n.Kiono I /.\i: .mr coi.li.ctios 171 



Icniiths of liciiip. She hinds ;iin! tics tlicM' clusters so tiulitly ;iinl firiiil>- 

 that wlicn the whole warp is afterward d\i'd no coh)r can peiiclrate to the 

 parts thii- tic(l: these seelioiis of the warp remain the natural eiianiy tint 

 of the hemp. Hy this method a nnu h wider freedom in design is <eeured 

 than if the paitern> wci-e all made in the wea\in,y itself. 



The loom i-' tin center of interest in vwvy household, and its patterns 

 tend to dominate the d(>siiins used in much of the wood eur\itii; and basketry. 

 In the |)atterns on hin'den baskets the desiiins used in hemp textiles re.unlarl\- 

 a])pear: the -surface of the basket \- nnifoianly dixided in1(( three pai'allc! 

 H( Id-^ i-umn'ni:' around the basket, like the three cireulai- >ti-ii)s composing a 



" Burden basket" to be carried on the back. In such a basket Bagobo women brinfi in 

 the corn and potatoes Ironi the field. Tlie pattern is made by plaiting the rattan of natural 

 color witli that blackened witli t!i(! Ijurnt end of a resin torch 



woman's skirt, and the ^tandal•ll designs of the skirt are rcpi-oduecd with 

 more or loss aeeuraey in the eorresjjoiulin,'; sections of the basket, as far as 

 the teehnifjue of the material j)ermits. This tendency to seize upon textile 

 motives for ell'ects in rattan by no means implies that the art of wea\inj; is 

 necessarily older than the art of basketry. Amonj; the Ha^^obo it is possible 

 that both processes had their l)e,<,nmu'nf;s at nearly the same time. Hut 

 early or late in the history of Ba^'obo art, the actixity interests that cluster 

 round the loon) j,'a\'e a stron^^ stimulus to such an interj)retation of basketry 

 figures, a.s the familiar patterns of the weaver suggested. 



