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Using Coconut Weaving in Guam Classrooms to Improve the Mathematics Skills
of Local Students
by
Matilda Naputi Rivera
A Research Paper
Submitted in Partial Fulfillment
Of the Requirements for EDSC 606-411:
Math and Culture in Micronesia – Integrating Societal Experiences
University of Hawaii
2010
. 1 Introduction
This paper describes selected examples of contemporary coconut-leaf and pandanus-leaf
weaving in Guam. It will explore utilitarian items, such as hats, headbands, fans, mats, bracelets,
and baskets, as well as decorative items, such as roses, grasshoppers, whips, and fish.
Guam has a rich heritage and tradition in folk arts, such as the art of coconut-leaf and
pandanus-leaf weaving. For thousands of years Chamorros have used Guam’s abundant foliage
to produce useful and unique items (Anderson, 2010). Although the Chamorro artistry of
weaving is not used as much anymore, attempts to revive the art are currently being done by the
Gef Pago Cultural Center in Inarajan and other local artists.
In ancient Chamorro society, women did the majority of the weaving, including weaving
the sails for canoes and weaving both right-angle and diagonal plaiting (Cunningham, 1992).
Coconut leaves or nipa fronds were used for thatch, while pandanus and coconut leaves were
used for basketwork (finilak).
According to Anderson (2010), Chamorros created crafts that were used for everyday
life, including hats, mats, sails, baskets, bags, and decorative pieces. She said that although
many pieces may be created from the same material, they serve different purposes. For instance,
a mat (guafak) woven of pandanus leaves could be used for blankets, sleeping, mattresses,
funeral preparations, cloths to clean surfaces, wrapping gifts, or food serving platters.
The coconut or niyok is known as the tree of life in the Pacific Island nations. Laguana
(2010) said, “Everything is used in every aspect of the niyok, from food, clothing, and shelter.”
He said that “weaving is an art which is also a part of our culture as in other Pacific Island
nations. It passes on knowledge and skills to the next generation after the next. It connects us
2 with mother earth and it develops and perpetuates a people’s culture with the various uses and
with its names as well as the different parts of the trongkon niyok.”
The figure below contains the various uses of the coconut tree, so it’s no wonder why it is
traditionally known as the “Tree of life.”
Figure 1. Uses of the Coconut Tree.
Source: Dunford and Ridgell (2006, p. 40).
3 Bamba (2010) said that “before and during the Japanese occupation (coconut leaf)
baskets and mats were used in every day livelihood.” He said, “Before we had buckets, plastic
bags, and containers for carrying things, Chamorros used baskets.”
According to Cruz (2010), pandanus weaving (åkgak) takes as much as a month to
prepare the leaves before they can be used. The leaves are picked while they are green and their
spines and midribs are removed. Thereafter, they are boiled in water for a couple of minutes,
scraped to remove their waxy powder, and then placed in the sun to dry. Each pandanus leaf is
then kept rolled up separately for three days. Afterwards, it is unrolled and hung in the sun for
another two weeks to prevent mildew. To use the leaves, the weaver takes a leaf and moves it
back and forth across a flat-metal tool called a “si-i”, in order to make the leaf flexible, and then
she splits it into the desired width for her weaving. The si-i is formed like a triangle with a point
at one end and a cutting edge at the other.
Cruz (2010) said that he learned weaving from Guam’s best, Tan Elena Cruz Benavente.
He mentioned that Tan Elena was honored by the Guam Council on the Arts and Humanities
Agency as a Master Weaver of the Agak (Pandanus). As such, pictured below is Tan Elena
featured as a Pandanus Master Weaver. She has since passed away, but Cruz knows that she is
smiling from heaven above, happy that she has passed on the Chamorro artistry of weaving to
her family, who will hopefully pass it down for generations to come.
4 Figure 2. Master Weaver Tan Elena Cruz Benavente
Weavers are beginning to transform the practice of weaving into more of an art medium
(Anderson, 2010). She said that woven leaves are now being used as a medium for sculpting.
Master Weaver Phillip Sablan has been recognized as a local artist who has excelled in the art of
5 weaving. He has created various detailed and creative articles. His sculpted articles have been
recognized by the Guam Council on the Arts and Humanities, which awarded him with a
Certificate of Appreciation as a Master Weaver. According to Sablan’s certificate, he was
awarded for his “significant contribution and lifetime dedication towards the Mastery of a
Chamorro Cultural Tradition inspiring the continued perpetuation of the Chamorro culture and
heritage of the People of the Mariana Islands.”
The following is the KAHA certificate Sablan received, as well as pictures of him posing
with the artistic weaving articles that he created.
Figure 3. Master of Chamorro Tradition, Phillip Sablan.
6 Figure 4. Master Weaver 1. Philip Sablan poses with his artistic creations.
Figure 5. Master Weaver 2. Philip Sablan continues to pose with his artistic creations.
7 Sablan (2010) stressed that, “Our (Chamorro) culture needs to evolve. It needs to
survive. Coconut weaving can perpetuate our culture.” He learned to weave 39 years ago at the
age of 7. He can weave various traditional items, such as the bird, fish, and katupat. He is also
able to weave with multiple leaves, such as the thatched roofing and a variety of baskets of
various shapes and sizes.
Cunningham (2010) further emphasized the importance of coconut weaving. "Coconut
weaving is effective in teaching mathematics, because it addresses the number one problem with
mathematics instruction. Mathematics should be taught with practical applications, then students
understand why they need to learn mathematics. The students can see practical necessity for
mathematics."
"You start by counting over and locking the leaflets on the thick end of the half coconut
frond. Then you skip a leaflet and weave over, under, etc., then tying off the end, and finally
taking the two halves and tying them together," Cunningham said.
Naputi (2010) said that when one weaves, the leaves have to be wide, so that the craft
you make will look more attractive. She said that if the leaves are too skinny it will not cover
everything and you will end up having holes in your product.
Among the crafts Naputi is able to make within minutes include the following: hat, bird,
roses, fan, and headband. She said that it takes about half an hour to weave a hat and bird, 5
minutes to weave 3 roses, 15-20 minutes to weave a fan, and 5 minutes to weave 3 headbands
She said that the weaving of hats follow a certain pattern, and your counting depends on
the size of the hat you wish to make. For instance, the hat for kids would be a smaller size, and it
would require about 16 leaves and less counting. On the other hand, the hats for adults would
require about 20 leaves and more counting.
8 Naputi (2010) said that the headband requires 3 leaves to make, and you would simply
adjust it to fit either the child or adult. She said that the bird and rose each require one leaf to
make.
She said that counting is especially important when making hats and fans. “You have no
choice but to count,” Naputi said. “The fan could be any size, either big or small, but no matter
the size, you still have to count on each side for the fan,” she said.
When asked why she enjoys weaving, Naputi, who is a cancer survivor, said that it “feels
good and it’s therapeutic. I’m happy knowing that I’m sharing my gift with others.”
Local researcher and seafarer, Lawrence Cunningham, shared photos of his Canoe House,
which included coconut-leaf thatching of the roof. Aside from that, he shared a special coconutweaving roof-thatching song, which is included below.
Balanggai Roof Thatching Party
Gupot Atof - A Roofing Party
(Santos, 1989, p. 92; Reprinted courtesy of the Richard Flores Taitano Micronesian Area Research Center; Collected
by Carmen Garrido Iglesias AKA Carmen I. Santos)
We are thatching now To put roof over our home For the care of our shelter For all of our family Manhihigai hit pa’go Para ta afte in gima’ta I leheng‐at para u fa’maolek Para todo I familiata Ai i tiempos u diniklara Nisisidat para umacho’gue Puedi maolek i hinanaota Yan I minaolek siha I familia yan mandana Annok na manasentadu Yan i minaolek siha tacho’gue Para gua‐hu, yan para hagu Oh, but the time will declare The needs we have to do Hope our future will be fortunate So we’ll do all that is good The family that gets together It shows that they are fine So we’ll do all that is good For you and for me Below the heavens on the surface of the earth Where we all live Our future will be good If we heed the advice Papa’ langet gi hilio’ tano Annai manlala’ hit pare‐hu I hinanaota siempre u maolek Yan manmano’ osgi kunsuelu
9 Below are pictures (provided by Cunningham) of the Paseo Canoe House taken before and after
it was thatched.
Figure 6. Paseo Canoe House (SAHYAN TASI FACHEMWAN) before the weaving/thatching
of the roof took place
Figure 7. The Paseo Canoe House (SAHYAN TASI FACHEMWAN) after the roof has been
thatched with coconut leaves
The following are other historical pictures displaying how thatched roofs, which were
woven with coconut leaves, were once part of everyday living in Guam.
10 Figure 8. Late 1944: Homes had thatched roofs and wooden sidings. Late 1946: By 1946,
tarpaulin had replaced thatched roofs. Late 1950: By 1950 corrugated tins had taken the place of
thatched roofs and tarpaulin as Guamanians improved their homes.
Source: Sanchez (1988)
11 Figure 9. The construction of most houses was inexpensive, cool and easily replaceable after a
typhoon.
Source: Farrell (1981)
Figure 10. Houses built from bamboo and coconut leaf were erected on stilts for ventilation.
12 Figure 11. Thatched roof houses with open bamboo walls housed large Guamanian families.
Cooking was done outside, under a thatched canopy attached to the house.
Figure 12. A typical Guamanian village of the early 1900s showing the supporting pedestal and
the thatched roof.
13 Figure 13. A roof raising was a village affair. The women would weave the leaves and prepare
the fiesta food for the men to eat after they finished lashing the woven coconut leaves onto the
woven frame.
Methodology
The research was conducted by interviewing indigenous coconut-leaf and pandanus-leaf
weavers, as well as laborious reviews of off-line and on-line published books and articles on
Chamorro culture. The researcher consulted with Chamorro teachers knowledgeable about
14 weaving, a recognized Master Weaver, a researcher who has done extensive research in
Chamorro history and has published several books on Chamorro culture, and her mother who is a
coconut-leaf weaver.
Difficulties encountered while doing the research included locating weavers who felt
confident about their knowledge of weaving and regarded themselves as professional weavers.
In addition, pandanus leaves are not readily available compared to coconut leaves, and as such,
the researcher decided to focus on articles that mainly use coconut leaves.
Other challenges included finding published resources that could be checked out for
longer periods of time. Most of the resources that contained information on coconut-leaf and
pandanus-leaf weaving could only be checked out for 2 hours maximum at the reference desk
located at the University of Guam’s Micronesian Area Research Center (MARC) and Robert F.
Kennedy (RFK) Library. After extensive research, both online and offline, the researcher feels
that the research on coconut-leaf weaving is complete enough to develop a mathematics
curriculum.
Since the researcher’s mother is a coconut-leaf weaver, she interviewed her mother to get
a better understanding on the importance of weaving and the process. This advantage enabled
the researcher to further learn the art, and as a result, she is now capable of weaving the henton
ulu (headband), gue’ha (fan), rusåt (rose), putseras (bracelet), and saligåo (centipede/buggy
whip).
The obstacles to research were mainly the indigenous weavers being unable to respond in
detail to certain questions. This left some questions unanswered at times, however the same set
of questions would be asked to other weavers who were capable of successfully replying to the
questions.
15 The following were the interview questions that the researcher used:
1.
2.
3.
4.
5.
6.
7.
8.
9.
Are you a weaver? If not, skip to question 4.
How long have you been weaving?
What crafts do you weave?
How long does it take to weave certain crafts?
Is there a pattern that must be followed in weaving? (eg. counting by 3’s, 5’s, 8’s)
What math activities would you recommend for grades 1, 4, and 7?
Why is coconut weaving an effective activity for teaching math?
Why is coconut weaving important to our Chamorro culture?
What special message would you like to pass on to our people regarding the
importance of coconut weaving?
Other difficulties included the researcher’s inability to weave certain crafts the first time
around. However, through repeated steps, she was finally able to create simple woven crafts,
which were mentioned previously.
Description
The researcher will explore the various steps of creating utilitarian items, such as hats,
headbands, fans, mats, bracelets, and baskets, as well as decorative items, such as roses,
grasshoppers, whips, and fish.
She discovered a unique poster containing various coconut weaving crafts/articles, which
have been introduced to students in the Guam Department of Education (GDOE) for numerous
years in Chamorro classes and in celebration of Chamorro Week, which later became what we
now know as Chamorro Month. The weaver of the crafts showcased is Antonia Castro, who
retired from the Chamorro Studies Division of GDOE. The following is a list of the coconut leaf
crafts, which are contained in the poster located on the next page: Aniyu, Apåcha’, Bålas,
Bandeha, Bibek, Che’op, Estreyas, Estreyas, Guagua’, Gue’ha, Guihan Dikike’, Haggan, Hagon
Flores, Henton Ulu, Higai, Hugeten Månglo’, Kadena, Kanåstra, Katupat, Katupat Diamånte,
16 Kulepbla, Kurona, Paluman Dikike’, Piña, Plåtu. Putseras, Rusåt, Saligåo, Tason, Tuhong, and
Uhang.
1
Figure 14. TINIFOK HAGON NIYOK (Coconut Leaf Weaving) by Antonia Castro
Because the researcher’s mother is a weaver, she was fortunate enough to learn how to
weave the following: henton ulu, gue’ha, rusåt, and saligåo. She is still learning and grateful
for the experience, as it is an indigenous cultural art that needs an awakening, especially for use
in classroom instruction with special attention to the subject of mathematics.
17 Many of the coconut-leaf projects listed below were contributed by Naputi (2010) and
Arbeit (1985). It should be noted that Arbeit acknowledged “Juan Benevente, from Guam, for
many of the leaflet projects” (1985, p. iv). Arbeit has taught courses on crafting using various
mediums, and specializes in the weaving of natural materials.
The mat-weaving instructions were adapted using the Filipino woven mat steps, since the
weaving instructions were similar to the ones described by the Chamorro teachers who were
interviewed. These mat-weaving steps were obtained by the Asia Pacific Cultural Center and
York (2010).
Creating Hats
Figure 15. Creating Hats. Coconut-leaf weaver Julia Santos Naputi
wears a coconut hat she wove and displays the other articles she
wove, including fans of different sizes and a rose.
18 The coconut leaf hat was used years ago to protect oneself from the sun. Aside from
Guam, it is woven in various parts of Micronesia. The following are steps described by Arbeit
(1985) and Naputi (2010):
Figure 16. Step 1 of 6, Hat.
Step 1: Harvest the pandanus leaves appropriately as mentioned previously. Use a pandanus
leaf that is about 20 inches long. First, remove bottom leaflets and tie great rib ends together
with a string. Next, tie string by folding it in half and slipping the ends around the great rib and
through the loop. Next, pull the ends in opposite directions, around the overlapped great ribs and
to the front. Tie the string with a square knot.
19 Figure 17. Step 2 of 6, Hat.
Step 2: With the midrib down, incline any leaflet forward. Next, weave under and over two
times. The leaflet will end up underneath and against the great rib.
Step 3: Repeat this with each leaflet until the last leaflet has been woven through the first.
20 Figure 19. Step 4 of 6, Hat.
Step 4: Bring leaflet around to the front and tuck it through the plaiting to the outer edge.
Repeat this with the rest of the leaflets in sequence.
Step 5: Pull the leaflet ends through the hole to the top. Next, gather the leaflets in sequence in
21 preparation to close the crown. Carry each leaflet (midrib down) straight across and forward
throughout the opposite leaflet.
Step 6: Next, build the sides of the crown by taking one tuck over and under the next crossing
leaflets. You would do this with each leaflet all the way around. For additional height, you
would tuck all the way around a second time. Be sure to tug on all the leaflets to make the hat
firm. Next, bring the strips over the great rib and tuck them across the brim, and then trim.
22 Creating Headbands
Figure 22. Creating Heabands. Julia Santos Naputi, coconut-leaf
weaver teaches Matilda Naputi Rivera (center) how to weave a
headband, while Rivera’s son, Joaquin Naputi Abraham Rivera observes
the weaving process.
The coconut-leaf headband was used as part of the Chamorro dancing attire. Naputi
(2010) said that you need three leaves to make a headband.
23 Figure 23. Step 1 of 6, Headband.
Step1: First you cut half of the rib and make sure there are three leaves on the cut rib.
Figure 24. Step 2 of 6, Headband.
24 Step 2: Begin to weave in a braiding fashion by bringing the right leaf into the middle, and then
bring the left leaf into the middle.
Step 3: Bring the next new leaf into the middle and repeat the previous process of bringing the
leaf into the middle until you reach the end of the leaf.
Step 4: After reaching the end of the leaf, tie a knot at the end.
25 Figure 27 Step 5 of 6, Headband.
Step 5: Put the end of the leaf into the first hole.
Step 6: Adjust the headband accordingly.
26 Creating Fans
Figure 29: Creating Fans. Julia Santos Naputi,
coconut-leaf weaver, is in the process of completing her fan.
The coconut-leaf fans were traditionally used to keep oneself cool from the heat or to
chase away the flies that may attack food during fiestas.
The following are coconut-leaf fan weaving steps contributed by Arbeit (1985) and
Naputi (2010):
Figure 30. Step 1 of 5, Fan.
27 Step 1: Begin by cutting a section of the frond long enough to form a handle and two-thirds of
the fan. Place the section so the butt end is toward you and the broad under – surface is turned
upward. Plait all leaves closed. Fold the lowest leaf over to the rest above the lowest leaf of the
other side. Alternately, cross leaves all the way up the great rib.
Step 2: The first leaf is twisted to the left, and then the weaver must grab the left leaf and put it
over the right leaf. Then grab the new leaf on the rights side and keep repeating with new leaves.
The new leaves must always be put on top of the other leaf.
28 Step 3: Take the leaves and place them over and under each side. Make sure that each side is
not facing in the same direction. They must be placed over and under, side by side. The
midribs are facing you. The other side of the fan is woven in the same fashion.
Step 4: Close the fan by placing the leaves over and under. At the edge, fold the leaf forward
and tuck it through the crossing leaves to the great rib. A left-side point is made.
29 Step 5: Weave the leaf at the left of the great rib to the right corner. Make a right-side point.
Next keep weaving and making right-side points across the top of the fan. Tuck all the leaves
across the fan. Fold and tuck the top leaf projecting from the left edge. Next turn the fan over.
Pull forward the top leaf extending from what is now the left side and tuck it between the
extended leaf below it and the one it is paired with. Tuck across, and then repeat with the next
leaf down. Trim the leaves.
Creating Mats
Figure 35. Creating Mats. Lois Taitano Gumataotao
is pictured with a pandanus-leaf mat she has used over
the years for resting, picnicking, and placing items on.
30 The pandanus floor mats were traditionally used for sleeping. At night it was regularly
spread over the floor for comfortable sleeping, and then rolled up and stacked away during the
day. It takes about a week to weave a floor-size mat.
The following are pandanus-leaf mat-weaving steps adapted from the Asia Pacific Cultural
Center (2010):
Figure 36. Steps 1 to 5, Mat.
 Step 1: Form an L with one leaf by folding the leaf in the center.
 Step 2: Label the warp, the tip of the vertical leaf with “A” and the weft, the tip of the
horizontal leaf with “1”.
 Step 3: Flip “1” the weft, the horizontal half to the left ¼” from the left fold, in line with
the “A” leaf’s vertical right edge.
 Step 4: Add another leaf adjacent to “A” the vertical strip. Align at centers. Label the tip
with “B”. Now you have 2 warp leaves.
 Step 5: Flip “1” back to its original position making an L again. Use removable tape to
hold leaves in place.
 Step 6: Flip “B” the warp, the vertical leaf down ¼” from the fold, in line with the “1”
leaf’s horizontal edge.
31  Step 7: Add another leaf adjacent to “1”, the horizontal leaf. Label the tip with “2” Now
you have 2 weft leaves.
 Step 8: Flip “B” the vertical leaf back up. Beat warp and weft leaves to cover holes.
 Step 9: Flip “2” add “C’ then flip back to its original position.
 Step 10: Flip “A and C”, add “3”, flip back.
 Step 11: Flip “1 and 3”, add “D”, flip back.
 Step 12: Flip “B and D”, add “4”, flip back.
 Step 13: Flip “2 and 4”, add “E”, flip back.
 Step 14: Flip “A, C, E” + “5”, flip back.
 Step 15: Flip “1, 3, 5” + “F”, flip back.
 Step 16: Flip “B, D, F” + “6”, flip back.
Continue steps until you have completed the desired size of the woven mat. The steps above
include obvious patterns and rhythm. To finish the selvage, the weaver must weave the leaves
back into the mat.
32 Creating Bracelets
Figure 39. Creating Bracelets. Julia Santos Naputi,
coconut-leaf weaver, is shown wearing the bracelet she
wove. The bracelet is on her left wrist.
The coconut-leaf bracelets are decorative artifacts used as jewelry. Naputi (2010) said
that you need one leaf to make a bracelet.
Figure 40. Step 1 of 6, Bracelet.
33 Step 1: Take the midrib off of the leaf.
Step 2: Split the leaf in half.
34 Step 3: Take apart the leaf halves and make a cross at the butt end of each leaf.
Step 4: Take the right leaf and bring it across over to the left.
35 Step 5: Take the right leaf and bring it under to the left.
Step 6: Repeat the steps until the desired size of the bracelet is reached. Tie the ends together to
complete the bracelet.
36 Creating Baskets
Figure 46. Fruit Basket woven by Robert Morrison.
Source: Morrison & Healani (2000, p. 42).
The pandanus-leaf baskets were used to hold various food, fruits, fish, and other items
used daily in fishing, farming, and fiestas.
As part of the interview process, the researcher was fortunate to personally interview and
learn the art of weaving from her mother throughout the semester. She also interviewed Sinora
Antonia Salas, a Chamorro teacher, who shared with her a resourceful coconut-leaf weaving
book titled The Guide to Basket Weaving, Creative Weaving with Coconut Palms written by
Robert Morrison and Auntie Healani.
The following are snapshots taken from Morrison’s and Healani’s book, which includes
steps for weaving a fruit basket and entails various mathematics steps that must be followed in
detail.
37 Figure 47. Step 1 of 13, Fruit Basket.
Step 1: Select a section on the one side of the frond with 16 leaves that are the same width and at
least 40 inches long. Take a leaf off each end, and shave the midrib thin enough to make an even
circle when it’s bent.
Step 2: Hold the leaves in one hand, with the midrib facing down.
Figure 48. Step 3 of 13, Fruit Basket.
38 Step 3: Cut where the first leaf was pulled off, so that leaves will be spaced evenly when a circle
is tied.
Step 4: Making a circle, cut two notches on the midrib, and let the circle go. Hold the leaf with
the midrib facing you, and cut two more notches on the opposite side, even with the first cut.
Repeat the same cuts on the other end.
39 Step 5: Bend the frond into a circle, lining up the notches. Tie the circle with string, leaving
plenty of string at each end. Wrap one end of the string around the midrib and notches, going in
one direction. Then wrap the other end of the string around the midrib and the other notches, in
the opposite direction. Tie three knots and cut off the excess string.
Step 6: Hold the circle with the leaflets rib facing down. You will be working in the direction the
leaves are pointing. Starting with any leaf, weave under the first leaf, then over and under the
next six leaves. Continue working in the direction the leaves are pointing, finishing the rest of the
leaves around the circle.
Step 7: Turn the bowl upside down, with the leaves going down. To tighten and even the basket,
start with any leaf and pull it tightly at the midrib. Continue to pull each leaf down snug. This
process should be repeated until the weaving is evenly tightened.
Figure 53: Step 8 of 13, Fruit Basket.
Step 8: Turn the bowl right side up. Looking through the center of the bowl, push all the leaves
through the bottom.
Step 9: Start by turning the bowl upside down and holding all leaves upward. Take out one leaf,
starting with the leaf in front, and count seven leaves in the direction they are leaning. Start with
the leaf hanging out and bring it across the leaves on the opposite side of the circle, inserting it
under the seventh leaf.
Step 10: Start with the first leaf behind the leaf you just inserted, and bring it across the circle
through the sixth leaf.
Step 11: In that fashion, finish the bottom circle. Grasp one leaf and the opposite side leaf, then
pull away from the bowl. Keep going with the same process, working in the direction that the
leaves overlap at the center of the bowl.
Figure 57 Step 12 of 13, Fruit Basket.
Step 12: This step adjusts the star pattern at the bottom of the bowl. Star leaves tend to bend in
the opposite direction than they should be going. Turn the bowl upright. Working from the inside
43 and outside, hold a finger at the intersection of leaves and push upward on the star leaf from the
bottom. Turn the bowl over. Working as before, pull on the opposite leaves to tighten a little at a
time. Finish tightening until the bottom is flat with the circle.
Step 13: Optional: Cut the tips of the leaves. To finish the bowl, weave the ends of the leaves and
plait them outside the bowl. Cut off excess leaf ends.
44 Creating Roses
Figure 59. Julia Santos Naputi, coconut-leaf weaver,
holds a rose she wove.
The coconut-leaf roses are artifacts used as ornaments around one’s home to culturally
decorate baskets, place mats, and other items or to otherwise give to someone special.
The following are steps described by Arbeit (1985) and Naputi (2010):
Figure 60. Step 1 of 3, Rose.
45 Step 1: Use one leaf and separate the midrib from the leaf about 4 inches from the butt end to
the tip. Next, bend the midrib back and break it off. Hold the base in your left hand, and make
the foundation by wrapping the leaf around the midrib one time.
Figure 61. Step 2 of 3, Rose.
Step 2: Begin the flower by twisting the strips with your right hand, so that the top edge turns
away from you and down. As you twist, turn the base to roll the flower around the stem. Keep
turning the stem and leaf down each time until you reach the desired size of your rose.
46 Figure 62. Step 3 of 3, Rose.
Step 3: At the end, make a tight knot and then cut the strips until about one inch long to make
the leaves.
Creating Grasshoppers
Figure 63. Julia Santos Naputi, coconut-leaf weaver,
holds a grasshopper she wove.
47 The coconut-leaf grasshoppers are decorative creatures used as ornaments or for the
young children to play with.
The following are grasshopper-weaving steps described by Arbeit (1985) and Naputi
(2010):
Figure 64. Step 1 of 8, Grasshopper.
Step 1: Use one leaf to make the grasshopper. Beginning 12 inches from the tip, separate the
midrib from the two leaf halves all the way to the butt end. Next, separate the two at the base.
Step 2: Bend the midrib back and place inside the fold of the leaf tip leaving a 5-inch-long loop.
Next, cut the midrib off about 2 inches inside the leaf and save the remainder for the
grasshopper’s legs.
48 Figure 66. Step 3 of 8, Grasshopper.
Step 3: Make a half hitch around the midrib with one of the half leafs.
Step 4: Turn the work around and make a half hitch with the other half leaf.
Step 5: Turn the piece again and fold it, wrap it around with the near half leaf straight up.
Step 6: Put your left thumb on the bottom of the fold and bring the leaf forward, over your
thumb.
49 Figure 70. Step 7 of 8, Grasshopper.
Step 7: Make another half hitch, wrap the leaf around, and put your thumb on top of the fold and
tighten.
Step 8: Repeat these steps on both sides until five to eight pairs of segments have been created.
Next split a thin sliver from the front end of each strip with your fingernail. Thread these up
through the loop, and then pull on the midrib to lock in the grasshopper’s antennae.
Make the wings by cutting the remaining leaf halves and inserting them into the folds. Next,
make the legs by cutting the remaining midrib into two pieces. Bend each midrib and insert
them through the body folds.
50 Creating Buggy Whips/Centipedes
Figure 72. Julia Naputi Rivera, granddaughter of
coconut-leaf weaver Julia Santos Naputi, holds a buggy
whip she wove.
The coconut-leaf whips, also known as centipedes, were used as playful items to snap
around in the air.
The following are buggy whip/centipede weaving steps described by Arbeit (1985) and
Naputi (2010):
51 Figure 73. Step 1 of 5, Buggy Whip/Centipede.
Step 1: Use one leaf to make the buggy whip. First, separate the midrib from a leaf, starting 4
inches from the base and continuing all the way to the tip. Next, open the tip. With the midrib
on the right, fold the front half-leaf strip back and to the right.
Figure 74. Step 2 of 5, Buggy Whip/Centipede.
Step 2: Next, fold the back strip forward and to the right.
52 Step 3: Now fold the front back and up, and then fold the back strip forward and up.
Step 4: Next fold the front strip back and left, and then fold the back strip forward and left.
Step 5: Complete the sequence by folding the front strip back and up, and then fold back strip
forward and up. Repeat the steps from the beginning almost to the tips, and secure it with an
overhand knot.
53 Creating Fish
Figure 78. Julia Santos Naputi, coconut-leaf weaver, holds a fish she wove.
The coconut-leaf fish were used as ornaments to decorate ones house or for the young
children to play with.
The following are coconut-leaf fish weaving steps described by Arbeit (1985) and Naputi
(2010):
54 Figure 79. Step 1 of 4, Fish.
Step 1: Use one leaf to make the fish. First remove the midrib from one leaf. Next pull the
halves apart. With the butt end hanging down from the palm 4 to 6 inches, coil one of the half
leafs around three fingers of the left hand.
Figure 80. Step 2 of 4, Fish.
Step 2: Insert the butt of the other half leaf strip across the front---left to right, inside the left
loop and outside the right. Ensure that you leave at least one-half of the strip extending to the
right.
55 Figure 81. Step 3 of 4, Fish.
Step 3: Weave the strip extending to the right into the right back loop and outside the left loop.
Figure 82. Step 4 of 4, Fish.
Step 4: Transfer the work to your right hand, and insert the same end outside and then inside the
front loops below the first crossings. Next change hands, and insert the same end across the back
– outside and inside. Tighten the leaf by pulling all four ends until they no longer move. Next
the fins will arch across the top and bottom edges. The weaver can shape or shred the fins and
tail as desired.
56 Summary
Based on the research conducted, the researcher has concluded that coconut-leaf and
pandanus-leaf weaving, if used effectively, has the potential to increase the mathematics skills of
local students. It involves mathematics skills, such as addition, subtraction, division, patterns,
even numbers, and odd numbers.
According to Cruz (2010), “coconut weaving involves addition, subtraction, and
division.” He said that when you make a certain basket, in order to close the bottom you would
have to divide the coconut leaves. He further said that pandanus baskets always need to have an
even number of leaves to split and that odd numbers would not allow you to complete your ideal
basket. He said that there is a pattern that must be followed in weaving. For example, for certain
types of coconut baskets, 12, 16, or 20 leaves are needed, but they will all be different sizes.
This is also the same case for fans, which follow an “over and under” pattern throughout the
course of creating the art piece (Naputi, 2010).
Laguana (2010) emphasized that coconut weaving involves mathematics and cultural
preservation. “Lots of intellectual properties are within weaving and other cultural aspects and
we must know and pass on to our children (the Chamorro art of weaving), not necessarily for
economic purposes, but rather for cultural perpetuation,” he said.
Coconut weaving should be embraced as a way to learn mathematics. Arceo (2010) said
that we should “learn it [coconut weaving] as an art and a way of living. Pass it on to our
children. If all else fails, it can be our way of life.” She further said that coconut weaving
involves many math skills, such as “addition, subtraction, division, multiplication.”
Guerrero (2010) shared the same sentiments. He said that when he teaches his students to
coconut weave, they follow a pattern, and they use an even amount of leaves. He added that,
57 “Coconut weaving is important to our culture. It will save our culture. It can provide us shelter,
food, clothing.”
58 REFERENCES
Anderson, T.J. (2010). Weaving. Retrieved March 9, 2010 from
http://guampedia.com/weaving.
Arbeit, W. (1985). What Are Fronds For? Honolulu, HI: University of Hawaii Press.
Asia Pacific Cultural Center. Retrieved April 11, 2010 from
http://www.asiapacificculturalcenter.org/index.php?option=com_content&view=article&
catid=47%3Aphilippine-trunk&id=195%3Abanig-pilipino-woven-mat&Itemid=82
Cunningham, L. (1992). Ancient Chamorro Society. Honolulu, HI: Bess Press.
Cunningham, L. and Beaty, J. (2001). Guam, A Natural History. Honolulu, HI: The Bess
Press.
Cunningham, L., Beaty, J. and Perez, R. (2001). A History of Guam. Honolulu, HI: Bess Press.
Dunford, B. and Ridgell, R. (2006). Pacific Neighbors, The Islands of Micronesia, Melanesia,
and Polynesia. Hawaii: Bess Press.
Facebook. Huråo Guahan. Retrieved March 20, 2010 from
http://www.facebook.com/HuraoGuahan#!/HuraoGuahan?v=info
Farrell, D. (1981). The Pictorial History of Guam, Guam: 1898-1918. Tamuning, GU:
Micronesian Productions.
Farrell, D. (1986). The Pictorial History of Guam, THE AMERICANIZATION 1898-1918.
Tamuning, GU: Micronesian Productions.
Farrell, D. (1991). The Pictorial History of Guam, THE SACRIFICE 1919-1943. San Jose,
TINIAN: Micronesian Productions.
Grabe, W. (1988). Reassessing the Term Interactive. In Carrel, P.L., Devine, J. and Eskey,
D.E. (1988). Interactive Approaches to Second Language Reading. Cambridge: CUP.
Guam Public School System Annual State of Public Education Report, School Year 2007-2008,
October 30, 2008.
Guam Public School System Annual State of Public Education Report, School Year 2006-2007,
October 30, 2007.
Guam Visitors Bureau (2010). Our Culture. Retrieved March 15, 2010 from
http://www.visitguam.org/Runtime/Culture.aspx
Oliver, D. (1989). The Pacific Islands. Honolulu, HI: University of Hawaii Press.
59 Paulino, F. (2010). Weaving. Retrieved March 9, 2010 from
http://www.pacificworlds.com/guam/stories/story3.cfm
Political Status Education Coordinating Commission (1993). Hale’-ta, Hestorian Taotao Tano’,
HISTORY OF THE CHAMORRO PEOPLE. Agana, GU.
Political Status Education Coordinating Commission (1994). Hale’-ta, I MA GOBETNA-ÑA
GUAM, Governing Guam: Before and After the Wars. Agana, GU.
Ridgell, R. (1988). PACIFIC NATIONS AND TERRITORIES, The Islands of Micronesia,
Melanesia, and Polynesia. Honolulu, HI: Bess Press.
Sanchez, P. (1988). Guahan GUAM: The History of Our Island. Agana, GU: Sanchez
Publishing House.
Wang, M. (2009). Ancient Chamorro Weaving. Retrieved February 16, 2010 from
http://guamology.org/index.php?view=category&id=5&recid=10&option=com_cultures
&Itemid=19
The Culture of Guam. Retrieved March 12, 2010 from http://ns.gov.gu/culture.html
The Palms Press. Hafa Adai Guam, USA 1988-1989, A VISIT TO THE VILLAGES.
York, M. (2010). Philippine Banig Weaving Lesson Plan: For 4th Graders and Above.
Retrieved April 28, 2010 from
http://www.meininger.com/Education_Center/Lesson_Plans/York_Weaving.cfm
PERSONS INTERVIEWED
Arceo, A. Personal INTERVIEW. 20 March 2010.
Female, age 42, Agat. Founder of Huråo Academy with 20 years of teaching Chamorro
and expertise in Chamorro language and culture.
Bamba, J. Personal INTERVIEW. 14 March 2010.
Male, age 29, Agana Heights. Coconut-leaf and pandanus-leaf weaver of 15 years and
translator for the U.S. Air Force and foreign language instructor for junior translators.
Cruz, J.A. Personal INTERVIEW. 12 March 2010.
Male, age 33, Mangilao. Coconut-leaf and pandanus-leaf weaver of 15 years and English
instructor for the University of Guam’s TRIO Programs, Student Support Services.
Cruz, J.Q. Personal INTERVIEW. 12 March 2010.
60 Male, age 64, Barrigada Heights. Guam Education Policy Board member, former
University of Guam President, retired UOG Administration and Supervision Program
Advisor/Associate Professor.
Cunningham, L. Personal INTERVIEW. 22 March 2010.
Male, age 67, Agat. Researcher, educator, and author of ancient Chamorros and
traditional navigation and seafaring.
Guerrero, A. Personal INTERVIEW. 20 March 2010.
Male, age 62, Chalan Pago. Chamorro teacher of 25 years with specialization in
Chamorro culture and language.
Gumataotao, A. Personal INTERVIEW. 17 March 2010.
Female, age 43, Toto. Teacher assistant with specialization in cooking Chamorro food.
Gumataotao, L. Personal INTERVIEW. 15 March 2010.
Female, age 59, Agana Heights. Former administrator and ESL teacher in the Guam
Department of Education.
Lastimoza, R. Personal INTERVIEW. 16 March 2010.
Female, age 46, Tamuning. First grade teacher in the Guam Department of Education.
Laguana, R. Personal INTERVIEW. 15 March 2010.
Male, age 50, Mangilao. Adminstrator for the Guam Department of Education Chamoru
Studies Division with specialization in the following: Chamorro language, culture,
history, translating, editing, transcribing, interpreting, and tour guiding.
Morrison, R. & Healani, A. (2000). The Guide to Basket Weaving, Creative Weaving with
Coconut Palms. ‘Aiea, HI: Island Heritage Publishing.
Naputi, J. N. Personal INTERVIEW. 23 February 2010.
Male, age 59, Tamuning. Farmer, writer, and agriculturalist for over 50 years.
Naputi, J.S. Personal INTERVIEW. 6 February 2010.
Female, age 56, Tamuning, Coconut-leaf weaver with specialization in arts and crafts.
Rojas, D. Personal INTERVIEW. 17 March 2010.
Female, age 61, MongMong, Chamorro teacher in the Guam Department of Education.
Sablan, P. Personal INTERVIEW. 25 March 2010.
Male, age 46, Santa Rita. Coconut-leaf weaver, cultural tattoo artist, stone sculpture and
body ornamentation (shell) specialist.
Salas, A. Personal INTERVIEW. 26 March 2010.
Female, age 52, Piti. Chamorro teacher with specialization in the Chamorro language
and culture.
61 This material is based upon work supported by the National Science Foundation under
Grant No. 1239733. Any opinions, ﬁndings, and conclusions or recommendations
expressed in this material are those of the author(s) and do not necessarily reﬂect the
views of the National Science Foundation.
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