T’BOLI
Dagmay
ART T’NALAK
AND
Pis-syabit
Seputangan
PROCESS Inaul
T’BOLI TRIBE
The Tboli people are an Austronesian ethnic group native to South
Cotabato in southern Mindanao in the Philippines. Tbolis – known
among the lowlanders as “Tagabili”, and the same, derived from the
word “Tao Belil” which means, man living in the hills in their own
tongue.
A T'boli legend tells that the T'boli are descendants of the survivors of
a great flood. A man named Dwata warned the people of an impending
great flood. But the tribe refused to listen, except for two couples, La
Bebe and La Lomi, and Tamfeles and La Kagef. Dwata told them to
take shelter in a bamboo so huge they could fit inside and in this way
survive the flood. The story tells that the first couple are the ancestors
of the T'boli and other highland ethnic groups The second couple
descended the other Filipino indigenous groups.
T’BOLI ARTS
ETHNIC COMMUNITY: T'boli
MEDIUM AND SUPPORT: Abaca (musa
textilis)
Ye Kumu or wedding blanket. It is made
of three separate panels, and is considered
the mother of all T’nalak, and is highly
valued. This abaca textile is a ceremonial
blanket that is used in the T’boli marriage
ceremony, called Mo’ Ninum. During the
wedding, the blanket is draped in front of
the house where the ceremony is being
performed. It also serves as a backdrop for
the ceremonial wedding dance performed by
the male members of the families of both the
bride and groom.
Briefly elaborate on what you
Wedding Blanket (Ye Kumu)
want to discuss.
ETHNIC COMMUNITY: T'boli
MEDIUM AND SUPPORT: Abaca
(musa textilis)
This is an inherited pattern that features a
design of spears important to the culture for their
value in hunting wild boar.
tt
Briefly elaborate on what you
want to discuss.
Briefly elaborate on what you
want to discuss.
gdf
The Spear (Bed Buyus)
MEDIUM AND SUPPORT: Abaca
(musa textilis)
The ligo design is presented by peaks
and troughs.
Briefly elaborate on what you
want to discuss.
Spirit that Helps One Another
(Ligo)
ETHNIC COMMUNITY: T'boli
MEDIUM AND SUPPORT: Cotton
Kegal is the T'bol term for blouse or shirt.
Nesif is the cross-stitch embroidery
technique on cloth. Each and every kegal
nesif is unique, and while you may see
repeating patterns and symbols, no two
blouses are alike.
Briefly elaborate on what you
Embroidered Blouse (Kegal
want to discuss. Nesif)
ETHNIC COMMUNITY: T'boli
MEDIUM AND SUPPORT: Plastic
beads, mixed metals, abaca
Hilet or hilot are decorative girdles
with dangling brass bells. The piece
displayed here is a hilot l'minot or
beaded girdle.
Briefly elaborate on what you Bell Girdle
want to discuss.
(Hilet)
ETHNIC COMMUNITY: T'boli
MEDIUM AND SUPPORT: Plastic beads &
Wood
Headdress of beads attached to a wooden
comb decorated with hand-cut glass and
carved designs.
Briefly elaborate on what you
want to discuss. Hair Comb
(Sewat)
ETHNIC COMMUNITY: T'boli
MEDIUM AND SUPPORT: Brass & Mixed Metals
The singkil are a traditional accessories of T'boli
women and the number of singkil denotes wealth
and status in the community. The singkil here are
called singkil sigulong for the brass pebbles within
the hollow center. In myth, Dinton, the song of god
D'wata, was the first metalworker and ranks with the
gods of life, death, mountains and forests. It is
believed that he gifted the T'boli people with the
ability to cast metal objects.
Brass Anklet
(Singkil)
ETHNIC COMMUNITY: T'boli
MEDIUM AND SUPPORT: Bamboo
The kumbing is a bamboo instrument played by placing
the center of the instrument at the opening of the mouth
while the other hand strikes the end of the instrument to
produce sound. They are often played by young children
as their hone their mimetic skills by learning how to
transform speech patterns and natural sounds into musical
patterns. The kumbing can also be used to communicate
secret messages between lovers.
In myth, the lunar ecplise was caused by a moon-eating
serpant that would attempt to eat the moon. It was Jaw Harp
believed that playing the kumbing would persuade the
creature to release the moon back into the sky. (Kumbing)
Nomong, Lieg, Blusu (Earrings,
Necklaces and Bracelets). T’boli women
have various
colorful accessories that are made of
brass, glass beads and shells. The lieg is
the most priceless
heirloom of a T’boli woman.
Briefly elaborate on what you
want to discuss.
Instruments. The T’boli tribe also has a wide variety of
percussion and stringed instruments
that they use during wedding feasts, celebrations, healing and
religious rituals.
Agong, a percussion instrument that is played to ward off the
busao (evil spirits), and the famous
Agong and
k’lintang, which is played during feasts.
K’lintang
T’boli stringed instruments include the d’wegey,
hegelung and kumbing. The kumbing is a bamboo jaw’s harp and
is played during an eclipse to
call the moonlight back
. Kumbing
and
Briefly elaborate on what you
Hegelung
want to discuss.
T’nalak Festival. The T’nalak
festival showcases the renowned t’nalak
cloth of the T’boli
tribe intricately crafted by the dream
weavers. This is celebrated every July at
the city of
Koronadal, where the people are dressed
in their respective cultural attires and
showcase their
provincial trademarks through street
dance competitions (Jong, 2011). The
tribe’s rich cultural
heritage is manifested in the elegant and
colorful hand-woven dresses, breath-
taking dance
performances and dynamic music.
Nomong, Lieg, Blusu (Earrings,
Necklaces and Bracelets). T’boli women
have various
colorful accessories that are made of
brass, glass beads and shells. The lieg is
the most priceless
heirloom of a T’boli woman.
Briefly elaborate on what you
want to discuss.
The meticulous process consists of five stages, namely:
Step 1: Arranging – They arrange and count plain abaca strands and group them by 27 (just an estimate).
Step 2: Designing – They cover some parts of the grouped strands with a brown tie. The covered sections, when unfastened, create an image
that forms part of the design.
Covering some sections as part of the design
Step 3: Heating – They boil the abaca strands with the roots of a loko tree to get a red color, leaves and fruits of a kanalum tree for black, and
kunin (ginger) for yellow. T’nalak consists of the said colors only; they represent the T’boli tribe. By the way, I’m not sure if I spelled the
local terms correctly.
Step 4: Weaving – After drying the strands, they interlace them vertically and horizontally to create the cloth.
Step 5: Ironing – They press the fabric with a shell attached to a bamboo to flatten it and make it glossy.
Ironing the T'nalak
It usually takes four months to produce about 10 meters of T’nalak cloth. Yes, four months! It’s sold between Php 500 to 1,200 per meter,
depending on the design, style and weaver (Lang Dulay’s work of art is the most expensive). For budget travelers like us, it may seem very
expensive but if you consider the time and effort exerted in it, I’d say it’s quite low-priced.
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T’NALAK
PROCESS
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DAGMA
OF MANDAYA
Y
TRIBE
“Dagmay” is the handwoven textile
of the Mandaya, made from abaca.
Making it involves a mud-dyeing
technique. The Mandaya women
then weave the fiber into intricate
figures and patterns depicting their
folklores and beliefs.
DAGMAY. The traditional handwoven textile of Mandaya, is
made of lanot (abaca fibers, Musa textilis) using the abl’lun
(backstrap loom).
Weaving the “dagmay” has been passed on from one generation
to another. Children, during their free time, help their mothers
to segregate and knot the abaca fibers. When their feet can
reach the siknan (foot brace) of the loom, the young girls are
allowed to continue what their mothers and grandmothers have backstrap
started to weave. Those who are willing to learn would stay by
their mothers’ side to observe and copy what their mothers are loom
doing.
abaca Musa
Red: Symbolizing energy, passion,
THE MANDAYA, AN and vitality.
ETHNIC GROUP IN
THE PHILIPPINES, IS
Black: Representing strength,
KNOWN FOR THEIR mystery, and the unknown
VIBRANT AND
CULTURALLY RICH
White: Signifying purity, clarity, and
TRADITIONS. WHEN spirituality.
IT COMES TO
Yellow: Associated with joy,
COLORS, THEY abundance, and enlightenment.
PRIMARILY USE THE
DAGMAY, THE
EXQUISITE
HANDWOVEN TEXTILE
OF THE MANDAYA
PEOPLE, SERVES BOTH
PRACTICAL AND
SYMBOLIC PURPOSES
WITHIN THEIR
CULTURE:
CEREMONIAL ATTIRE:
⚬ During significant life events, such as
weddings, rituals, and festivals, Mandaya
individuals wear Dagmay garments.
⚬ These textiles symbolize cultural identity,
spirituality, and connection to their
ancestors.
THE DAGMAY HAS BEEN WORN
AS WOMEN’S SKIRTS BUT IT IS
ALSO USED AS BLANKETS AND
TO WRAP THE DEAD. EACH
DESIGN, HOWEVER, CARRIES
WITH IT A CERTAIN STORY.
MOST OF THE TRADITIONAL
DESIGNS, WHICH CAN EASILY
DATE BACK TO OVER A
HUNDRED YEARS, HAVE COME
TO THEM IN DREAMS.
SEPATUNGAN OF
YAKAN
IT IS DIFFERENT FROM ANY OTHER
YAKAN WEAVING. TRADITIONALLY IT
HAS AN OFF-WHITE BACKGROUND
USUALLY WITH SQUARE PATTERNS
WHICH ARE “STOOD UP ON END” AS A
RHOMBUS. THE PATTERNS ARE OF GREAT
VARIETY AND SO CANNOT BE PRE-
PROGRAMMED AS FOR THE OTHER TYPES
OF WEAVING. FOR THIS REASON, AND
BECAUSE IT IS ABOUT ONE METER WIDE,
IT IS VERY DIFFICULT TO WEAVE. ONLY A
FEW PEOPLE KNOW HOW TO DO IT. THE
CLOTH IS WORN AROUND THE WAIST BY
YAKAN WOMEN WHEN THEY DRESS IN
THE OLD TRADITIONAL COSTUME. OFTEN
WOMEN ALSO WEAR IT AS A HEADDRESS.
BRIDES AND GROOMS HAVE SEVERAL
DRAPED OVER THEM AS PART OF THE
THE YAKAN SAPUTANGAN IS A
REMARKABLE SQUARE PIECE
OF WOVEN CLOTH, TYPICALLY
MEASURING NO LESS THAN 74
CENTIMETERS ON EACH SIDE.
WHILE IT IS MOST COMMONLY
USED AS A HEADSCARF
Headscarf: As the primary
use, it adorns the heads of
Yakan women, adding a
touch of color and cultural
significance.
Sash or Waistband: Beyond
the head, the saputangan can
be worn as a sash or
waistband. It secures their
traditional trousers called
sawal, which are worn by
both men and women.
Hea
SUBHEADIN
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SEPUTANGAN PROCESS
Design and Vision:
Yakan weavers employ a
complex technique called suk-
suk.
No less than 70 design sticks
are used to create a single
saputangan pattern.
At the very center or pussuk
of the saputangan, you’ll find
the principal motif. This motif
can be a flower or star shape
inside a small diamond.
Elaborate Patterns:
The principal motif is then repeated and elaborated in
various geometric shapes:
Squares
Zigzag forms
Parallelograms
Triangles
These shapes are arranged within larger diamond-shaped
spaces.
Borders and Symmetry:
The edges of the square layout
feature the parikat, a border with
tiny patterns identical to the
principal motif.
An inch-wide plain line without
patterns runs through the four
sides of the central square,
outlining the central area and
framing it within a perfectly
symmetrical geometric
composition.
PIS-
YABIT
Many believe that the pis siyabit design is the Tausug
version of the Hindu mandala. In Sulu, a geometric ukkil
is called siyabit, which means “to hook,” an act of
weaving angular design. The warp of pis siyabit is marked
to form a guide for the tapestry-like silk weaving.
Symbolic Elements:
Pis Siyabit features four identical squares in its inner corners, representing the elements of fire, air, water, and
earth.
Surrounding the central square are four identical rectangles, each with
intricate designs. These include zigzags, lines, triangles, lozenges, swastikas,
and cross patterns.
The center motif connects the four corners, creating imaginary axes—a reflection of the Islamic concept of
Pis Siyabit is usually seen being worn
during weddings and other Tausug
occasions.
Beyond personal attire, it can also be
used to decorate households—for
example, as frames or curtains.
