TRADITIONAL weaving of piña fabric is a tangible, intricate, and resilient way to unite a community.
At last year’s Kaangtanan 2024, academics, artisans, advocates, and cultural workers discussed the significance of piña weaving in Western Visayas, revealing a rich history of resilience and innovation. This delicate but durable pineapple-based fabric has symbolized Filipino identity for centuries, from Spanish colonial rule to today’s slow but hopeful revival.
Piña’s journey begins in the late 1700s and early 1800s, when the country flourished under Spanish rule. Luxury fabric was reserved for the elite and symbolized wealth and status. The art of piña weaving was a family tradition, with each member contributing to the intricate process of creating this translucent material.
In his talk, historian Dr. Randy Madrid emphasized that piña weaving is more than just fabric, as it embodies the Filipino soul, encompassing stories, aspirations, and craftsmanship.
As mass-produced textiles became more affordable, piña production decreased by the mid-20th century. Industrial efficiency seemed to contradict tedious, delicate hand-weaving. Piña could have been lost without visionaries like Senator Loren Legarda, who fought for Filipino cultural heritage.
UNESCO’s most recent recognition of Aklan’s piña handloom weaving as an Intangible Cultural Heritage highlights the need to preserve this national treasure.
While the past was marked by elegance, the present piña landscape is one of reinvention. The conversations at Kaangtanan 2024 touched upon how piña weaving has evolved. Once confined to formal national dress, designers like Patis Tesoro and Gabbie Sarenas are now transforming piña into wearable art for everyday fashion. These modern reinterpretations — piña-seda blends, piña-shifu fabrics — are not just about making the fabric more versatile but also about ensuring that piña resonates with younger generations.
However, despite this resurgence, piña weaving faces challenges, many of which stem from its labor-intensive production. Weavers, primarily women, often spend days, if not weeks, meticulously extracting and weaving fibers.
As the UP Visayas’ Chancellor Dr. Clement Camposano noted, forms of cultural mapping, such as the promotion of piña weaving, is an attempt “at a snapshot” of the community’s way to “find its own bearings,” showcasing its ability to adapt while holding on to its cultural roots. This sentiment resonates deeply with the weavers, who often describe their work not just as a means of livelihood but as art and a means of preserving their community’s identity./PN
