MOTIF

A motif is an image, spoken or written word, sound, act, or another visual or

structural device that has symbolic significance. It is used to develop and inform
the theme of a literary work. Unlike a theme, which is an idea or message, a motif
is a detail that is repeated in a pattern of meaning that can produce a theme while
creating other aspects at the same time.
It is closely related to a theme or a symbol and uses different narrative elements.
It is constantly repeated to represent a dominant or central idea or theme in a
work of art. It relates more to thought, which is used to support a theme.
Motifs typically are used in one of three ways:

• A single object that appears multiple times throughout the work, with most
of the emphasis placed on the item.
• A collection of related objects that appear multiple times to emphasize the
theme.
• A collection of seemingly unrelated items that serve to draw attention to
the theme in a subtler manner.
CLASSIFICATION OF MOTIF OR UNITS OF A TEXTILE DESIGN
Geometric Motif. These motifs include lines
in various forms, such as vertical. horizontal,
diagonal and curved. They form fabric designs,
such as stripes, plaids, checks and circles
and their associated designs. Geometric
designs lead the eye in the design or pattern
that is created by them.
CLASSIFICATION OF MOTIF OR UNITS OF A TEXTILE DESIGN
Realistic or Natural Motif. Natural motifs portray
as direct replica of things as they exist in nature,
such as flowers on trees, animals in jungle, human
figure and other natural things. They are also
called novelty patterns. As these motifs lack a
designer's creativity and require three- a three-
dimensional platform to copy reality, they do not
find wide acceptance in apparel design.
CLASSIFICATION OF MOTIF OR UNITS OF A TEXTILE DESIGN
Stylized Motif. These are simplified variations of
natural or man-made objects that are no longer
recognizable. These motifs are full of creativity,
as they are the result of a designer's
interpretation of naturally existing things. Stylized
motifs are obtained by rearranging the natural
objects either by simplifying or exaggerating
them to achieve the purpose of the design.
CLASSIFICATION OF MOTIF OR UNITS OF A TEXTILE DESIGN
Abstract Motif. These are combinations
of color, size, and shape without
relationship to natural or man-made
objects. They are full of color and interest
in the fabric. Abstract implies an element
of impression and greater freedom that is
found in most geometric designs. This
type of design is used in modern art.
SYMBOL
The term 'symbol' comes from the Greek word 'symbolon’, which means
contract, token, insignia, and means of identification (Encyclopedia
Britannica).

Through symbols, ideas and meanings are represented. In a symbol, there is

both concealment and revelation. Symbols facilitate communication by giving
a common reference point for a variety of original disparate ideas.

Symbols are universal in the sense that they transcend history.

SYMBOL
Symbols depicted on objects allow us to decode some of the meanings
behind them and understand better the cultures that made and used them.
On some occasions, the object itself, such as an item of clothing or a piece
of regalia, becomes the symbol. The motivations behind the use of symbols
are varied: to impose power, to assert a position, to protect the wearer, or to
identify with a family or community. Where not all members of a society are
literate, symbols are crucial in communicating ideas or affinities. They can
be representational or abstract, individual, or repeated.
SYMBOL
A symbol is an object, a picture, a written word, or a sound that is used
to represent something else either by resemblance, convention, or
association. Every language has symbols; in fact, our names are
symbols that represent us as individuals. Words and language, in a
broader sense, are created by symbols by which humans
communicate with each other. Through our experiences and from
different sources, we create symbols to explain and understand
something that we must interpret.
SYMBOL
As symbols can be used to change the meaning of a word or phrase, they can
change the way we view things. To get the meaning of a word, it is necessary to
use symbols so that it can be understood well. The meaning of a symbol
depends mainly on its usage, its history, and purpose.

An excellent example of a symbol is the cross. It is used to symbolize

Christianity, the religion that is based on the teachings of Jesus Christ, who was
crucified. The cross is also used to remind Christians about how Christ suffered
to save them.
TYPES OF SYMBOLS

Iconograms are illustrative

representations. They are
iconic signs which, as an
illustrative representation,
emphasize the points in
common between the
signifier and the signified.
TYPES OF SYMBOLS
Pictograms are pictorial
representations, such as
ISOTYPE. Pictograms are iconic
signs that represent complex
facts, not through words or
sounds but through visual
carriers of meaning.
TYPES OF SYMBOLS
Cartograms are
topographical complex
functions (statistics, etc.)
and iconic facts, for
example, an atlas or the
ground plan of a house.
TYPES OF SYMBOLS
Diagrams are functional
representations. They are
visual signs which
representations but are
more functional carriers
that illustrate, for
example, a sequence of
facts or functions.
TYPES OF SYMBOLS
Ideograms represent
concepts. Typically, ideograms
correspond to the sign as a
symbol that relates to the
object or concept referred to,
independently of any format
identification with it.
TYPES OF SYMBOLS
Logograms are conceptual
representations like
writing. They are visual,
referential linguistic signs
that do not take the
phonetic dimension into
consideration.
TYPES OF SYMBOLS
Typograms are
typographical
representations. A typogram
is a sign that is also
composed of a sign derived
from a written repertoire,
such as the alphabet.
TYPES OF SYMBOLS
Phonograms are phonic representations. A
phonogram is a sign that is used to signify
linguistic or other sounds.
INDIGENOUS PHILIPPINE ARTS AND CRAFT
One of the most precious traditional
livelihoods that are kept until today is
weaving. Originating in the pre-colonial
times, the art of weaving of the Cordillera
tribal groups in the Philippine North is still
existing despite the threat of the more
practical, mass production of cloth. The
natives used backstrap looms to produce
blankets and articles of clothing.
INDIGENOUS PHILIPPINE ARTS AND CRAFT
Piña cloth is also produced in looms
throughout the province of Antique. It is a
delicate and exquisite hand-woven cloth that is
made from the fibers obtained from the leaves
of pineapple plants. It is popularly used in
Barong Tagalog, the country's traditional formal
menswear. With the organic and airy textile
being used, the ‘barong' is now becoming more
popular around the world.
INDIGENOUS PHILIPPINE ARTS AND CRAFT
Abaca fiber derived from the abaca
plant is widely grown in some areas
of the country. It is woven mainly to
make sinamay fabric and abaca rope,
as well as specialty papers like
vacuum bags, currency, and tea
bags. There are also handcrafts like
bags, carpets, and clothing made of
abaca.
INDIGENOUS PHILIPPINE ARTS AND CRAFT

The Cordillerans also make baskets as

their livelihood. They also use these as
storage for food when they need to go to
mountain terraces to raise crops. Certain
types of baskets also serve for carrying
grains, for hunting animals, and for fishing in
the streams.
INDIGENOUS PHILIPPINE ARTS AND CRAFT
Filipino potters make pots of different sizes,
shapes, and designs, which are usually geometric
with stylized nature-themed motifs. Functional
pieces are made as the need arises.

An example of this is the 'palayok', which is used

for cooking. Banga and 'tapayan' are used for
storing liquids. There is also the clay-made stove
or “Kalan ". The 'burnay pottery’ in Ilocos Sur is
still a lively tradition that continues up to the
present.
INDIGENOUS PHILIPPINE ARTS AND CRAFT
Philippine sculpture is the
most familiar art form
among Filipinos. The most
popular woodcarvings are
those of the anitos (nature
gods), santos (saints), and
statues of Christ and the
Blessed Mother.
INDIGENOUS PHILIPPINE ARTS AND CRAFT
Since the early 16th century, jewelry making has been practiced in the
country. It is believed that the skills of the early Filipino jewelry- makers were
adopted from their Asian neighbors like the Chinese.

Jewelry-making is traditionally a home-based industry. With government

support, the Philippines has come to be known for its exquisite gold jewelry.
The more popular jewelry pieces are actually made of gold and silver. Rings,
earrings, bracelets, brooches, pendants, necklaces, tie pins, and cuff links
(with or without gemstones) of these precious metals are standard. The
Philippines is also known for pearls and semi-precious stones.
TAMBORINE JEWELRY
PRE-COLONIAL JEWELS
WEAVING PATTERnS IN THE PHILIPPINES
The weaving culture in the Philippines dates back to the 13th century. The
tradition makes use of raw materials like local cotton, abaca, fibers, and
pineapples. Many Filipinos are very spiritual people; in fact, our traditions
are rooted in the beliefs that our ancestors passed on. Handloom weaving
is no different; it is believed that this cultural practice is associated with
the indigenous peoples' bridge to spirits who will help them attract good
health and protection in the Earthly realm.

Through the ages, the tribes considered weaving as a recreational activity

where weavers were able to convene and socialize with each other.
WEAVING PATTERS SYMBOLS
Weaving in the Philippines is more than just a culture perpetuated out of
function or necessity; the tradition is considered an artistic expression of
beliefs. For instance, textiles and colors are used to represent different
rituals in the country. There are specific patterns used for traditional
dances for courtship, healing, war, harvest, and protection.
Indigenous tribes also associate colors with different events. Brown or
earthy hues are usually reserved for matters related to death and
mourning; meanwhile, red is the color of power used by the Pinatubo
Negrito for their healers.
Commonly used symbols in indigenous fabrics
The Binanniya is a pattern that resembles a
lizard, an animal that kadangyans (rich or
high-status people of Ifugao) use to symbolize
wealth and nobility.

It is believed that a messenger deity once

went down to Earth in the form of a lizard to
show the first terrace builders the source of
water for their crops. Since then, the Ifugaos
have carved lizards in their rice granaries.
Commonly used symbols in indigenous fabrics
For tribes in Ifugao, the Binituwon or
stars represent the children of the sun
and moon. Women believe that they
would not have a hard time bearing a
child when such a pattern is etched on
their belts.

In some cases, the Binituwon is also a

sign of abundance.
Commonly used symbols in indigenous fabrics
Ifugao's Tiniktiku is a symbol that
represents the Munkontad or the
messenger deities of the tribe. The said
messengers include Bagillat (lightning),
Atibungallon (rainbow), and Buh Wit
(cobra); they are entities that the tribe
believes to travel with great speed in every
corner of the universe.
The tribe used to put these patterns on
their gammit skirts or inlah'dang blankets.
Commonly used symbols in indigenous fabrics
The Tinaggu is a human-like pattern
that symbolizes Ifugao ancestors
who have attained the status of
demigods in the afterlife. The said
people are expected to bring
guidance and protection to the
descendants they have left behind.
Commonly used symbols in indigenous fabrics
The Yakan fabric is known for
traditional patterns like the Penneh
Kaban Buddi. The pattern is a series
of diamonds (also called mata-
mata), triangles, squares, and other
angular shapes that are commonly
found on bedsheets, cushion covers,
and even bamboo hats.
Commonly used symbols in indigenous fabrics
The Linuhhung represents
the agricultural gods of
Ifugaos. The tribe believes
that engraving these symbols
on their clothing would mean
that the deities would bestow
them with good harvests.
Commonly used symbols in indigenous fabrics
Many T'nalak weavers use weaving to
express the beautiful sceneries that
surround them. One great example is
their Eben Lobun pattern that pictures
the formation of nimbus clouds that
contain heavy rain.
"Eben" is also a word that is used to
describe a sling that is carefully tied to
carry a baby.
INDIGENOUS TEXTILES IN THE MODERN WORLD
Industrialization, commerce, and colonialism all played their respective roles in
transforming the fundamental context of weaving in the Philippines. In the modern
age, handloom weaving has become a primary source of income in many
communities. Because of this, textile patterns and designs have drastically
evolved to cater to consumer demands.
Textile patterns that initially belonged to specific ethnic groups are now being
used in neighboring tribes. Some are incorporated into pop culture motifs, using
colors, yarns, and other materials that are imported from other countries. Lower-
quality weaves are also produced frequently to boost tourist sales; this is the
reason why some tribes lost tighter, higher-quality weaves.
INDIGENOUS TEXTILES IN THE MODERN WORLD
Despite this dilemma, the concept
of Filipino indigenous fashion
developed rapidly. Depending on the
intention of the wearer, handwoven
textiles remain symbols of social
and political expressions of ethnicity
against a framework of a broader
national identity.
questions?