No. 1
Philippine Mats
Manila
Bureau of Printing
1913
FOREWORD.
The present bulletin is a reprint from The Philippine Craftsman,
Vol. I, Nos. 3, 4, and 5, and is issued in this form for the purpose
of placing in the hands of teachers a convenient manual for use in
giving instruction in this important branch of industrial work. In
it are contained directions for the preparation of materials for mat
making, with suggestive color schemes for these materials and details
for weaving a number of approved Philippine designs.
The use of mats for sleeping and other household purposes is universal
through the extreme Orient. Suitable mat materials abound in these
Islands, and when proper attention shall have been given to the
artistic and decorative side of their manufacture, the mat industry
may well become a source of considerable revenue in thousands of
Filipino homes.
The Bureau of Education has for some years past been endeavoring to
improve the designs used as well as the workmanship of Philippine mats,
in order that the article produced shall be typical of the country,
artistic in design, and of real commercial value. It is expected that
this end will be definitely furthered through the study and use of
the material contained in this reprint.
A considerable part of the subject matter of this publication
is the original work of Mr. Hugo H. Miller, Mr. John F. Minier,
Mr. U. S. Andes, Mr. Theodore Muller, and Mrs. Alice Brezina. Credit is
also due to numerous American and Filipino teachers for the submission
of reports and materials used in its preparation.
Frank L. Crone,
Acting Director.
Manila, February 1, 1913.
PHILIPPINE MATS.
The production of mats in the Philippines is large because of the
extensive domestic demand for them. The sleeping mat [1] is used
throughout the Christian provinces, and is also found among the
Moros. Such mats are of the finer class and are usually more or less
highly decorated with colored straws in various designs. For this
purpose the buri petates are more widely produced than those made from
any other material. Pandan mats are considered stronger and cooler
but their use is not so extensive, probably because they are more
expensive than the buri mats. In the Visayas, tikug mats are important.
Another use of mats is in the baling of two of the staple products of
the Philippines, tobacco and abaca. In the Cagayan valley mats of dried
banana petioles are employed. A great many of these are made in Batac,
Ilocos Norte, from which place they are shipped to Cagayan. In most
cases the tobacco of the Visayas is packed in such mats also. At Argao,
Cebu, banana petiole mats are woven as a by-product of the sabá cloth
industry. In obtaining the fiber, the outer skin of the petiole is
pulled off for stripping, and the remaining portion, which is called
"upag," is dried and woven into very coarse mats by children. These
are called "bastos" [2] or "liplip," and are disposed of to the tobacco
balers in the town, or are shipped to Cebu and other towns for baling
purposes. While sabá sinamay is produced in several of the districts
in the Visayas, notably in Bohol, it is not known that the upag is
used for mat weaving there.
Coarse buri mats are almost exclusively used in wrapping abaca for
the export trade. Since baling is carried on only in large seaports,
particularly in Manila and Cebu, the weaving of these mats in certain
localities where the buri palm is abundant and their transportation
to the hemp-producing towns are important industries.
While they are not, strictly speaking, mats, plaited sacks [3] are
woven in the same weave and bear the same relation to sugar and rice as
do mats to tobacco and abaca. Most of the domestic rice crop entering
into commerce is packed in buri sacks and practically all the export
sugar is sent away in them. A few bayones are made of pandan. The
production of bayones is an important industry in certain districts.
Mats are also employed throughout the provinces for drying paddy
and copra in the sun, in the same manner in which trays are used for
sun-curing fruit in temperate regions.
The use of the finer grades of petates for floor mats and for
wall decoration is confined to the foreign population in the
Philippines. Nevertheless, a considerable number is so utilized. For
this trade only mats of the better grades are demanded, and the number
sold for the purpose is probably considerably restricted by the fact
that few mats are of suitable color combination and of proper design
to satisfy foreign taste. As yet there is no known commercial export
of Philippine mats. There is a considerable demand for floor mats and
mats for wall decoration in Europe and in the United States, but it
is improbable that the Philippines can hope to supply any part of it
unless designs and color combinations are vastly improved. Floor mats
are used as rugs in the same manner as are the strips of Japanese
matting which are so popular all over the world. Round floor mats,
somewhat larger in diameter than the round table tops, are also in
demand. Small mats can be used as doilies on the table or under the
stands of flower pots and the like.
Sleeping mats and mats intended for floors, walls, stands, and mat
doilies are the ones which are suitable for domestic and foreign
commerce, and industrial education must interest itself in them. The
Philippine materials available for weaving these mats are varied and
well distributed. With improvement in color combination and design,
there should be a large increase in the industry.
BLEACHING AGENTS.
Sunshine is used to bleach all mat straws, but more often they are
also treated with boiling water to which certain bleaching agents
have been added. Only the most important of these are explained.
Tamarind.--This tree (Tamarindus indica) is known in Tagalog,
Bicol and Pampanga as sampalok, in Visayan as sambag, in Ilocano
as salamagui, and in Palawan as kalampisao. It is a large tree
with dense foliage. The leaves are employed as a bleaching agent in
boiling water. It is said that the young green fruit can be used for
this purpose.
Pandakaki.--The leaves of the plant (Tabernaemontana pandacaqui)
are used as a bleaching agent. This is the name under which it is
known, particularly in Pampanga and Cavite. In Palawan it is called
alibetbet. It is also known as kampopot in Tagalog and as alibubut
and toar in parts of the Visayas. In Ilocano the name is kurribuetbuet.
Lemons.--The juice of the various species and varieties of Citrus is
employed to some extent for bleaching. It is usually added to boiling
water in which the straw is immersed.
Vinegar.--Of Philippine vinegars, those made from palm juices are
considered about half as strong as lemon juice. Vinegar from sugar
cane juice has probably the same strength. That made from cooked rice
is considered about one-fourth as strong as lemon juice.
Alum.--In some towns alum is added to the boiling water in which
straw is treated. It is usually employed in combination with other
bleaching agents.
DYES USED ON MAT STRAWS.
Mordants.
A mordant is a substance employed to fix the dye to the material. In
general, different ones are needed for different dyes and various
materials. In some cases the mordant is added to the dye liquid;
in others the material is previously treated with it before being
colored. The most important are the mineral mordants, such as the
alumina, the iron, the tin, and the chrome. These are not used in
the Philippines with local vegetable dyes. Tannin is also important
and is employed to some extent in the Philippines, being generally
obtained from the mangrove tan barks. Wood ashes are little used but
vinegar and lemon juice are important.
Kolis.--The leaves of this plant (Memecylon edule) are commonly used
in mordanting buri straw before dyeing it with sappan wood. In Tanay,
Rizal, it is employed on sabutan straw with all of the vegetable
dyes. It is known as guisian (Laguna), duigim (Ilocos, Pangasinan),
kulis (Rizal, Nueva Ecija, Bataan), tagobachi (Leyte), kasigay
(Ilocos Norte), agam (Negrito, Cagayan), guisoc-guisoc (Sorsogon),
macaasin (Tayabas), baian (Zambales), diyatdiyatan (Tayabas), candong
(Pangasinan), dioc (Pangasinan).
Natural Vegetable Dyes.
Numerous natural vegetable dyes are employed in the Philippines. Those
used on the mat straws are limited in number. The important ones only
are here noted. The whole question of dyes is a most difficult one
and hardly warrants the time which has been spent upon investigating
the various dye materials, nor the effort which would be necessary
to determine definitely the methods by which they can be used on mat
straws. The artificial dyes have driven the natural vegetable dyes
out of use because they are cheaper and are more easily applied, and
because in most cases they produce more pleasing and lasting colors.
Sappan.--This plant (Caesalpinia sappan) is known as sapang in
Tagalog and Ilocano and as sibucao in Visayan and Bicol. A beautiful
dye varying from red to red-orange (see Plate III) is obtained from
chips of the wood. This is employed on most Philippine fibers. Lime is
sometimes used as a mordant but the straws are usually first treated
with kolis leaves.
Turmeric.--This plant (Curcuma longa) is known as dilao throughout the
Islands. In Ilocano it is called kunig. Kalaoag is its name in Negros
and Sorsogon, ange in Pampanga and duao in parts of the Visayas. The
yellow dye obtained from the roots is fugitive in the sunlight.
Annatto.--This plant (Bixa orellana) is generally known here
as achuete. It is sometimes called achiote. The plant bears burs
containing many small reddish seeds, from the pulp of which the dye
is obtained. It is often employed in combination with turmeric. The
result is a yellow orange. The dye fades easily.
Deora.--The use of this plant (Peristrophe tinctoria) is confined to
the Visayas and Mindanao, where it is known by this name and also
as dauda and daura. In Samar the name is dala-uda. It is a small
bush and is usually grown in the gardens for its leaves and tender
stems. A mordant is not used. The color ranges from yellow orange to
a deep red orange.
The methods of using these dye materials are explained for each straw.
Materials Used with Mud to Obtain Dark Grays.
Red or green straws are turned dark gray by burying them in mud to
which certain substances (usually containing tannin) are added.
Talisay.--This large tree (Terminalia catappa) is common in the
Philippines. The leaves are added to the mud in dyeing straw
black. From the bark a brown dye may be obtained. It is, however,
seldom used. It is universally known as talisay. Spanish speaking
people call it almendras.
Indigo.--Two species of Indigoferae are grown in the Philippines and
are known as tagum. Except with mud they are not used to dye straws.
Tiagkot.--The leaves of this plant (Pithecolobium subacutum)
are employed on Romblon Island in dyeing buri gray. Other names
are tagayong, narandauel, saplit (Cagayan); carisquis, ayamguitan
(Zambales); tugurare (Pangasinan); inep (Bulacan); malasaga, malaganip,
tekin (Laguna); bahay (Sorsogon); tagomtagom (Samar); tique (Rizal).
Kabling.--This plant (Pogostemon cablin) is generally cultivated,
though it grows where its cultivation has been abandoned. A volatile
oil, used to keep away insects from textiles, is obtained from
the leaves. The leaves are used in Tanay, Rizal, in obtaining gray
sabutan straw.
Mabolo.--The heart wood of this tree (Diospyros discolor) is known
as kamagon. The leaves are employed in Tanay, Rizal.
Castor.--This plant (Ricinus communis) is seldom cultivated in the
Philippines but is found wild in all localities. The "beans" yield
the oil. The leaves are added to mud in obtaining gray sabutan straw.
Artificial Dyes.
It is commonly believed that artificial dyes are less permanent
than natural ones. This is seldom the case; as a matter of fact,
some of the fastest and most valuable dyes are now made artificially
and many are not procurable from vegetable coloring matters. Most
of the cheaper dyes made from coal tar are fugitive; that is, they
fade in sunlight or water or in both. They are often still further
cheapened by being adulterated with salt, dextrine and the like. Such
are the colors which are usually sold by the Chinese tienda keepers
and which have caused artificial dyes in general to come into such
ill-repute in the Philippines. Many of these "Chino dyes" contain 95
per cent salt. It is the belief, however, that artificial dyes of a
good class, so packed and marketed that they will come cheaply to the
hands of the dyers and weavers, will drive out of use practically all
of the vegetable dyes now employed in the Philippines. The disuse of
the natural dyes would not be regretted here, for, with the possible
exception of those obtained from sabutan straw in Tanay, much finer
colors can be produced with artificial dyes, as to both beauty and
fastness. If the time of the workers is considered, the vegetable
dyes now employed in the Philippines are more expensive than the
artificial dyes, even though the latter are now sold in wastefully
small packages and bear the burden of several large profits before
they come to the hands of the persons using them. [4]
DYEING.
The process of dyeing is simple. The fluid is prepared in water
(usually boiling), and the material is immersed in it. The shade of
color obtained depends on the length of time the material is allowed
to remain in the fluid or the number of times it is treated, and the
strength of the dye. The combination of two different dyes to obtain
a third is understood to some extent. In particular, red and yellow
are mixed to obtain orange.
SUGGESTIONS ON THE USE OF COLORS IN MATS.
Standard Colors.
The three primary colors are red, blue, and yellow. The three secondary
colors are obtained by combination of the three primary colors, and are
orange, green, and violet. Orange is made by a combination of yellow
and red, green is a combination of blue and yellow, and violet is the
combination of red and blue. Most of the dye materials explained in the
preceding pages do not produce standard colors and so, when combined,
do not result in the expected secondary color. Often those called red
are, in point of fact, red-violet (see Plate III). Sometimes, also,
dyes called yellow are yellow-orange. A mixture of yellow-orange
and red-violet would produce a muddy color. Dye called green may be
really blue-green or yellow-green, and combined with red, will make
a muddy color.
The above remarks on standard complementary colors are only valid
for pure colors and it is only by much experimentation that pleasing
tones can be obtained by a combination of the dyes used on straws in
the Philippines.
How to Tone Down Brilliant Colors.
Many of the colors used in Philippine mats are very brilliant. A little
brilliantly colored straw, properly combined with subdued colors such
as gray or one of the natural colors of Philippine straws, is pleasing,
but the abundant use of brilliant straws, such as are sometimes seen
in mats of solid color, is to be discouraged.
All brilliant colors may be subdued by adding to them their
complementary color. Thus a brilliant red may be subdued by adding to
it a small amount of green and in the same way brilliant green may be
toned down by mixing with it a small portion of red. If too much of the
complementary color is added the result will be gray. As will be seen,
all complementary colors will subdue one another. In Plate III the
principal colors have been so arranged that the complementary colors
are directly opposite each other and are connected by lines. Any two
colors connected by lines on this chart will tone down each other and,
if mixed in proper proportions, will result in gray.
It is probable that any straw which has been dyed too brilliant, can be
closely matched to one of the colors given on Plate III. Consequently
its complement can be determined and, by experimentation, the brilliant
color toned down. Usually only an exceedingly small amount of its
complement is needed to tone down a given color.
Color Combination.
In general, too many different colors appear in the Philippine mats,
and most of these are brilliant. It is often true that a large
amount of a given brilliant color is offensive to the eye, and yet
the addition of a little of it greatly enhances the beauty of the
mat. Often color combinations are not harmonious. Particularly
bad effects are obtained with red-violet and yellow or
yellow-orange. Red-violet with blue-green is another unfortunate
combination.
Certain rules have been set down for combination of colors: (1) A given
color with its tints and shades [5] may always be safely combined;
(2) complementary colors may always be safely combined; (3) the tints
and shades of complementary colors may always be safely combined;
(4) any three colors occurring in sequence on the color chart may be
combined in that sequence.
The following notes on the use and combination of the colored straws
from Tanay, Rizal, and from Romblon, and those shown on the charts
accompanying the dyes of Leopold Cassela & Co., are given. The figures
refer to the numbers given the colored straws on these charts. These
dyes were evolved for the Bureau of Education especially for Philippine
mat straws and will soon be available in the market. The notes have
been prepared in accordance with the rules above outlined, and, if
they are followed closely, no unfortunate color combination can result.
Colors Obtained from the New Dyes.
The sample straws on these charts are made with the following
dyestuffs:
Colors. Numbers Dyestuffs.
on chart.
Yellow Yellow-Orange No. 1 Paraphosphine G.
Violet No. 2 Methylviolett BB 72 No. 1.
Brown No. 3 Rush Brown B.
Orange Red-Red No. 4 Rush Red S A.
Yellow-Green No. 5 Rush Green T B.
Blue-Violet No. 6 New Methylene Blue R.
Red-Violet No. 7 Magenta Prima.
Black No. 8 Rush Black M.
Chocolate No. 9 Rush Brown X.
Red No. 10 Rush Red J S.
Yellow Orange-Yellow No. 11 Auramine II.
Blue-Green No. 12 Japan Green.
Red Violet-Violet No. 13 Methylviolett R No. 1.
Red-Orange No. 14 Chrysoidine A G.
Blue Blue-Green No. 15 New Methylene Blue N.
Violet Red-Red No. 16 Safranine S 150.
Complementary or opposite colors on the color chart are said to be
harmonious. Their relation is made more pleasing, however, if one
color, usually the more brilliant, is used in very small amount. In
many cases in the above combinations colors not exactly opposite
have been united. They usually contain a mixture of a primary color
common to both. Brown, Black, Chocolate, and Dark Red are complicated
mixtures and may be analyzed with a chart which will appear later. Many
of these dark colors would harmonize with one another, but would
be so dark that they would not be pleasing. In every one of these
combinations, the natural straw background figures as another color,
and that is why the especially good combinations, as will be noticed,
contain browns, yellows and reds, colors which blend particularly
well with the background. Red-Violet No. 7 can be used with only a
very few colors, and never with Yellow Yellow-Orange No. 1. Yellow
Yellow-Orange should be used cautiously.
In sabutan straw, No. 1, Yellow, must be used sparingly. When used
in combinations in place of No. 1, Yellow Yellow-Orange, the design
should be an open one, rather than solid. Violet Red-Red, No. 16,
when being used in place of Red, No. 10, must be used in the same way,
and only in places where very, very little is called for. No. 11 is
a color that clashes with even a natural straw, so is not advisable
in any combination or alone. No. 13 is not a necessary color when
No. 2 and No. 6 are available.
In placing the color upon the space to be decorated, the heavier colors
should usually appear on the outside and near the edge of the space,
although a border may sometimes be outlined with darker color on both
inside and outside edges.
The following combinations of these colored straws will prove
harmonious. The numbers correspond to those used on the chart and
the different kinds of type indicate the proportions of the color to
be used--little, Medium Amount, MUCH. The relative positions of the
colors must also be observed and the given order followed when more
than two colors are combined.
Brown (3) Yellow-Yellow Orange (1). Especially good.
Black (8) Yellow-Yellow Orange (1).
Chocolate (9) Yellow-yellow Orange (1).
RED-ORANGE (14) CHOCOLATE (9) Yellow-Yellow Orange(1). In this case,
the heavy color, 9, comes in the center of the design, but is necessary
to separate Nos. 14 and 1.
VIOLET (2) BLUE-GREEN (12) Red-Orange (14).
Violet (2) Red-Orange (14) Blue-Blue Green (15).
Brown (3) alone on natural background.
Brown (3) Yellow-Green (5). Especially good.
Brown (3) BLUE-GREEN (12).
BROWN (3) RED-ORANGE (14) Red (16).
Brown (3) Red-Orange (14). Especially good.
Brown (3) BLUE-BLUE GREEN (15) Red-Orange (14). Especially good.
Brown (3) RED (16). In sabutan straw, use No. 4 or 10 in place of
No. 16.
Black (8) Brown (3) Red-Orange (14). Especially good.
ORANGE-RED RED (4) Blue-Green (12). Use No. 15 instead of 12 with
sabutan.
BLUE-BLUE GREEN (15) BLUE-GREEN (12) Orange-Red Red (4). Especially
good.
Black (8) ORANGE-RED RED (4). Especially good.
YELLOW-GREEN (5) BLUE-BLUE GREEN (15) Red-Orange (14).
RED-VIOLET (7) BLUE-BLUE GREEN (15) Yellow-Green (5). Especially good.
Black (8) Yellow-Green (5). Use this combination with an open design
(not solid), and do not use much of each.
BLUE-GREEN (12) Yellow-Green (5).
BLUE-BLUE GREEN (15) Yellow Green (5).
Blue-Violet (6). On a natural ground.
Blue-Violet (6) Red-Orange (14).
Chocolate (9) Blue-Green (12) Red-Orange (14). Especially good.
Chocolate (9) BLUE-GREEN (12) Red-Orange (14). Especially good.
Blue-Blue Green (15) Red-Orange (14). Especially good.
BLUE-BLUE GREEN (15) Red (16).
Romblon Buri Vegetable Colors.
1--Black.
2--Gray-green.
3--Natural.
4--Orange.
5--Dark red.
In Romblon buri straw the following combinations will be harmonious:
Nos. 1, 2 and 3 in accordance with Rule 4. Nos. 2, 3 and 4 in
accordance with Rule 4.
Exception to Rule 2: No. 5 is inharmonious with No. 4.
It will be noticed that these colors depend for their harmony on their
order or sequence and their quantity (in this case equal parts of all
three). No. 3 being a neutral color, great quantities of it may be used
with any other colors. There is danger, however, in getting too much of
one of the other two colors. No. 4 is a very strong color and a little
will be pleasing while much will be offensive. It is not well to use
it alone on a ground of No. 3. No. 5 may be used alone with a ground
of No. 3; No. 1 with a ground of No. 3; No. 2 with a ground of No. 3;
No. 3 with a ground of No. 2; Nos. 1 and 3 on a ground of No. 2, with
a very small quantity of No. 1; equal proportions of Nos. 1 and 4 may
be combined on a ground of No. 3; Nos. 2 and 4 on a ground of No. 3,
a very small quantity of No. 4 being used.
Tanay Sabutan Colors (Mostly Vegetable).
1--Black.
2--Blue-green.
3--Natural.
4--Yellow.
5--Red-orange.
6--Red-orange red.
It will be necessary to use No. 3 on a ground work. Mats made entirely
of any of the other colors would hardly be harmonious on a floor or
wall, if there were any other furnishings. Nos. 1, 2, 5 and 6 may be
used separately upon a ground of No. 3; No. 2 in large quantity; No. 1
in small ground of No. 3; No. 2 in equal quantity with No. 5 upon a
ground of No. 3; No. 5 in equal quantity with No. 6 upon a ground
of No. 3; No. 6 in large quantity, with No. 2 in small quantity,
upon a ground of No. 3; No. 5 in large quantity, with No. 1 small,
on a ground of No. 3.
STRIPPING MAT STRAWS.
Philippine mat straws can be divided into three classes--palm
straws, pandan straws, and straws obtained from sedges. The first
two are obtained by stripping the leaves of the plants into narrow
lengths. For this purpose there is used in most localities a small
gauge held between the thumb and index fingers. A knife blade fitting
in the notches serves as the cutting edge. The leaf is held in one
hand and the gauge and knife in the other, the edge of the leaf
being drawn through the gauge. This is generally made out of the
stiff part of the leaf, though, occasionally, of a piece of rattan,
bamboo or leather. At best it serves for only a few hours of use,
when it is thrown away and another made.
When the notch becomes worn, the blade moves about in the gauge,
causing the width of the straws to vary, and when a new gauge is
made there is always more or less variance in the position of the new
notches. This method is very slow, as but one strip can be cut at a
time; and, until the operator becomes expert in the use of the gauge,
many of the strips are worthless. When used in the school room, each
pupil has to prepare his own material. This causes waste of materials
and a constant littering of the floor.
For stripping sabutan leaves, the mat weavers of Tanay, Rizal, use
a kind of comb which is discussed under the heading "Sabutan." The
leaves are pulled over this comb before being dried. As sabutan is
parallel veined it is very easy to strip it thus, the teeth of the
comb following the leaf fibers. The comb produces several uniform
straws with one stroke.
The object of contriving the stripping machine illustrated and
described here was to furnish a quick means of preparing palm and
pandan straws with uniform widths and clean cut edges. Forms of it
have been in use for some time and the model noted here has been tried
out for a year. By its use one pupil can prepare materials for the
whole class, or else the teacher can have all the materials prepared
beforehand if it is so desired. This is half the problem of teaching
the weaving of hats or mats.
This stripper is made wide enough for inserting teeth three widths
apart, so that without adjusting these teeth three widths of straw
may be cut. By changing the teeth in the adjustable gums, any width
desired may be obtained.
It is best to make this apparatus of hard wood, especially the piece
represented by Fig. A. A is a block of wood 23 cm. by 4 cm. by 4 cm.,
containing the groove XY. This groove is the size and shape of C,
being 2.5 cm. wide at the top, 1.5 cm. at the bottom, and 3 cm. high. C
is one of the blocks which slides in the groove XY. These blocks are
made of different thicknesses, about 2, 3, and 4 mm., and are of hard
wood or metal. The rod B passes through these blocks and tightens
on the block D or X by means of a thumb screw. Z is a wooden roller
19 cm. long and 1.5 cm. in diameter. This should extend 2 mm. below
the level of the main surface. It is placed in a groove made in a
separate piece of wood from the principal block and is fastened into
the principal block by means of screws.
The teeth (see C) are made of clock springs or other thin sharp
metal. They are 3 cm. long and 1 cm. to 1 1/2 cm. wide. The two
upright pieces at both ends contain grooves on the inside in which
the block-head slides up and down.
To operate this device, the block-head containing the teeth is
raised by the handle; the leaf is placed under the teeth, and the
block-head is dropped. The teeth pass through the leaf into a groove
underneath. The leaf is now pulled through by the hand as illustrated
in Plate VI.
KINDS OF WEAVES.
With respect to their weaving, Philippine mats divide themselves into
six groups and are here arranged according to their difficulty. They
are (1) the over and under weave found in most simple mats, such
as those made of buri straws, pandan straws, and sedges; (2) the
sawali weaves, which employ the floating straws for making "woven in"
designs and panels for figured sabutan and tikug mats; (3) the open
work weaves of the Romblon buri mats; (4) the circular mats which
employ the hat weaves, either with or without "woven in" designs;
(5) the hexagonal weave; and (6) the embroidered mats in which the
designs are later added. In difficulty, and in place in a course of
instruction, embroidered mats follow the simple over and under weave.
Over-and-Under Weave.
This weave is the simplest and is the one which beginners should
first take up. It is made by weaving over one and under one
continuously. Until this is thoroughly mastered children should not
be allowed to begin the more difficult weaves.
The steps have been diagrammed in figures sufficiently large and
clear in Plates VII, VIII, and IX that a detailed explanation is
not necessary. Step 1 shows the position of the first four straws
as they are placed upon the table or desk; steps 2, 3, 4, and 5,
continued additions and weaving; steps 6, 7, and 8, turning the edge
a on the end of the mat; step 9, turning the opposite edge c; step 10,
the double turn of the corner straw; step 11, the corner turn woven in
the mat at corner No. 1, lapping over the straw already woven; step
12, the continuation of the second edge b; step 13, the turning of
the second and third corners; and steps 14 and 15, finishing the mat.
In weaving large mats, it is customary to begin at one end of the
mat, preferably near the left-hand corner as the mat lies before the
weaver. The weaving continues along the end until half of the desired
width of the mat is reached, when the first corner is turned. Now the
weaving continues down the side and in, as far as the middle of the
mat. When the desired length is woven, the second corner is turned
and the first half of the mat completed.
As the straws are not generally long enough without splicing, new
straws are now added by lapping them from two to three inches upon
the projecting ends of the straws already woven. This makes a narrow
strip of double thickness down the center running the length of the
mat. The weaving now continues as before until the desired width of
the mat is attained, when the third corner is turned. The remainder
is woven and finished at the fourth corner as shown by steps 14 and 15.
Some weavers begin at the sides, and some few, even at the corners;
but this should not be encouraged since it results in making two or
more seams, where the straws lap.
Care must be taken to weave all parts of the mat equally close and
keep the edges perfectly straight; otherwise the mat when finished
will be lop-sided, and consequently of no value. In weaving tapering
grasses like tikug, which have ends of slightly different sizes,
the opposite ends of the straws should be alternated. This prevents
one edge of a mat from building faster than the other.
Sawali Weaves.
Simple Sawali.
By sawali weave is meant all "woven in" designs that are not woven
by ones as in the over and under weave. They may be woven regularly
by twos, threes, etc.; or they may "switch" the floating straws so
as to form a variety of artistic figure designs. In fact, there is
no limit to the number of designs that may be thus made.
Steps 1 and 2 illustrate the beginning of a sawali weave by twos. First
1, 2, 3, 4, 5 are laid down; then c is put under 1-2, over 3-4, and
under 5; d over 1, under 2-3, and over 4-5; e over 1-2, under 3-4,
and over 5. This process is continued, advancing one straw each time
until the desired amount is woven. If the weaving is by threes or
fours, the same principle is followed; that is, the straw goes over
three and under three, advancing one straw each time.
Panels.
Most "woven in" mat designs are arranged in panels, with a ground
between, as this gives a more pleasing effect than a continuous figure
weaving. Panels may be woven either length-wise (step 8), crosswise
(step 8), diagonally across the mat (step 4), or in zigzags (step
3). They are most easily woven when arranged diagonally, for then the
colors may be carried from border to border without mixing with the
ground outside of the panel. Checks are made by weaving cross panels
at regular intervals.
In making parallel panels (panels parallel either to the sides or
ends), more than two colors can rarely be used to advantage.
Step 3 illustrates the weaving of a zigzag sawali panel. The straws,
a, b, k, and l are woven by ones. It takes twelve straws one way
and nine the other to make this panel. If a wider panel is desired,
the same weaving is repeated as often as necessary.
The straws a, b, k, and l are woven by ones. Put l over b and c,
under de, over fg, under hi and over j. Put 2 under b, over cd,
under ef, over gh, under ij and over k. Put 3 over b, under c, over
de, under fg, over hi and under jk. Put 4 under bcd, over ef, under
gh and over ijk. Put 5 over bc, under de, over fg, under hi and over
j. Put 6 under b, over cd, under ef, over gh, under ij and over k. Put
7 over b, under c, over de, under fg, over hi, under jk. Put 8 under
b, over cd, under ef, over gh, under ij and over k. Put 9 over bc,
under de, over fg, under hi and over j. Put 10 under bcd, over ef,
under gh and over ijk. Put 11 over b, under c, over de, under fg,
over hi and under jk. Put 12 under b, over cd, under ef, over gh,
under ij and over k. Then the whole operation is again repeated. It
will be seen that the manner of weaving 2 and 12, 3 and 11, 4 and 10,
and 5 and 9 is the same.
Step 4 illustrates the diamond figure design, woven by threes, with
11 straws in width.
Put 1 under cd, over efg, under h, over ijk and under lm. Put 2
under c, over def, under ghi, over jkl and under m. Put 3 over cde,
under fghij and over klm. Put 4 over cd, under efg, over h, under
ijk and over lm. Put 5 over c, under def, over ghi, under jkl and
over m. Put 6 under cde, over fghij and under klm. Now the order
reverses, 7 being the same as 5, 8 as 4, etc., until the other half
of the figure is completed at 11. Now put 12 under cde, over fghij
and under klm. Put 13 over c, under def, over ghi, under jkl and over
m. Put 14 under cde, over fghij and under klm. Now 1 repeats itself,
and the second figure is woven as the first. It is believed that
with the aid of the large illustrations here presented the teacher
or pupil can now follow for himself the other designs given, without
a detailed explanation of each step.
"Woven-in" Borders.
Woven-in border designs may be made in three different ways; viz.,
First, by weaving the design around the mat, using the same straws
that run through the body. (See Plate XIII, Fig. 1.) In this case
the color effect is one of confusion, since the dyed straws used in
the designs of the body of the mat have no relation to the design of
the border when they enter it. Second, by weaving the border and the
body of the mat of different straws, uniting them at the inner edge
of the border by a loop as described in the Romblon mat. (See Plate
XVI.) Third, by lapping the colored straws desired in the border,
upon the projecting ends of the straws of the body of the mat. (See
step 8, Plate XII.) These latter two methods are much more artistic,
as a uniform color effect appears throughout the border. (See Plate
XIII, Fig. 2.)
The Romblon Mat.
Making Open Work.
Simple open work is illustrated in Plate XIV.
Weave corner Z, using straws a, b, c, d, e and f, letting f float
at both ends. Weave g, turning upward and over f, then making a
double corner at y, passing under f, to the left and over f, and let
float. Weave h, i, j, k, l and m in solid weave. Turn h under i and
over j. Turn j upward and over i, to the left under f, upward over g,
double corner at W, passing down under g, over g, and floating. Turn m
upward over l to the left, under i, upward over f, to the left under
g, upward over j making a double corner at X, passing under j. The
straws j and m alternately cross each other to corner V.
The other half of this open design is an exact duplicate of this
weaving, and the remaining designs have the same turns as the one
explained, except that in opposite designs the straws are turned in
opposite directions. By following this plate it is easy to finish
the weaves. If one straw is woven over another, it folds down before
passing over, and, vice versa, if it passes under, it folds upward
in turning.
As is seen, the holes are made simply by turning the straws in the
weave. The different shaped holes in other designs (see plates) are
made by turning a different number of straws according to the shape
desired. Varied border edges may be made by switching the straws in
any direction desired.
Introducing Color Panel.
Step 1 of Plate XVI shows the first colored panel, straw ab placed
between cd, the space between x and y having been already woven,
as shown in step 11.
Step 2. Folding a to the right.
Step 3. Folding a under and down.
Step 4. Folding c over a and to left.
Step 5. Folding a over c and upward.
Step 6. Folding b under d to left.
Step 7. Folding b upward, with right twist downward.
Step 8. Folding d downward, with right twist to right.
Step 9. Folding b under d upward.
Step 10. Shows addition of second straw ef woven to the right, where
the same process of turning is gone through as illustrated in steps
6 to 9 inclusive. If weaving is to the left, steps 1 to 5 inclusive
are repeated.
Step 11. Shows continued additions and weaving both to the right
and left.
Step 12. Shows both edges of panel woven, the inside turnings being
the same as those of the outer edge.
Circular Mats.
The circular mat is woven like the crown of a hat, with either the
radiating center or a square center radiating at the four corners. In
either case, the weaver must be careful to add the proper number of
straws so that the mat will be flat, and not cupped or fluted. The
cupping is caused by not adding a sufficient number and the fluting
by adding too many.
In tightening the weaving, do not pull the added straws (Plate XIX,
step 6, straw x-x) or holes will be made at the elbow. Instead, pull
the longer straws that run through the center, thus making the entire
weaving tight.
Radiating Center.
Step 1. Begin by laying down, in pairs, ab and cd perpendicular to
the body. Put kl under ab and over cd. Put ij over ab and under cd.
Step 2. Now put ef under cd and ij, and over ab and kl; then put gh
over cd and ij, and under kl and ab. See that the two ends of all
the straws are equidistant from the center crossing.
In step 3 the straws are changed from pairs to singles as follows:
Bring a over i; e over d; i over h; d over l; h over a; and l over e.
Step 4. The most convenient way to perform the next process is to take
all the bottom straws in the left hand and allow the top straws to
float over the closed fist. Then the weaving is done with the right
hand. However, for beginners the weaving may also be done on the table.
In weaving, place c under b, over a and under k; d over b and under a;
g under f, over e and under b; h over f and under e; k under j, over
i and under f; l over j and under i; b under c, over d and under a;
a over c and under d; f under g, over h and under c; e over g and
under h; j under k, over l and under g; i over k and under l; the
round is then finished.
Step 5. This illustrates the manner of adding straws. Straw x is
placed under c, over h, under g and then bent back. The bend should
be in the middle of the straw.
Step 6. In this the right end of the added straw x is brought down
over j and under i.
Step 7 shows how to continue the additions by weaving one straw and
then adding one.
Step 8 shows the mat after the first round of additions has been
completed. The weaving is now easy. Weave entirely around again without
any additions, turning five straws each time. Then go around again
weaving two and adding one, in the same manner as before, turning
seven straws each time. As the diameter of the mat increases, the
less often is it necessary to add. But be sure to add enough to keep
the weaving close and the mat perfectly flat.
Step 9 shows how to close the edge of the mat by turning back the
straws on each other. It also gives a very pretty "woven in" design
for a border, which can easily be followed from the plate.
Square Center.
Steps for commencing a circular mat with a square beginning are
illustrated in Plate XXI. The additions at the corner are made in
the same manner as explained in the radiating center, except that
each is for a fourth of a circle instead of a complete circle.
Decorations for Round Mats.
Decorations are often employed in round mats. (See Plates XXII and
XXIII.) The most usual are concentric or radiating colored bands of
either simple or sawali weaves.
Hexagonal Weave.
Step 1. In Plate XXIV, place straws 1 and 2 parallel; then put 3
under 2 and over 1; put 4 under 1 and over 2.
Step 2. Put 5 over 1 and 4 and under 2 and 3; put 6 under 1 and 4
and over 2 and 3.
Step 3. Put a over 5 and 6 and under 1 and 2. Put b over 1, 2 and a,
and under 3 and 4. Put c under a, over 4, 3, b, and under 6, 5.
Step 4. Put d under b, over 6, 5, c, and under 2, 1, e. Put e under
c, over 2, 1, d, under 3, 4, and over a. Put f under d, over 3, 4,
e, under 5, 6, a, and over b.
Step 5 is made open so as to show the triple over and under
weave. Further weaving is merely a repetition of this process, as
shown in step 6.
Step 7 shows the turning of the straws on finishing the edge of
the mat.
Step 8. Many designs can be made by inserting colored straws into
the natural weave. Step 8 illustrates three of these embroidered
designs--the star, the bar, and the diamond.
Embroidered Mats.
The embroidering of mats is easily done and the method is shown in
Plate XXVI. Mats in over and under weave, of solid color (either
natural or dyed), are used, and the embroidery is done with colored
straws. Plate XXVII illustrates an embroidered color panel. Floral,
geometrical, and conventionalized designs are discussed under the
headings "Samar mats" and "Special designs."
MAT MATERIALS.
Many Philippine mat materials have been described in a former
publication on hats. [6] Only additional and new information is
written here and such data from Bulletin 33 as are necessary to make
a connected article. [7]
Buri Straw.
The Buri Palm.
There are about six species of the genus Corypha in tropical Asia,
but only one of these is found in the Philippines; this is Corypha
elata, the buri palm. [8] It is widely distributed throughout the
Philippines but is most abundant in the central part of the Pampanga
valley and in southern Tayabas.
Mr. C. W. Franks, formerly Division Superintendent of Schools for
Mindoro Province, had a careful estimate made by his teaching force
of the stands of buri palms on the Island of Mindoro. It was found
that 5,000 hectares of land on this island are covered by 2,000,000
buri palms, of which 225,000, or about 12 per cent, are mature trees.
The Island of Burias, the Isla Verde, and other small islands are
fairly covered with the palm. The Province of Sorsogon, including the
Island of Masbate, is also well supplied. In the Visayas there are
districts in Panay, Negros, Cebu, and Bohol, where many buri trees
are found.
The buri is the largest palm that grows in the Philippines, attaining
a height of 20 meters. Its trunk is very erect, spirally ridged and
up to 0.7 meter in diameter. Its wood is of no commercial value.
The full-grown leaves may be three meters long. They are spherical
in outline and the lower one-third or one-half is entire, like
the palm of the hand. The upper part is divided into from 80 to 100
segments each from 1.5 to 6 cm. wide and appearing like fingers spread
apart. The petioles supporting the leaves are about 3 meters long and
20 cm. thick, and are provided with long, stout, curved spines. Both
margins and spines are black in color. At flowering time all the
leaves are shed. The young leaf grows out from the top of the palm
with the segments pressed together in the form of a lance.
The buri flowers and fruits but once and then dies. This is said
to occur when the plant is from 25 to 40 years old. The individual
flowers are greenish-white in color and only from 5 to 6 mm. in
diameter. They are nevertheless perfect flowers, with calyx, corolla,
and ovary showing plainly a division into threes, and stamens six
in number. Thousands of these flowers occur on the large, terminal,
much branched, pyramidal inflorescence which may grow to be 7 meters in
height. The lower branches of this inflorescence may be as much as 3.5
meters long, the upper shorter, the highest about one meter in length.
From 10 to 12 months after flowering the fruits are mature. They are
from 2 to 2.5 cm. in diameter and each contains an extremely hard
seed 1.5 cm. in diameter.
Preparation.
Buri straw is prepared from the young, unopened leaf of the buri
palm. The coarsest straw is made by separating the leaflets from
the midribs and drying them in the sun. A higher grade straw results
from boiling them in water. Such straws are suitable only for bayon
manufacture and for weaving into coarse mats for baling purposes.
Several methods of bleaching buri straw obtain in various
localities. Any exact description of the processes is somewhat
difficult, since the persons who produce the straw have no very
definite idea of the proportions and quantities of various materials
which they use, and often do not care to divulge what they consider
trade secrets. In several cases, nevertheless, supervising teachers
have succeeded in obtaining fairly exact data on the preparation of
buri straw.
However, the same method carried out in different towns seems to
result in different qualities of straw. These differences probably
result from slight variations in the method of preparation. It has
also been found that the age of the leaf, as determined by the length
of the stem (petiole), influences the color of the straw produced. In
some districts the unopened leaf is not taken if the stem is over
two inches in length. In other places, leaves with stems about one
foot high are considered ready to cut. It is probable, too, that the
composition of the water in which the straw is boiled influences its
color. Mauban, in Tayabas province, has the reputation of producing
the whitest buri straw. Mr. John H. Finnigan, supervising teacher,
attempted to introduce buri straw into the schools of Gumaca,
Tayabas, where the buri palm is very plentiful. The work was in
charge of expert weavers from Mauban, but only a poor quality of
straw was produced. It was claimed that the water in which the
segments were boiled, according to the process which is explained
later, did not whiten them. It is a fact that in Mauban the water
of the town fountain is used to produce the fine white straw. In the
several years of his experience, Mr. Finnigan found no place outside
of Mauban which produces straw equal in color to the Mauban straw,
but he has noted that the second best straw comes from San Fernando,
Gumaca, where there is an especially clear stream of water.
In fact, all reports would seem to indicate that clear, pure water
is essential to the production of the finest white buri straw, and
only such should be used in all processes of the various methods
outlined here.
The Arayat Process.--Mr. Robert Clauson, supervising teacher, has
determined the process of whitening buri straw in Arayat, Pampanga,
as follows: The segments are separated from the midrib and rolled
rather loosely, so that the water may pass between them, in bundles
as large around as a plate. These are placed in a large can or
vat containing tamarind leaves and alum (see bleaching agents) in
water, and the whole is boiled until about one-half of the water has
evaporated. During the boiling the buri must be tightly covered with
tamarind leaves and not be allowed to project from the water. After
this process the rolls are placed in a jar full of clear water and
left to soak for three days. The strips are then washed several times
in the river during a period of three days, and they are then laid
on the grass or along fences to dry after each washing. The oftener
they are alternately washed and dried the whiter and tougher will
the material be. After the final drying, which should be thorough,
the strips are rolled very tightly into bundles.