DREAMS, SOUL, AND

SPACE
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Textile Art
Major Points:
A process of creating something using fibers gained
from sources, like plants, animals, insects (silk worm),
or synthetic materials. ‘-
People develop textiles to keep warm, to protect
surfaces, and to insulate dwellings.

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Textile Art

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Textile Art

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Textile Art

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Philippine Textile Art Traditions
Major Points:
Ancestors invented the loom, a manually operated
device that holds the warp threads steady while filling
weft threads are woven through them. ‘-
Weave – the interlace of warp and weft threads

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Philippine Textile Art Traditions
Cordillera Administrative Region – Woven Fabrics:
Kalinga textiles are characterized by dominant red
stripes and motifs of geometric patterns, as well as
nature symbols interfaced with white, yellow
‘- and black
fibers.
Colorful, bright and bead-accented
Ifugao textiles are characterized by dominant blue
stripes and motifs of diamond stripes of white and red.
Less colorful and darker
Exclusive task for women

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Philippine Textile Art Traditions
Cordillera Administrative Region – Woven Fabrics:
Weaving Process:
Iwalangan – spinning, winding and skeining threads
Dyeing – warping the color threads ‘-
Actual Weaving – involves two females to operate
Blankets have several pieces:
Adolna – body of the blanket
Balingbing – side pieces
Talungtung – narrow band with fringes
Odogna – back of the blanket
Putuna – reverse side
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Philippine Textile Art Traditions
Cordillera Administrative Region – Woven Fabrics:
Blankets have several types:
Gamong – for the dead
Hape – for the wealthy
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Kintog – used for exchange for pigs
Oban – used for carrying babies
Bayaong – most common blankets (dark blue)
Traditional Ifugao wear for men is wanno or G-string
Infra – without designs
Binuhlan – large red stripe (habak)
Dayude – loose end in front of the G-string
Iwitan – is the one at the back
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Philippine Textile Art Traditions
Cordillera Administrative Region – Woven Fabrics:
Traditional Ifugao wear for men is wanno or G-string
Tinannong – poor man’s G-string, completely white
Piniwaan Nilihha – richer G-string version of binuhlan
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Piniwa – G-string design is made through dyeing
Design Representation and Meaning
Linuhhong – mortars
Tinatagu – men
Inulog – snakes
Bittuon – stars
Bannia – iguanas
Hinolgot – spears
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Philippine Textile Art Traditions
Ilocos Region – Woven Fabrics:
Abel – one of the textiles from the Ilocos Region
Binakul is one of the most recognizable pattern
Popular at the end of the 19th century‘-
Used for blankets, pillow cases, contemporary fashion
and personal accessories
Yarns are made of cotton and dyed from sap of a
plum called Sagut

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Philippine Textile Art Traditions
Region IV-A Aurora Province –
Sabutan – Woven Fabrics:
Sabutan – are strong and
durable and its texture ‘-
resembles that one of the
Panama hat.
Unbleached hats because
the material does not
bleach readily

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Philippine Textile Art Traditions
Region IV-B Palawan – Woven Fabrics:
Ammutina grass – only found in Palawan and used for
weaving.
Dyeing the grass into one’s desired ‘-color, dry it and
dye the fibers that are used.
Wrapping the threads that need to be used for
weaving
Harvested threads are drawn through heddle wires
and reeds.
Wafting the threads by pushing the pedals
Battening the weaves
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Philippine Textile Art Traditions
Region IV-B Palawan – Woven Fabrics

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Philippine Textile Art Traditions
Mindanao Region (T’nalak) –
Woven Fabrics:
Famous in South Cotabato
Made by a group in Lake ‘-
Sebu called the T’bolis
Made of abaca fibers with
three primary colors, red,
black and original color of
abaca leaves

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Philippine Textile Art Traditions
Mindanao Region (Mandaya) –
Woven Fabrics:
Famous in Davao Oriental
Abaca-handwoven cloth with ‘-
intricate designs revolving
around man and crocodile.
Dagmay had been worn as
women’s skirts, also used as
blankets and wraps.

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Philippine Textile Art Traditions
Mindanao Region (Pisyabit) –
Woven Fabrics:
Famous in Jolo, Mindanao
Created by the Tausug. ‘-
It is a head scarf worn by the
Tausugs.
Also use to tie around the hilt
of the kris (sword), and as a
sign of rank.

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Philippine Textile Art Traditions
Mindanao Region (Seputangan)
– Woven Fabrics:
Famous in Basilan and Sulu
Created by the Yakan. ‘-
It is most intricate design
worn by the women around
the waist or as a head cloth
and is patterned after the
colors of the rainbow.

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Soul and Space
Major Points:
Simple structures, usually intended to provide only
basic shelter for the surrounding terrain without
concern for following any architectural ‘-style and built of
local materials and available tools by people who would
inhabit them.
Each shows how the early Filipinos utilized and built it
for a certain purpose and how they utilized the space
available in each house.

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Philippine Folk Architecture
Lean-to Shelter:
Portable house built by the
early Aetas or negritos that
suited their nomadic lifestyle.
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Reflects agta hunting and
gathering ways of life.
Principle of tripod using
strong, light branches and
palm fronds, this portable
disposable shelter for the
aeta to gather or simply left
behind.

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Philippine Folk Architecture
Higaonon Tree House :
Agusan and Misamis Oriental
Tree houses of lashed
sapling nipa or cogon grass, ‘-
split bamboo, rattan, and
bark of trees.
60 people are held together
by split rattan and are
traditionally built as defenses
against enemy attacks.

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Filipino Concept of Space
Major Points:
Unlike the westerner who places a premium on privacy,
the Filipino prefers living space that is communal,
surrounding himself with people all the time.
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Someone is always at home, whether family, distant
relative or household help.
Three or more generations of the same family live their
separate but interconnected lives under one roof, most
of the time hanging out in one room.
Filipinos follow the Asian concept of shared space and
limited privacy.
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The Art of Okir or Ukkil
Major Points:
Term for geometric and flowing designs and folk motifs
that can be usually found in Maranao and Muslim-
influenced artwork in Mindanao, especially
‘- in the Sulu
Peninsula.
Decorative design that is used in carving, bakestry,
pottery, and weaving with patterns similar to the
western style of Arabesque and Art Nouveau.
Applied by Tausug, Maranao, and Yakan.
It is a symbol of power and prestige usually adorned
during festivities.
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The Art of Okir or Ukkil
Activity:
Create a symmetry art inspired by the Okir/Ukkil art.
Use the elements and composition of the Okir.
‘- then etch.
First fold the paper equally into four parts,
Second, sketch one desired design using the elements
of the Okir.
Then duplicate the said design to all three parts.
After completing the repetition, apply color.
Use the following elements and compositions provided
in the next slide.
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The Art of Okir or Ukkil

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