Activity on Chapter 1.

3: Indigenous Creative Crafts – WEAVING

Mëranaw Textile
Community: Mëranaw
Origin: Lanao del Norte and Lanao del Sur
The Mëranaw of Lanao del Norte and Lanao del
Sur know a wide range of weaving techniques
including the weft and warp ikat tie-dye resist
and continuous and discontinuous
supplementary weft design. They are known for
the malong, a tubular lower garment. Among its
several types, the malong a andon is the most
highly valued. This is followed by the malong a
landap, which is known for its tapestry bands
called langkit, often used to join the broad
panels of silk together. Another kind is the
malong a bagadat, made from similar wide bands in contrasting colours and separated by narrow
bands of warp ikat. Made using a narrow, specialised kind of tapestry loom, langkit, usually comes in
two kinds: tabrian or the narrow panel, and lakban or the wider panel. Beautifully designed, the langkit
has distinct Maranao okir designs including potiok (bud), dapal or raon (leaf), pako (fern), pako
rabong (growing fern) and katorai (flower). These intricate designs are made using discontinuous
weft.

Pis Syabit Weave

Community: Tausug
Origin: Sulu Archipelago
The Tausug women are experts in
tapestry weaving and embroidery, while men do
the large hangings in appliqué. They specialise
in the production of pis syabit (head scarf) and
kambot/kandit. The pis syabit is traditionally
worn by men and warriors. A most complicated
design technique, the pis syabit tapestry
weaving of Tausug has no preset pattern sticks
or pre-designed warp yarns into which the
weaver inserts the desert yarn. The weaver
must clearly imagine the pattern in her mind as
she inserts one coloured weft yarn one at a time
to fill up the space in the warp, in a sequence
her mind only knows. The weaver creates a
perfectly symmetrical composition of squares
and Xs with hooks, and in seven to eight
colours.
T’nalak
Community: Tboli
Origin: South Cotabato
The traditional textile woven by the Tboli women, t’nalak represents birth, life, union in
marriage and death, and shows the uniqueness and identity of the indigenous group. It is often
utilised as blankets and clothing and used in royal wedding ceremonies on rare occasions. The Tboli
weavers are often called “dream weavers” but this applies only to a few dedicated weavers. It is
believed that the designs and patterns are bestowed on them by Fu Dalu, the spirit of abaca, through
their dreams. The tedious creation of the t’nalak starts with extracting the abaca fibres, which are then
combed to remove the sap. They are connected from end to end and knotted and prepared for a
design prior to resist-dyeing, known as the ikat method. A t’nalak traditionally has three colours: black,
red, and white. The fibres are then woven using the backstrap loom. The textile is then washed in the
river, beaten with a wooden stick to flatten the knots, and burnishing the surface with a cowrie shell.
The late Lang Dulay was widely regarded as one of the best weavers and was bestowed the Gawad
sa Manlilikha ng Bayan in 1998. Pictured here is one of her creations.

REFERENCE:
 https://www.tatlerasia.com/lifestyle/arts/weaving-the-threads-of-filipino-heritage

GROUP # 4
BERMUDEZ, Jade Marion P.
EVARISTO, John Denmark L.
LAGMAN, Pauline D.
MACASAQUIT, Jonel M.
POLICARPIO, Jeffrey D.