The Inabel weaving tradition goes avant-garde
is a weaving tradition of the Ilocos provinces (Pangasinan, LaUnion, Ilocos Sur and Ilocos Norte). It is a dying tradition: weavers are getting older, fewer young people are willing to learn the intricate patterns, and raw materials, like handspun cotton thread and natural vegetable dyes, are getting more and more scarce. Because of its high quality and austere designs, there is a renewed interest in the inabel for various applications: in modern interiors, as well as in avant-garde fashion.
With few remaining pockets of weaving communities — Bangar in La Union; Santiago, Santa, Bantay and Vigan in Ilocos Sur; and Pinili, Paoay and Sarrat in Ilocos Norte; as well as weaving communities in Cagayan and Isabela (Region 2), various parts of Abra in the Cordillera Administrative Region (CAR) who share the looms and patterns of the Ilocos; and other indigenous peoples of the Cordillera who use backstrap looms and unique patterns in weaving traditions that are still distinct from Ilocos inabel — the National Commission for Culture and the Arts has taken steps to honor these traditions. In 2012, the NCCA awarded the nonagenarian weaver Magdalena Gamayo of Pinili the Gawad Manlilikha ng Bayan (GAMABA) or National Living Treasure.
And with that honor, weaving in her barangay was revived. From three elderly weavers, the community has grown with 15 senior and apprentice weavers practicing and learning the craft. PHILFIDA, the government arm that promotes the development of local fibers, is scheduled to install a cotton spinning facility in Pinili in the near future. PTRI has likewise provided wider looms that will help the community produce wider fabrics suitable for clothing and accessories. Together with the private sector, coordinated initiatives are bringing a dying craft back to life.
The binandera is the simplest design of all — consisting of stripes on the sides, or in the middle of the fabric. In Ilocos Sur, the design is called cantarinis, and the material was originally used for sailcloth, the same as old binakul weaves. Those who are familiar with the Basi Revolt paintings of Esteban Villanueva will notice the flag of the insurgents from the north has five red stripes, while the loyalist Vigan soldiers hold aloft theirs with three red stripes.
Binakul, with its whirlpool kusikos pattern, is still made in Ilocos Norte, mainly in the towns of Sarrat and Paoay; a barrio of weavers in Mindoro west of Vigan City also manufactures a thinner variant. It is also made by weavers in Santiago, Ilocos Sur. Mostly black or indigo, with patterns in white or cream,
binakul is one of the original weaves of Ilocos. There are rare vintage blankets in red, green and yellow, mostly owned by the richer classes (baknang).
Binakul patterns are often described as “op-art” because of the optical illusion created by its dizzying designs that represent the waves of the sea. Ancient tribes believed the
binakul patterns protected them from vicious spirits — hence their predominant use in the rituals of the upland tribes.
Insukit, or inkaot, which means “inserted,” is still practiced in barangay Nalasin, Paoay with patterns of stylized stars, diamonds and oblong shapes, fish, crabs, pineapples, grapes, turkeys, horses, even the two-headed eagle (the bird is one of the symbols of the Augustinians, who were among the first missionaries in the north). In the story of Lam-ang the epic Ilocano hero, he has a two-headed chicken called Gikgik for a pet. Some of the more sophisticated weaves include the kundiman — monochromatic white with very fine, subtle patterns (tiny diamonds within diamonds, circles, squares and other geometric shapes). Multiple heddles allow the weaver to create the embossed and recessed patterns in the all-white cloth. The bitbituka is a variation of this pattern, suggestive of the stomach linings of pigs or cows. There are fewer and fewer samples of this type of weave because of its complexity. Simpler white-on-white weaves, without the embossed and recessed patterns, are finding a wider audience — the elabo- rate designs muted by the single color.
Burbur, the thick looped weave often used for towels and bathrobes, is usually cream in color, with a red or indigo border.
Leno is a plain weave, with holes inserted to form patterns by inserting bamboo sticks and twisting selected skeins in the process of weaving. This tedious process creates a simple but beautiful material suitable for blankets and clothing.
Kinurkurus is a plaid pattern usually used for ladies’ skirts, called pandiling in the vernacular. Often made of cotton, there are also samples that use silk thread.
Since 2015 Dr. Joven R. Cuanang has been encouraging the growing of indigenous cotton in the community of Magdalena Gamayo to provide 100-percent cotton raw material for their weaving. After two harvests, Ilocano designers are highlighting the results of the experiment in a fashion show at Pinto Art Museum in Antipolo City on March 4 at 4 p. m. called “Inabel 2018” which follows the successful show “Inabel 2017” staged at Sitio Remedios in Ilocos Norte last April 2017.
Sitio Remedios in Currimao is envisioned to become a center for weaving, organic dyeing, design, finishing and sale of single-source cotton products. The municipality of Currimao supports this initiative.
The beauty of vintage abel comes not only from its appearance and color; the weight, heft and feel are a direct tactile connection with the people who create and value them.