An elderly woman meticulously dries several bugkos of buli leaves with quite a few romblon leaves mixed in. When the leaves have already dried, she painstakingly separates the fiber from the leaves using a dileh (knife).

She then treats the fiber with galena (dye) in different colors such as yellow, green, and red, occasionally using los (wooden stick) to press and stir the fiber for equal absorption of the dye. The yarn or the fiber is the secret. It has to be of high quality. And the dye, it has to have chromatic color intensity.

The process of weaving has only just begun. The technique has to be precise and can only be learned through fastidious and continual practice. A very tedious process, it requires eternal patience because it usually takes almost half a year to finish a five meter long cloth, more if it has an intricate design.

The warp and the weft are closely interwoven, following the precise patterns to create an intricate design and maintaining the consistency of the finish. If one warp or weft is incongruous to the design, the weaver has to unravel the threads and start again.

It is no wonder that the Philippines is known for its textile that is replete with vibrant colors and indigenous craftsmanship and artistry. Each indigenous group in the Philippines has its own kind of weaving tradition, from the materials to motifs, designs, and methods.

Take for example the Cordilleran people. They weave their bahag and blankets using a back-strap loom. The T’boli tribe has T’nalak fabric which is created by tie-dying the abaca threads in earth tones before they are woven. The Tausugs boast of their pis syabit weaving which creates traditional squares used by the tribe for ornamentation.

The Higaonons have their Habulan; while Mandayans boast of their Dagmay. The Bagobos take great pride in their Inabal and the B’laans, their mabuel. Then, there are those tribes who create woven masterpieces using piña, jusi, cotton, and silk.

However, with the advent of commercial production of textiles which encourages the use of synthetic fabrics to create clothes and textiles, the indigenous weaving tradition is on the verge of extinction. Adding to its slow death is the changing values of the younger generation – they prefer living and migrating in urban cities for better opportunities.

“When the Filipino Heritage asked me to do an exhibit in Davao, I thought: what should I highlight? When one hears Davao or Mindanao, one will automatically think about the woven textiles. Weaving is a tangible tradition, a part of our heritage that we have to preserve and promote,” shares floral architect Rachy Cuna.

Cuna recently mounted an installation exhibit, dubbed “Habi Natin: A Celebration of Mindanao’s Woven Heritage,” at the Marco Polo Hotel in Davao City. The exhibit was part of the celebration of the Filipino Heritage Festival.

As an artist who can speak and understand the language of flowers in all its form, Cuna created 12 floral art installations using local woven and indigenous materials, all showcasing the natural, free-flowing, and avant-garde creativity and artistry that he is known for.

While most tourists see these woven textiles as mere pasalubong, the complexity of patterns, symmetry of the designs and the sensitivity to the colors in each fabric reflect the indigenous heritage of the people, their values and culture. It conveys the strength, resiliency, and patience of the weavers which are fundamental to their survival.