Tell SunStar: Sons of Heritage

Traditional weaving of piña cloth is a tangible, complex and resilient way to unite a community. At Kaangtanan 2024, scholars, artisans, advocates, and cultural workers discussed the importance of piña weaving in Western Visayas, revealing a rich history of resilience and innovation. This delicate yet durable pineapple-based fabric has symbolized Filipino identity for centuries, from Spanish colonial rule to today’s slow but hopeful renaissance.

Piña’s journey begins in the late 1700s and early 1800s, when the country prospered under Spanish rule. Luxury fabrics were reserved for the elite and symbolized wealth and status. The art of piña weaving was a family tradition, with each member contributing to the complex process of creating this translucent material. In his speech, historian Randy Madrid highlighted that piña weaving is more than just a fabric, as it embodies the Filipino soul, encompassing stories, aspirations and craftsmanship.

As mass-produced textiles became more affordable, production of piñas declined in the mid-20th century. Industrial efficiency seemed to contradict tedious and delicate hand weaving. Piña could have been lost without visionaries like Senator Loren Legarda, who fought for Philippine cultural heritage. The most recent recognition by the United Nations Educational, Scientific and Cultural Organization (UNESCO) of Aklan piña handweaving as intangible cultural heritage highlights the need to preserve this national treasure.

While the past was marked by elegance, today’s piña landscape is one of reinvention. Conversations at Kaangtanan 2024 touched on the evolution of piña weaving. Once confined to formal national costumes, designers like Patis Tesoro and Gabbie Sarenas are now transforming the piña into wearable art for everyday fashion. These modern reinterpretations – piña-seda blends, piña-shifu fabrics – aim not only to make the fabric more versatile, but also to ensure that the piña resonates with younger generations.

However, despite this resurgence, piña weaving faces challenges, many of which stem from its labor-intensive production. Weavers, mostly women, often spend days or even weeks meticulously extracting and weaving fibers. As UP Visayas Chancellor Dr. Clement Camposano pointed out, forms of cultural mapping, such as promoting piña weaving, are an attempt to “snapshot” how the community “finds its own benchmarks”, demonstrating its ability to adapt. while retaining its cultural roots. This sentiment resonates deeply with weavers, who often describe their work not only as a means of livelihood but also as an art and a means of preserving their community’s identity.

During our discussion at the Grand Xing Hotel in Iloilo City, artist and cultural worker Anna India dela Cruz-Legaspi shared the intimate story of her grandmother entrusting her with the last 10 yards of century-old piña fabric that she had woven. It was a symbolic gesture, conveying not just a piece of cloth but the responsibility of keeping the tradition alive. Today, Anna continues to innovate, introducing the piña to international audiences while modernizing the fabric for contemporary fashion markets. But beyond the aesthetic, her efforts represent a deeper mission: to empower local weavers by creating sustainable livelihoods. She expressed her opinion with conviction: “Hindi po mawawala ang pinya weaves satin, and this will continue through centuries. »

The future of piña weaving lies at the intersection of tradition and innovation. The reinvention of Piña as a global luxury fabric is a testament to the adaptability of local artisans, but as we learned at the conference, sustainability must be a priority. Senator Legarda highlighted the need for government intervention to address issues such as the dwindling number of weavers and irregular supply of fiber. Collaborations between scientists, academics, fashion designers and local communities are crucial to ensuring that piña remains a thriving industry for years to come.

A forward-thinking solution lies in the integration of technology, something weavers once viewed with skepticism. The introduction of the four-harness loom and the use of QR codes to track the identity of the weaver represent steps towards the professionalization of the loom. Yet as piña weaving adopts modern practices, it must never lose sight of its cultural significance. The future of the piña depends on maintaining its delicate artistry and meeting the demands of a competitive global market.

Reflecting on piña cloth in Kaangtanan 2024, I was able to appreciate the quiet but profound role of this craft in shaping Filipino identity. It’s more than just fabric: the piña is a metaphor for resilience, community and national pride. The weaving process, which involves collaboration from farmers to embroiderers, artisans to stylists, weavers to vendors, cultural mappers to policymakers, and owners to patrons, embodies the spirit of Bayanihan, a collective effort to create something beautiful and meaningful.

As we left the conference, one insight into the discussions lingered: “We shape and are shaped by what we create. » This perfectly sums up the essence of piña weaving. The future of this industry does not rest solely in the hands of our local weavers or designers, but in the collective commitment of a community to nourish its cultural heritage. Piña may have started as fabric for the elite, but today it symbolizes the enduring spirit of a nation. We have a responsibility to carry on this legacy, just as Anna Legaspi carries on her grandmother’s legacy, weaving the past, present and future into each thread.