The tnalak of the Tboli of Lake Sebu

Tnalak abaca tapestries crafted by TBoli people are often described woven dreams, as the
process typically begins with the spirit of the abaca showing the weaver in her dreams a
pattern laid out on a loom. Among symbols that have been woven into these tapestries include a
butterfly, eagle and python. Each fiber is knotted and tied according to the weavers dreams,
and then dyed.

During Mondays presentation at the Philippine Consulate, Ofong explained that there is no
pattern followed in tnalak weaving. She added that the traditional color of the tapestry is red,
black and white.

The craft is a family tradition and activity, so mothers and daughters do the knotting and
designing, while husbands harvest and strip the fibers, and knot when they have free time.

Among purposes for which the tnalak has been used include bartering for horses and carabaos.
They have also been given as dowries, for a first baby and as gifts. The fabric can then be
used as a blanket, bag, vest, blouse or table runner, among other things.

At P600 (less than US$20) per meter, Ofong said the tnalak is the most expensive of fabrics
they sell.

Ofong will be one of the two Philippine artists featured at this years IFAM. She is a mother,
community leader and founder of a Tboli artisan-run business called KLOWIL KEM LIBON,
which means life of women. The enterprise aims to preserve and promote traditional Tboli
arts and crafts, according to a CMCC statement.

The tingkep baskets of the Palawan tribe of Palawan

Tingkep baskets woven by the Palawan tribe in the southern half of Palawan province is used
for a variety of purposes: as a storage container for rice, salt and personal belongings; in
hunting; in bartering, where it is exchanged for rice, wraparound skirts, and blankets, among
other things. The tingkep is also experiencing an increasing demand among tourists who visit
Puerto Princessa, the capital city of Palawan, and has become the primary source of income for
the tribe.

Similarly to other Philippine weaving traditions, tingkep-weaving is passed down to future

generations and involves multiple family members. Both girls and boys are taught to weave at a
young age, although men participate in the process by helping gather and prepare materials,
while women perform the actual weaving.

Weaving is done in the daytime, when there is sufficient light to see what is being woven and
when it is too hot to work in the fields. The same is done during the rainy season.

Tingkep is also used to house the powerful female spirit Linamin et Kundu during a healing
ritual called Kundu.

The hinabol of the Higaonon of Impasug-ong, Bukidnon

Higaonon hinabol weavers hail from Bukidnon, a mountainous region in North Central Mindanao.
In the Binukid dialect, hinabol means woven.

Weaving is generally a happy activity for hinabol weavers. The textile produced reflects the
moods and feelings of the weaver, similarly to how a painter might do on a canvas. The woven
happiness is seen in the patterns and bright colors of the hinabol.

Also known as a piece of cloth, hinabol is woven as an offering to the spirits. It is also given
as a gift, as a dowry and is used to bring about peace during tribal conflicts.
Each hinabol is a unique piece of art, as weavers acknowledge each others intellectual
property and only replicate designs given the explicit permission of the original artist.

The geometric weaves of the Yakan tribe of Zamboanga and Basilan

Yakan weaving features elaborate geometric designs and patterns that are inspired by nature.
Fabrics produced by Yakan weavers are used for religious and ritual purposes: they are
bartered for daily necessities, given as gifts and used for peace offerings in times of conflict.

Originally from Lamitan, Basilan in Mindanao, many Yakan communities were forced to flee to
Zamboanga City due to the conflict in Basilan that took place from the 1970s through the
1990s.
Because of their continuing displacement due to conflict, weaving has become increasingly
important to the Yakan community throughout the past 40 years. The craft has always been
important to the Yakan community and economy and has allowed Yakan women a means to
preserve their cultural identity amid displacement. Additionally, it has provided them a way to
earn an income away from their homeland.

The tapis of the Kalinga tribe

The tapis, a costume indigenous to the Kalinga area, will be featured at this years IFAM. It is
a rectangular cloth women wear as a wraparound skirt. The garment is woven with backstrap
body-tension looms, embroidered with nature-inspired patterns and are sometimes adorned
with mother-of-pearl platelets and shells, which represent wealth and prestige in the area.

In Northern Luzon, women from Lubuagan, Kalinga weave to earn an income that is vital in
providing the needs of their families.

Weaving in Kalinga is a tradition that is passed on to subsequent generations from mother to

daughter. Girls begin learning how to weave as early as 10 years old and in some cases, even
younger with the help of their mothers and grandmothers.

In some communities, men also participate in the craft. Once women are finished weaving their
piece, men will stitch designs into the fabric that are inspired by the natural environment in
Kalinga. Among these designs include mountains, birds, lakes, and stars.
Clay Avenue Pottery Studio

Photo from Clay Avenue

For Clay Avenues Mia Casal, pottery is a deeply personal journey. She not only
creates the pieces and delivers them to clients and patrons herself, she also
manages and teaches classes in hopes to inspire others with her love for clay. Her
handmade clay pots and ceramic jewelry are for sale at local bazaars, and may be
seen on exhibit around the country and abroad.

Address: San Narciso, Zambales

Lanelle Abueva-Fernando Pottery

Photo from Lanelle Abueva-Fernando

Where most local potters draw a clear line between function and art, Fernando has
happily reconciled the two in her work. Fernandos love for pottery has led to the
creation of Antipolo landmark, The Crescent Moon Cafe, which is also known for its
delicious food. Her loyal clientele for her handmade stoneware ceramics includes
restaurants, hotels, even spas.

Address: Ascension Rd, Bgy Dalig, Antipolo City

3. Pettyjohn Pottery

Photo from Pettyjohn Pottery

Whoever would have thought that John Pettyjohn once peddled his pottery at
exhibits from his own suitcase? Over thirty years later, he and his wife, Tessy, are
considered pioneers of modern Philippine pottery who do more than create
functional pieces for our homes. They have spearheaded the Putik Association for
potters in 2003, teach pottery from their home and workshop in Laguna, all while
pushing more of their medium to create modern art.

Address: Bucal, Calamba, Laguna

The Stoneware Pottery Inc

Photo from Love Liang

The Stoneware Pottery Inc was co-founded by German Master Craftsman, Clemens
Wirth, using materials directly from Germany. Wirth takes over thirty years of
experience in pottery with him to the town of Bulua, training his potters not only in
the craft but the business and marketing aspect of it as well. All pieces are
moulded by hand, no moulds used. Aside from plateware, pieces also include vases
and baking tins. They also accept special customized orders that include embossing
or incarved corporate logos.

Photo from Love Liang

STONEWARE POTTERY
Address: Zone 8, Bulua, Cagayan de Oro City
Ugu Bigyans Potters Garden

Another name familiar to local pottery, Ugus nature-inspired ceramics and

clayware has drawn crowds from all over to his workshop in Tiaong, Quezon. He has
since expanded his workshop to serve guests snacks, meals, or even stay the night.
Best time to go would be in August, for his birthday sale when products are
discounted by his age.
Kubing

This is a jaw harp made with bamboo and is one of the more well known
traditional musical instruments. Found all throughout the Philippines, the
design and name of the instrument changes from region to region.
Meranao and other groups in Southern Mindanao call it the Kubing, while
the Tagalogs call it Barmbaw. Its the Kuling for the Kapampangans, and
Kinaban for the Hanunoo Mangyans. The Ibaloi and Kalinga calls it Koding,
while its known as the Aroding in Palawan. This instrument is known to be
used as a way for our ancestors to communicate through song, especially
during courtship. The Kubing is played by placing the instrument between
the lips and the end is plucked to create different notes and sound,
depending on the tempo and rhythm of the plucking.

Kulintang
Another well-known Filipino instrument, the natives of Meranao, Tausug,
and Maguindanao take a lot of pride and joy with these. The Kulintang is a
set of 5 to 9 pieces of gongs that vary in size and sound. Theyre aligned
horizontally next to each other, usually on a rack, and are arranged in
order of their pitch. The gong with the lowest pitch is placed on the
players left side and two wooden sticks are used to hit the gongs to make
sounds. They were traditionally made with bronze, but since the Second
World War, most of the gongs are made with brass. The frame or rack
that the gongs are placed in are often made with wood or bamboo and are
decorated with intricate designs and rich color. The Kulintang is usually
played for entertainment during festivals, weddings, and healing
ceremonies.

Kudyapi
Also known as the Kutiyapi, this is a stringed wooden lute thats about 4-6
ft long. The lumads of Meranao, Maguindanao, Tboli, and Manobo often
play this instrument, but versions of it is seen throughout the Philippines.
Traditionally, the instrument is played by men, mainly when singing love
songs. A female equivalent of the Kutiyapi is called a Korlong, which is a
zither-like instrument made with bamboo and is played with both hands
like a harp. The strings are traditionally made with abaca fibers or horse
hair, but modern versions of the Kutiyapi use wires like a guitar.

Luntang

This is a xylophone instrument that is used by the Maguindanaon people.

Its strung vertically, containing five horizontal logs that hang in an
ascending order and arranged by pitch. A similar instrument is also used
by the Yakan called the Kwintangan Kayo. To make a sound, the logs are
beaten. The instrument is played either by a single person or two people
sitting on either side. Its often used for self-entertainment, keeping
farmers awake while scaring birds off the fields. It was also used as a
form of long distance communication. The Yakan use it in ceremonies,
especially in courtship rituals.

Buktot
Originating from the Visayas area, the Buktot is a small, four-stringed
guitar-like instrument thats made from a coconut husk. It likely got its
name from its shape. In Bisaya, the word Boktot means hunchbacked,
which perfectly describes the instruments arched back. The Boktot is
used for personal entertainment. It makes sounds similar to a ukulele and
is played alone or with other instruments.