads end to end. Temogo, or dyeing, is done in the ikat-style, using beeswax and natural pigments.
Fibers are first boiled in a black dye for several weeks. Weaving (mewel) is done on a back strap loom
(legogong), and weaving one piece of cloth can take up to a month of uninterrupted work. The final stage
in the process, semaki, involves burnishing the fabric with a cowrie shell that is heated by friction. Nut oil
is used to condition the fabric and add sheen.
T’nalak is used for ritual purposes, as an offering to the spirits and during festival celebrations. It is also
exchanged between families for food and supplies in the T'bolis’ barter economy, which endures to this
day. Many communities rely on the commercial sale of T’nalak to earn a living.”
(Lush, n.d.)
The T’nalak Process
An exotic fabric made through a centuries-old process of tie-dye weaving by the T’boli women of Lake
Sebu, South Cotabato has captured the fancy of Filipinos as well as people around the world.
Called T’nalak, it is made into bags of different sizes, attaché cases, wall decors, blankets, jackets,
purses, clothing, cigarette case, belts, portfolio, and others. The T’nalak occupies a special significance in
the lives of the T’boli tribe. Basically used for blankets and clothing, the T’nalak
“…is considered helpful for safe delivery when used as pre-natal covering. Sla-i (marriage arrangements)
are considered lousy without it during the exchange of kemu (traditional properties) such as heirlooms,
gongs, horses, work animals, ancient swords and other tribal artefacts. The presence of the cloth during
certain feast gives it a sacred value.”
(Mercurio, 2013)

Direct Quote:
“T’bolis consider it taboo to cut the cloth because they believe that act will make them seriously ill. Tribe
members who sell the fabric often attach bells to appease the spirits said to have guided the
weavers. Superstition surrounds the making of the fabric. T’boli libon (tribeswomen) who make the
elaborate weaving and design find it easy to process the cloth after a dream. Designs they see clearly in
their dreams have certain meanings and requirements.”
(Living textiles of the T'Boli Tribe, 2012)
 
The making of the T’nalak is a tedious process composed of rituals especially done during the night when
the air is cool and the fiber is at the right elasticity.
“The weaving of the cloth takes almost two and a half months for a piece about 20 feet long. During the
weaving process, silence and an atmosphere of solemnity is observed by the members of the household.
A single mistake in the weaving pattern due to distraction would mean repeating the whole process from
the very beginning. The T’nalak is a product of a unique and tedious method of tie-dye weaving, a very
meticulous process of cloth designing done on a bamboo and wooden loom. The gathering and
processing of materials alone are highly complicated. Fibers selected from fruit-bearing abaca plants
(Manila hemp) usually about 18 months old, are stripped by hand from the soft wet pulp of the plants
stalk. This is then made flaxen and pliable by repeated combing and weeks of air drying.
After some time, the fibers are laid out on a simple wooden loom. The abaca fibers now stretched out on
the loom are tied with other fibers rubbed in beeswax. The area covered by the waxed strings will not be
penetrated by the dye. The process of tying itself is real artistry because no measuring instrument is
used. Only the finger joints (length of the index fingers) are used to measure the intricate designs. Yet,
patterns emerge with artistic consonance and precision. After the painstaking tying, the fibers are then
prepared for dyeing. The black dye is extracted from the leaves of the Kenalum tree. The red dye is taken
from the roots of the loco tree. In the dyeing process, two earthen pots, one on top of the other, mouth to
mouth, are then used to boil the fibers repeatedly, for three weeks, for the black color and only two days
for the red. Steam pushes the dye upwards to the bundle of tied threads in the upper pot. After the dark
color has been achieved, some waxed strings are removed. The newly-exposed areas are then dyed red.
A variety of colors (black, dark, cream and the natural flaxen color of the fiber) can be produced by
removing the remaining waxed ties. When the dyeing process is completed, the fibers are then removed
and rinsed along river banks or streams.
Patterns and designs range from the Hafok Kofi (wings of Lawin), suwu (snake), sobo bun (frog), betek
boluk (flower designs), bed buyus (spear), buling longit (clouds), bangala (house) and scores of
others. After the rinsing process, the cloth is again air dried for a week. It then undergoes the lemubag
(wood pounding) where the fibers are rendered pliant and flexible. For the final touch, the T’nalak is laid
out on a bamboo fixture where it finally passes through the smaki (shell rubbing), a method of bringing out
the luster of the finished cloth. T’boli craftswomen use the saki, a big turtle-shaped sea shell for this
purpose. The smaki (saki shell-rubbing process) brings out the waxy sheen of the cloth.”
(Mercurio, 2013)
MINDANAO TEXTILE ART: DAGMAY, PIS-YABIT, SEPUTANGAN AND INAUL
Mindanao is a beautiful and historical island. There’s more to see in Mindanao, especially when you visit
the weaving communities.
Direct Quote:
“The Mandaya use cotton and abaca for weaving and gather dyestuffs from their immediate surroundings,
fixing black hues with iron-rich mud as mordant. They produce their abaca cloth they call Dagmay, which
is coarsely textured and woven using the back-strap loom. The Mandaya weavers also put embroidery on
their cotton blouses and also attach beads and coins along the hems.”
(Weaving Communities in Mindanao, 2019)

Direct Quote:
“Dagmay is a handwoven textile made from abaca. Making it involves a mud-dyeing technique wherein
tribe members soak their tannin-dyed yarns into iron-rich mud for days. The Mandaya women then weave
the fiber into intricate figures and patterns depicting their folklores and beliefs. More often, Dagmay
carries the human and crocodile motifs to their highest expression. The reptile is revered as shown by the
regularity which it appears in their design. This skill and art is handed down from one generation to the
next, where each design made is a showcase of the weaver’s expressions.”
(Garcia, 2019)
Direct Quote:
“Most of the Yakan have moved from Basilan to Zamboanga because of armed conflicts in their
hometown, but they’ve taken their culture with them, so their weaving tradition survives. The Yakan are
known to be highly skilled weavers, using different design techniques, such as the tapestry weave and the
multi-heddle technique, depending on the cloth or garment. The Tausug are also skilled in embroidery
and tapestry weaving.
The Pis-yabit, a headscarf traditionally worn by Tausug men and warriors, is a fine example of a piece
done in tapestry weave. There are no preset design sticks or pre-patterned warp yarns - the pattern is all
in the weaver’s imagination. What makes it more amazing is that the resulting designs are perfectly
symmetrical and in a variety of colors - up to eight.”
(Weaving Communities in Mindanao, 2019)
The Yakan’s Seputangan is one of the most intricate Yakan weavings, often worn as a headscarf or
across the waist.
Direct Quote:
“The seputangan is the most intricate design worn by the women around their waist or as a head cloth.
The palipattang is patterned after the color of the rainbow while the bunga-sama, after the python. Almost
every Yakan fabric can be described as unique since the finished materials are not exactly identical.
Differences may be seen in the pattern or in the design or in the distribution of colors.”
Inaul, which means “woven” in Maguindaoan,
“…is a hand-woven tapestry fabric with geometric designs. As a status symbol, it is revered as an object
of “bara-bangsa” which means dignity. The Inaul is commonly used in the malong, the multitasking tubular
fabric. Weavers use cotton and rayon silk threads inserted on big looms that can handle huge volumes.
The process starts with arranging the threads to determine the colors, the quantity, and the length of
the malong. The threads are put on the wheel, spun, and inserted into the loom’s comb for the design. To
assure quality, weavers are tasked to make just one Inaul tapestry per creation. Princesses in royal
households wove their own clothes. To denote their status, they used yellow, maroon, orange, and black
for royalty. White threads were used for mourning clothes. Green symbolized coolness and peace.”
(Maguindanao Celebrates Textile Tradition in a Festival, n.d.)