Arts & Culture

A B A C A

Jing Ramos writes about how Francis Dravigny turned abaca into a high-profile luxury fabric.

Though the abaca resembles a banana plant, it is actually classified as hemp. Its scientific name is Musa textilis and is commonly known as Manila hemp ever since the Manila Galleon Trade in the sixteenth century.

Abaca also yields the highly sophisticated fabric t’nalak, handwoven by the T’bolis. The T’bolis are one of the early settlers in the untrammeled mountains of South Cotabato deep in the wilderness of Mindanao, the Philippines’ last outback. The T’bolis like certain aspects of their unique culture are a vanishing breed. They are however renowned as exceptional weavers and create an unusual tie-dyed cloth used locally for ropes, blankets and ceremonial robes.

In the T’boli community, abaca fiber is extracted from the mature, fruit-bearing wild banana plant. It takes two years for the abaca plant to mature. Utmost care is taken to preserve the length and silkiness in each fiber, as they are dried in the sun and stretched in a wooden frame that resembles an outsized comb whose teeth point up. Six trunks of the plant are needed to make fifteen meters of fabric. After the fiber has been neatly smoothened out, it is transferred to a bamboo frame unto which they are evenly and closely spread, one right next to the other, as in a backstrap loom. These are held evenly in place by a wooden bar in palm wood and laid directly across the fiber to be set later in an exact position in relation to the design.

Other than its natural cream state, the traditional colors woven in t’nalak are black and red for high contrast. The color combination works exceptionally well when set in the ikat process.

T’nalak weaving has long been a part of a tradition typical in a T’boli household and the weavers of this operation naturally comprise the female members of the community. The T’boli women involve themselves in a laborious system combining tie-dye technique with weaving. Whereas in other countries, tie-dyeing is done straight in a finished fabric, the t’nalak is dyed in individual threads. The process of weaving t’nalak among the T’bolis reflects their actual way of life.

That was abaca then, totally handcrafted, painstakingly slow and expensive to produce. The fibers were individually knotted and then dyed organically. To knot together one kilo of fiber required at least a week of intensive labor. It took almost two weeks in production to color the fibers, particularly the black which came from the leaves of the k’nalum tree, boiled and then steamed. It was said that the T’boli weavers dreamed the designs of their looms and often they themselves became temperamental in the process. The idea of imposing a deadline on the looms seemed almost impossible. Even the fibers tended to snap at midday when the temperature rose. The process of creating this cloth with its repetition of stylized animals or human designs requires absolute skill and patience. But once the finished products were washed, dried, waxed and pressed in cowrie shells, the results were often breath-taking and a touch luxurious. There is nothing quite like it until today.

Surprisingly after over fifteen years, designer Francis Dravigny developed the product mostly through research and consultation in Lyon, France, the center of the textile industry in Europe. The abaca has had evolved into a more contemporary vein. The looms are now much wider and the designer has added a few components to the fiber itself and although it is still hand woven, the cloth has a more industrial edge.

The Lyon based designer has in fact opened Interlace, a manufacturing firm located in Mandaue, Cebu that caters to the international fabric market. In these private quarters is where the actual abaca looms are being produced.
The process of warping or vertical thread preparation entails two thousand thread strands for one loom set-up in which twenty one meters is the minimum length in a single loom. The whole process of warping requires a full day.

The second process is called the loom feeding, which has three underlying procedures namely the eye, reed and pulling process. The eye procedure needs two thousand thread strands for one loom set-up. Each strand is being fed to the first and the second eye. It is in the reed procedure where two thousand metal or stainless dents will be required for the two thousand thread strands processing. Three days are the maximum span of time to do both eye and reed feeding on the loom. Pulling is the third procedure of loom feeding wherein the two thousand thread strands will be divided by seven knots. Each knot will be pulled to straighten the warp and then tied to the wooden beam to give an even and stronger tension to the thread.

The final process is the horizontal weaving. Its basic components include a spooled tinagak and a wooden shuttle used to pass through the center of the warp. Upon reaching the other end of the loom, the weaver should swing the metal reed to compress the abaca in a repeated sequence. Then, the metallic reed is adjusted after every ten centimeters atop the loom to balance the thread. The wooden fabric should be rolled on the beam after every thirty centimeters to give tension to the fabric. In a day, the basic quota for every weaver reaches up to one and a half meters.

by JING RAMOS photography Genesis Raña

Arts & Culture

Art Beat: Scenes From the Manila Art Fair 2026

photography by Doro Barandino

“Art is unpredictable and goes in different directions. I have no idea. I would rather live the present moment.” —Bencab, National artist of the Philippines.

Vinta by Protegeri, collaboration art piece by Leeroy New, Solenn Heuseff and Vito Selma

Q&A with interior decorator and jewellery designer Doro Barandino

Which of the participating art galleries had the most unified and exciting theme?
Leon Gallery had the most amazingly put-together collection. Though the gallery engaged various artists, the overall visual effect felt like one unified theme. Leon Gallery used a sack-like cloth (most likely raw linen) as the background for the booth, and it brought the collection together. It had an old-world feel in a chaotic setting.

Who were the artists that were the most visually engaging?
The works of Carlo Tanseco were definitely my favorite. The artist used an eye chart (Snellen chart) as the background for the image of Dr. Jose Rizal giving us the middle finger—such an “in your face” message. The concept of our national hero as a modern-day provocateur was a wake-up call to everyone. Very subversive and underground material. I was also attracted to the works of Japanese artist Tadashi Kogure; they’re very architectural.

Was the choice of venue and its layout helpful in engaging the whole art vibe?
What I noticed was that the masters like Juan Luna, Fernando Amorsolo, and Fernando Zóbel still attracted the most viewers at the art fair. People are naturally drawn to their masterful strokes and historical significance, or perhaps these artworks are not readily accessible for public viewing. Or maybe those booths that carried the masters’ works were strategically positioned right after the registrar.

The choice of venue at Center One was a good move—it created a total art vibe. Manila Art Fair remains the premier art fair in the country today, showcasing the finest modern and contemporary art while offering curated projects and immersive installations.

The Standard by Thai artist Pitchapa at the Triangular durational, performance art.

Bato Bato sa Langit by Filipino artist Carlo Tanseco

Stocking Proportions Menumpuk Proporsi by Indonesian artist Labadiou Piko

Untitled by Indonesian artist Yunizar

Filipiny, wool tapestry by national artist of the Philippines,Federico Aguilar Alcuaz.

Untitled by German artist Valentin Elias Renner

Interior decorator and jewellery designer Doro Barandino is also a regular contributor for zee.ph

Arts & Culture

Visayas Art Fair Year 5: Infinite Perspectives, Unbound Creativity

by Jing Ramos

This year’s Visayas Art Fair marks its 5th anniversary, celebrating the theme “Infinite Perspectives: Unbound Creativity.” The fair continues its mission of bridging creativity, culture, and community in the country. This milestone edition strengthens its partnership with the National Commission for Culture and the Arts and expands collaborations with regional art organizations and collectives—reinforcing its role as a unifying platform for Philippine art.

VAF5 features the works of Gil Francis Maningo, honoring the mastery of his gold leaf technique on opulent portraits of the Visayan muse Carmela, reflecting spiritual awareness.

Gil Francis Maningo is celebrated for his gold leaf technique.

Gil Francis Maningo’s recurring theme of his Visayan muse “Carmela”.

Another featured artist is Danny Rayos del Sol, whose religious iconography of Marian-inspired portraits offers a profound meditation on the sacred and the sublime. This collaboration between two visual artists sparks a dialogue on the Visayan spirit of creativity and resilience. Titled “Pasinaya,” this dual showcase explores gold leaf as a medium of light and transcendence.

Artist Danny Reyes del Sol

Danny Reyes del Sol’s religious iconography.

Now in its fifth year, the Visayas Art Fair has influenced a community of artists, gallerists, brokers, collectors, museum curators, and art critics—constructing a narrative that shapes how we approach and understand the artist and his work. This combination of factors, destined for popular consumption, illustrates the ways in which art and current culture have found common ground in a milieu enriched by the promise of increased revenue and the growing value of artworks.

Laurie Boquiren, Chairman of the Visayas Art Fair, elaborates on the theme, expressing a vision that celebrates the boundless imagination of unique artistic voices:

“Infinite Perspectives speaks of the countless ways artists see, interpret, and transform the world around them—reminding us that creativity knows no single point of view. Unbound Creativity embodies freedom from convention and controlled expression, allowing every artist to explore and experiment without borders.”

Laurie Boquiren, Chairman of the Visayas Art Fair has tirelessly championed the creative arts for the past five years.

Arts & Culture

Kultura. Kapital. Kasalukuyan: Art that Speaks of Today

by Jose Carlos G. Campos, Board of Trustees National Museum of the Philippines

The National Museum of the Philippines (NMP) and the Bangko Sentral ng Pilipinas (BSP) recently teamed up to prove that money isn’t just for counting—it’s also for curating! Their latest joint exhibition, Kultura. Kapital. Kasalukuyan: Contemporary Art from the Bangko Sentral ng Pilipinas Collection, is now open, and it’s a real treat for art lovers and culture buffs alike.

On display are gems from the BSP’s contemporary art collection, including masterpieces by National Artist Benedicto Cabrera (Bencab), along with works by Onib Olmedo, Brenda Fajardo, Antipas Delotavo, Edgar Talusan Fernandez, and many more. Some of the artists even showed up in person—Charlie Co, Junyee, Imelda Cajipe-Endaya, Demi Padua, Joey Cobcobo, Leonard Aguinaldo, Gerardo Tan, Melvin Culaba—while others sent their family representatives, like Mayumi Habulan and Jeudi Garibay. Talk about art running in the family!

Deputy Governor General of the BSP, Berna Romulo Puyat

Chairman of NMP, Andoni Aboitiz

The BSP Governor Eli M. Remolona, Jr. and members of the Monetary Board joined the event, alongside former BSP Governor Amando M. Tetangco, Jr., Ms. Tess Espenilla (wife of the late Nestor A. Espenilla, Jr.), and the ever-graceful former Central Bank Governor Jaime C. Laya, who gave a short but enlightening talk about the BSP art collection.

From the NMP, Chairman Andoni Aboitiz, Director-General Jeremy Barns, and fellow trustees NCCA Chairman Victorino Mapa Manalo, Carlo Ebeo, and Jose Carlos Garcia-Campos also graced the occasion. Chairman Aboitiz expressed gratitude to the BSP for renewing its partnership, calling the exhibition a shining example of how financial institutions can also enrich our cultural wealth.

Former Governor of BSP Jaime Laya

Governor of BSP Eli M. Remona and Chairman of NMP Board Andoni Aboitiz

Artist Charlie Co

Before the official launch, a special media preview was held on 5 August, hosted by BSP Deputy Governor Bernadette Romulo-Puyat and DG Jeremy Barns. It gave lucky guests a sneak peek at the collection—because sometimes, even art likes to play “hard to get.”

The exhibition Kultura. Kapital. Kasalukuyan will run until November 2027 at Galleries XVIII and XIX, 3/F, National Museum of Fine Arts. Doors are open daily, 9:00 AM to 6:00 PM. So if you’re looking for something enriching that won’t hurt your wallet (admission is free!), this is your sign to visit. After all, the best kind of interest is cultural interest.