Preserving the dying art of Burdang Taal, one thread at a time

BATANGAS, Philippines – On a humid afternoon in Taal, Batangas, local embroiderers called burdareras sat on their terraces, holding their bastidor (a wooden frame used to stretch delicate piña or jusi fabric) as they practiced Burdang Taal by hand and with heart.

Burdang Taal is a traditional hand-embroidery craft that originated from Taal, Batangas, and is known for its floral and delicate geometric patterns. Its process begins with pagdidibujo (designing or stamping), where intricate patterns are drawn and traced onto fine piña cloth. The fabric is then stretched onto a bastidor to prevent distortion while being embroidered. Using fine needles – often without the aid of a didal (thimble) – the embroiderers carefully trace the design by hand.

Once the embroidery is completed, another artisan then performs pagka-calado, a process of piercing and detailing that enhances the design while preventing the fabric from fraying. Because of its labor-intensive nature, producing a hand-embroidered barong can take weeks or even months to complete.

A CRAFT MADE OF LOVE. A piña fabric stretched onto a bastidor. Photo by Chistian F. Patulot

Historians say the craft was introduced during the Spanish colonial period, when convent nuns taught embroidery to the women of Taal. Throughout the years, Burdang Taal has remained both a cultural tradition and an important livelihood.

Today, however, the tradition faces new challenges. Yet across Taal, women continue to pick up the needle and thread, determined to keep it alive for future generations.

Meet the master embroiderers

Traditionally, the art of Burdang Taal is practiced mostly by women in Taal, Batangas, where they can be found sewing around sitios and places near the public market. 

Among them are Mary Jane Marcellana, Dorina Baja, and Lorenza Piol—lifelong friends and relatives from Kawit and Lagile, who vowed to continue carrying on the tradition passed down through generations.

LEAVING NO LOOSE ENDS. Mary Jane Marcellana ensures the quality of the craft by restitching the parts of the fabric that frayed. Photo by Christian F. Patulot

“We’ve been doing this for decades—practically our whole lives,” Mary Jane, 56, with 35 years of embroidery experience, said.

“Back then, machines did exist but people still prioritized buying our craft,” Mary Jane said. “But today, when factories started mass producing barongs, our customers choose them (machine-made clothing) more because it is cheaper.”

Based on a study, 65% of total barong market revenue is dominated by machine-embroidered while only 35% comes from hand-embroidered garments like Burdang Taal.

Despite the intricate work involved, many embroiderers continue to struggle to earn a sustainable living from their craft. Burdareras in Taal earn about P120 per completed piece, up from 80 centavos in the 1990s. However, Mary Jane said the income remains insufficient as rising costs have reduced its value over time.

“The money we earned from this was not enough to fully support a family,” she added.

HOLDING THE THREAD OF PRIDE. Dorina Baja meticulously checks the quality of the piña fabric. Photo by Christian F. Patulot

For Dorina, Burdang Taal wasn’t just a means of living; it was her life.

“The needlework is not just a simple needlework. This is the cultural pride of Batangas. This is Batangas,” she said. ”If we are going to stop doing it, we will also stop being ourselves.”

Despite this, Burdang Taal is still in need of more support. While Taal has also benefited from government programs, these efforts have primarily focused on awareness-raising efforts and livelihood assistance. 

“We receive support from the local government unit. They provide the piña fabrics and sewing kits,” Dorina said. “But I think we need more help.”

Efforts have been made to promote Burdang Taal. In Taal, a museum was established in honor of Ka Naty Sison Noche, a pioneering figure in the town’s embroidery tradition. Located on R. Noble Street, it serves as both a tribute to her legacy and a learning space for visitors.

Local governments, cultural agencies, schools, and community organizations have also helped promote Burdang Taal through exhibitions, heritage tourism programs, and cultural events that showcase traditional Batangueño crafts. 

However, awareness alone will not be enough to secure the future of the tradition.

The survival of the craft also depends on whether a new generation is willing to learn and practice it. Yet, for many embroiderers, passing down the skill remains a deeply personal responsibility.

MEASURING UP THE LEGACY. Lorenza Piol recalls and shows the techniques her mother used in embroidery. Photo by Christian F. Patulot

One prime example of this is Lorenza Piol, 68, who has practiced calado for six decades after starting at age 7.

“This craft was handed down to us by our parents,” Lorenza said. “I am old now and I saw my other friends stop doing this because of their age.”

Many young Taaleños are drawn to opportunities that offer more stable income and less time-intensive work. As older artisans age and fewer young practitioners enter the field, concerns about the future of Burdang Taal continue to grow.

“It pains me to see the youth leave our traditions,” Lorenza shared. “But I can’t blame them for asking for more.”

STITCHING SIDE BY SIDE. Marie Rose Piol Marcellana weaves together with her mother, Lorenza Piol at their terrace. Photo by Christian F. Patulot

Keeping the art alive

At a time when Burdang Taal faces the threat of disappearing, Marie Rose has vowed to continue the work started by her mother and ancestors.

“Even with failing eyesight and shaking hands, I will continue doing this,” she said.

Aside from teaching her relatives, Lorenza has participated in free workshops in other parts of Batangas, where she hopes to inspire others to learn and preserve the art.

“We need more people to learn this craft,” Lorenza said. “Not just our children and relatives, but anyone willing to continue it.”

She said in order to preserve Burdang Taal, long-term support is needed to attract younger generations and new practitioners.

“This needs to spread more,” she added.

Beyond family and community-based efforts, the Technical Education and Skills Development Authority (TESDA) also provides formal training and certification programs for traditional weaving practitioners in the Philippines. 

“I know we still have a long way to go to ensure that this will be passed down,” Lorenza said.

Lorenza suggests that cultural groups and local governments expand training programs, create permanent spaces for teaching and sell embroidery to improve market access. Such efforts, she said, would help preserve the tradition while ensuring it remains a sustainable livelihood for future generations.

Lorenza added, “As long as we are breathing, we will make sure Burdang Taal will survive. Slowly but surely.” – Rappler.com 

Quotes are translated into English for brevity.

Christian F. Patulot is a poet-journalist, essayist, researcher, and a Mover based in Batangas. He writes about culture, language, and the everyday experiences of Filipinos.