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The Higaonon Art of Accessory-Making A Research for a Short Animation Film

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 The Higaonon Art of Accessory-Making
A Research for a Short Animation Film

Nuevo, Leika Mea A.1

Student of School of Media Studies,
1

Mapua University, Philippines

nleika19@gmail.com
Abstract
The Higaonons are an ethnic group in the Philippines living in the mountainous regions
of Misamis Oriental, Bukidnon, and Agusan, and Lanao. Like all ethnic tribes in the Philippines,
Higaonons also have handicrafts. It is considered a concrete representation of the lifestyle, the
spirit, and the identity of its people. Howbeit, the rise of the Digital Era has resulted in the
downfall of the culture and the practice of accessory-making in the ethnic tribe of Higaonons.
One element is in the fall, while another is on the rise (Botler 2019). There is also a lack of
representation in the film industry of the tribe and their culture. This study can help educate and
raise the awareness of a dying practice and, in doing so, can also help preserve it. In addition to
that, it also aims to understand the Higaonon art of accessory making and its current situation
from non-Higaonon handicraft practitioners for application in a narrative story in the medium of
a short animation film.

Keywords—handicrafts; animation; Higaonon; Manobo; bead-work; embroidery; basket-

weaving;
I. INTRODUCTION
The Higaonons are an ethnic group in the Philippines living in the mountainous
regions of Misamis Oriental, Bukidnon, and Agusan, and Lanao. They are described as "people
of living mountains'' and "people of the wilderness" (Ragandang 2017). The tribe has its writing
system called "suwat", its mythology, and its lore. The Higaonons also have their systems of
kinship, social organization, politics, marriage, and courtship which are all also part of their
culture. (Mansuduyan 1997) However, the group also has a cultural art that is barely talked about
in any Higaonon literature. It is a dying practice but the designs and the mere concept of it can be
seen in culture-themed fashion shows and handicrafts.
With over 7,100 islands in the Philippines, the country is rich in cultural diversity.
Handicrafts have always made a significant relationship with the cultural heritage of a nation. It
is considered a concrete representation of the lifestyle, the spirit, and the identity of its people.
This is also expressed in the richness and variety of handmade products from the Philippines that
enter the First World Markets. Howbeit, the rise of the Digital Era has resulted in the downfall of
the culture and procedure of accessory-making in the ethnic tribe of Higaonons. One element is
in the fall, while another is on the rise. (Bolter 2019) There is also a lack of representation in the
film industry of the tribe and their culture. This study can help educate and raise the awareness of
a dying practice and, in doing so, can also help preserve it. The Higaonon art of accessory-
making is part of the Filipino's self-identity and history.

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 In comparison to reading multiple works of literature, films can send the necessary
information in a shorter amount of time. In addition to that, films also make the information
more engaging and appealing to the masses, especially to children. Animation has a visual appeal
to children and it can also have a positive impact on children with 17% of them learning from
animated cartoons (Ghilzai. et.al. 2017). Animation is not only appealing but also flexible.
Flexible in the sense that the audience can also include teens and adults. (Tomchin 2017). In
other words, the animation is for all, regardless of age, sex, gender, occupation, location, and
ethnicity.
II. BACKGROUND OF THE STUDY

A. Problem and Objectives

With the rise of progressive topics in the film industry, Filipino consumers are not
exposed enough to the true cultures of the Philippines. There are few films and information
media about the ethnic tribes of the Philippines. Moreover, the culture of accessory-making is a
dying practice. The main objective of the research is to understand the Higaonon art of accessory
making and its current situation from non-higaonon handicraft practitioners for application in a
narrative story in the medium of a short animation film.
The research gaps in the study are the following:
● There is a lack of representation and awareness of the Higaonon art of accessory making
in the film/animation industry.
● There is a lack of information regarding the Higaonon art of accessory making.

The research should tackle the following questions:

● How can animation educate and raise cultural awareness of the Higaonon art of
accessory-making
● How can the audience understand the Higaonon art of accessory making from non-
Higaonon handicraft practitioners

Consequently, the research aims:

● to educate and raise cultural awareness of the Higaonon art of accessory making through
animation
● to understand the Higaonon art of accessory making from non-Higaonon handicraft
practitioners

B. Purpose of the Study

With the steady rise of the Digital Era, technology-based and visual-based learning
environments allow more data for education. Visual learning analytics has proven to be more
useful for instructors than that for students. Given that instructors often use learning tools to
"understand collaboration among participants, or to understand the use of learning resources"
(Vieira, et.al. 2017). Moreover, visual learning from animation given prior knowledge of the
topic along with visuospatial ability have an impact on how learners derive visual knowledge
from the displays. Animation has been proven to not only be entertaining to audiences but can
also raise awareness of certain topics. The film Rio (2011) has both introduced children to new

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cultures, Brazilian culture, and has also raised awareness of the endangered species: the Blue
Spix Macaw (Boyle 2011). Moreover, the upcoming animated film by Disney: Raya and the Last
Dragon (2021) is heavily influenced by Southeast Asian cultures.
Furthermore, animation films or films, in general, are an accessible medium to the masses and
especially to the target audience. Watching films gives easy information to an audience and at a
shorter amount of time than reading literature from online sites and physical literature found in
libraries. Finding the right information about the art of accessory-making or specifically just the
Higaonon art of accessory-making has proven to be fairly challenging to do online. It is more
challenging now to search for information in public libraries. Literature found online barely talks
about the Higaonon cultural art of accessory making. Any person, especially the target audience,
would not bother reading all that literature or even find them in the first place. Translating the
information into an animated film would not only be interesting & engaging, but it would be
more accessible to people. More access to this information can help raise awareness of the
dwindling cultural art and at the same time, contribute to the representation of the Higaonon
culture and arts. The study will also benefit future researchers and media practitioners.
C. Scope and Limitations
The research will focus on the cultural art of the Higaonons and then expand this
knowledge into an animated short film. Higaonons live in the province of Agusan del Sur,
Philippines. The research itself will only be conducted in Cagayan de Oro, Misamis Oriental
where the researcher is currently staying as of January of 2021. The research will not go beyond
the other tribes of the Lumads and will only be focusing on the tribe of Higaonons and their way
of making their tribe accessories. However, for the output of this study, the target audience is
children ages 7 to 11. According to Piaget's stages of cognitive development, children of ages 7-
11 years begin to think more logically and concretely and understand information to a general
principle. Children of this age range already have the mental capacity and the cognitive
development to understand their interests. Additionally, the target audience also includes
Filipinos learning the Filipino cultures and living in the country. As of July of 2021, the final
survey questionnaire was conducted through Google form and as of August of 2021, the Final
Defense of the Thesis: The Higaonon Art of Accessory Making was concluded.
III. METHODOLOGY
A. Research Design
The research paper Sequential Exploratory Design. A Sequential Exploratory Design is a
mixed-method design characterized by collecting qualitative data and analysis, succeeded by
collecting quantitative data and analysis. This design method uses qualitative findings to aid in
the explanation and interpretation of quantitative findings. In this case, an interview is conducted
first and studied through Narrative Analysis. Another data collection is conducted through
survey questionnaires using the online platform Google Forms for convenience and using
Theoretical Analysis for examining the collected data.
The first batch of respondents is non-Higaonon handicraft practitioners. While the method of
collecting data is an in-depth interview inclusive to a profile discussed below, and then to be
analyzed using a Narrative Analysis method. The second batch of respondents is viewers
categorized by age: 7-12 years, 13-18 years, 19-24 years, and 25 years and older With a priority
to respondents under 7-12 years given that they are the target audience.
B. Research Instrumental

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Given the chance to travel to Agusan del Norte, the researcher can interview the five (5)
practitioners for the collection of data. A semi-structured interview will be conducted to open up
a light atmosphere for the interviewees while still maintaining an organized set of questions and
only focus on the necessary data. The interview questions should tackle the following :
● Interviewee’s personal information including full name, occupation, and years of working
● Interviewee’s views, insights, and struggles on the art of accessory making
● Information about the accessories which include bead-work, cultural embroidery, and basket-
weaving
A survey Questionnaire is used for the 2nd batch of respondents that surround the animated
Thesis Film and questions the respondents before and after watching the said film. The survey
questions should tackle the following:
● Respondent Age for categorization
● Respondent's knowledge on the topic before and after watching the animated film.
● Respondent's cultural awareness on the topic before and after watching the animated film.
C. Research Sampling and Respondents
The research will be using a nonprobability, purposive sampling method. The purpose sampling
method is used when the researcher has access to a subset of people who have been practicing
this specific form of art handicraft. This method is also used when researchers rely on their
judgment for choosing the member of the population to participate in the study. Although the
results of the objective sampling do not necessarily have to be statistically descriptive of the
wider population of interest, they are qualitatively generalizable.
Respondents, on the other hand, should be ● Mindanaoan
inclusive to And exclusive to:
● Non-Higaonons ● Training practitioners
● Handicraft Practitioner ● Practicing for less than a year
● Practicing for at least a year ● Non-Mindanao
For the survey questionnaire in regards to the animated film output, the criteria required are as
follows. This is to ensure that the respondents are the target demographic of the animated film
should it be shared in online platforms with priorities to the target audience who are children
under the age of 7-12 years. The target demographic is the locals or Filipinos who are living in
the Philippines as they have the most likely exposure to the culture and societal standards here in
the Philippines.
Respondents should be inclusive to And exclusive to:
● Filipinos currently living in the ● Filipinos not currently living in the
Philippines Philippines
● Children ages 7-12 ● Foreigners
● Respondents who are 13 years old and
older
D. Theoretical Framework
The theoretical framework used is taken from models and principles in design. These follow
under Aesthetic, Technology and Communication format. Each model or principle corresponds

4
to the format and is used in the conception and production of the animated film, and most
especially the analysis of the results.

Figure 1.1. Theoretical Framework

Okham’s razor principle

“Ockham's or Occam's razor asserts that simplicity is preferred to complexity in design.”
Ockham's principle explains that unnecessary elements decrease a design's efficiency and
increase the probability of unanticipated consequences. The principle centers on the output of the
research. This can be used as a framework for the design of the short animated film based on the
information gathered in the research. These include character design, colors, background, etc.

Multimedia and the human learning process

"The dual-store of memory which includes three components: sensory register, short term
memory, and long term memory." Atkinson and Shiffrin describe a model that the control
process affects the movement of information from one component to another. The model centers
on the pre-production of the output of the research. This can be used as a framework for the
planning and scriptwriting of the short animated film.

Universal principles of design

“The concepts referred to as principles consist of laws and general design guidelines selected
for a variety of design disciplines. Many of the principles are used for multiple design
purposes.” Lidwell et al describe the model with about 28 design principles, each for the five
ways. In this case, using ways to influence how a design is perceived which focuses on
highlighting, closure and proximity will be used as a basis. This model centers on the pre-
production of the output of the research. This can be used as a framework for the planning and

5
scriptwriting of the short animated film. The universal principles of design can also be applied to
the aesthetic of the film.

E. Design and Development Process

The development process of the research would begin naturally by analyzing the research gap
and forming objectives, followed by gathering the literature to back up the claims and then
conducting a one-on-one interview for the qualitative results of the research. After analyzing the
results from the data collected, the construction and conceptualization of the film are then done.
This includes scriptwriting, concept art, character design, and background art to name a few.
After finalizing the pre-production, the production and post-production are then done which
include storyboards, rough animation, and sounds.

Figure 1.2. Design and Development Process

For the quantitative part of the research, the animated film is then subjected for the pre
and post-evaluation by respondents chosen by the researcher. Respondents should fit the
criteria mentioned above. The survey questionnaire, as mentioned, is divided into two parts:
PRIOR to watching the film and SUBSEQUENT or after watching the film. After the
respondents have successfully done these, the results are then to be analyzed through
theoretical analysis.

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 F. Conceptual Framework
The conceptual framework used here is a basis for the creation of the animated film: Hinimo
ni Lola from the qualitative side. An interview was first conducted and to do this the preparation
of the interview questions must first be done followed by the actual interview. After transcribing
the one-on-one interview, narrative analysis is then used to break down and understand the
results of the interview to conceptualize the animated film.

Figure 1.3. Conceptual Framework

The narrative form can be loosely defined as a sequence, experiences, or actions with a plot
that ties together different parts into a meaningful whole (Czarniawska & Franzosi 1998). This
makes information gathered important in a narrative concept. According to Hannah Mertoja and
Colin Davis in their book Narrative Analysis in Arts, it discusses the analysis of ethical issues
involving different strategies that contemporary media utilize to narrate experiences. Narrative
Imagination is an essential part of visions of the future and also the engagement with the past and
the present. Narrative Analysis refers to a cluster of analytic methods for interpreting texts or
visual data that have a storied form (Figgou & Pavlopoulos 2015). Furthermore, narrative
analysis is a genre of analytic framework whereby researchers interpret stories that are told
within the context of research and/or are shared in everyday life (Allen 2017).
Using the theory of Narrative Analysis will help analyze the in-text or transcribed data gathered
from the interviewees and help translate it into a narrative concept. This narrative concept can

7
then be designed into a short animated film where the target audience can have more access
compared to that of online and physical literature especially during these trying times of the
COVID-19 pandemic.
IV. REVIEW OF RELATED LITERATURE
Digital Storytelling as a technological tool is the timeless method of storytelling
incorporated into the digital medium in an educational setting (Robin, 2009). Web Roush (2006)
wrote that these technologies are part of a transformation from "one-to-many communication on
the Web" to "many-to-many communication and that traffic and conversation naturally cluster
around content, such as videos, photos, blog posts, and bookmarks". Digital Storytelling is a
technology framework that is well placed to take advantage of user-contributed content and to
help the user's teachers contribute content and make meaningful use of technology in their
classrooms. For this study, a film to raise cultural awareness can be shown and featured in
classroom settings for students and teachers alike to watch.
The influence and impact of visual imagery in a learning environment are discussed in Berney
& Betrancourt (2016). From a cognitive point of view, Schnotz et. Al. (2005) defined the
ability to learn animation in terms of allowing and promoting effects. The continuous
representation of changes in animation facilitates the perceptual and mental processing of
complex information, which would be impossible to achieve for inexperienced learners in the
field. The literature has shown that the major characteristics of animation could be either
beneficial or detrimental to the understanding and approach to learning to be learned.
Visual Learning Analytics of Educational Data: A Systematic Literature Review & Research
Agenda by Camilo Vierira, Paul Parsons, and Vetria Byrd also tackled visual imagery for
education and analyzed it quantifiably. The easy availability of online platforms, education
systems, social media, digital student records, and networked devices has contributed to a rise in
the number of rich data trails that can provide insight into the learning process. (Siemens & Log
2011). The results of this study in regards to using existing literature integrated into education
and visualization showed that it is possible to apply. However, the study shows that sophisticated
visuals did not critically connect all three dimensions for the highest scores.
Both animation and human cognition are tackled in a common ground by Torre (2014).
Picture perception and mental image generation processes often involve composing visual
content through two distinct yet interrelated systems: the method of seeing and within one's
visual-spatial working memory. In conclusion, both cognitive animation and animation do rely
on three structures: image, sound, and movement and both also have the potential to be complex
and creative visualization with relative efficiency.
Organizational Readiness: Culturally Mediated Learning through Disney Animation by
Marty Griffin, Mark Learmonth, and Nick Piper, talks about A structure that defines the
anticipatory perceptions of the future organizational life of children as they permeate the cultural
stimuli to which they are exposed. Barnett (2006) Children are casually or intently watching
animations, often with repeated viewings, it is clear that they can have a significant effect- an
effect that can be thought of as indirectly educational on young children. Disney animation can
be problematic to culture, blurring the lines between inspiration and appropriation.

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 V. RESULTS AND DISCUSSIONS

A one-on-one interview was first conducted in Cabadbaran City, Agusan del Norte. Five
respondents were chosen to share their stories about them, their work, and the impact of the line
of work in their lives and the lives of their families. To conceptualize the animated film for
viewing and feedback, Narrative Analysis was used to break down and understand the data
collected from the 5 non-Higaonon Handicraft practitioners. The questions asked by the
researcher to the respondent were originally in Cebuano. As of May 2021, returning to Agusan
del Norte for a follow-up interview was not possible due to the return of the city’s strict rules
against travel. For the sake of confidentiality, each respondent mentioned in this research will be
numbered accordingly. (e.g. Respondent 1, Respondent 2, etc.).

Interview with Non-Higaonon Handicraft Practitioners

Using Narrative analysis to create an animated film that aims to educate and raise cultural
awareness on the Higaonon art of accessory making, a one-on-one interview was first conducted
in Cabadbaran City, Agusan del Norte. Five respondents were chosen to share their stories about
them, their work, and the impact of the line of work in their lives and the lives of their families.
For the sake of confidentiality, each respondent mentioned in this research will be numbered
accordingly. (e.g. Respondent 1, Respondent 2, etc.). The questions asked by the researcher to
the respondent were originally in Cebuano. As of May 2021, returning to Agusan del Norte for a
follow-up interview was not possible due to the return of the city’s strict rules against travel.

Interview with Non-Higaonon Handicraft Practitioners: Tasks and Skills of the Practitioner
The respondents were asked about their usual tasks in this line of work. “Unsa kasagara
imong ginabuhat ani nga trabaho” is translated into "What do you usually do in this line of
work?" which refers to the three handicrafts commonly done in the Higaonon tribe (Burda or
embroidery, bead-work and basket weaving or basketry)

IN VIVO coding

Contents/ Codes ● Burda/Suyam (Embroidery)

● Suksuk (Basket Weaving)

Note/s ● Respondents do not do bead-work

3 respondents (60%) answered that they only do basket weaving. 1 respondent (20%)
answered that they do both Burda/Embroidery and Basket Weaving. The remaining 1 respondent
(20%) only do Burda/Embroidery.
Respondents have also mentioned that the skill for beaded work is something that cannot be
easily picked up on. Even with years of experience in basketry and cultural embroidery, only a
few could do beaded work. Some even suggested that the skill required to do beaded work is
something you are born for and not trained for. While others suggest that only chosen people can
pick up on the skill required for beaded artwork. Nonetheless, their experiences with basketry
and cultural embroidery were enough to create a concept for the animated film.

Interview with Non-Higaonon Handicraft Practitioners: Acquaintance in the Handicrafts

9
 The respondents were asked how they were acquainted with the handicrafts, translated from
"Ginusa nimog pagkahibalo ani nga trabaho?”. Three answers were averaged from the
respondents.

IN VIVO Coding

Contents/ Codes ● Seminars (TESDA Women’s

Training)
● Nanay Margarita “Marge” Abaquita
2 respondents (40%) acquainted themselves in the Higaonon Art of accessory making from
TESDA Women’s training and seminars alike. 2 respondents (40%) acquainted themselves in the
Higaonon art from Nanay Margarita “Marge” Abaquita. The remaining 1 respondent (20%)
acquainted themselves first from TESDA Women’s Training where they met Nanay Marge.
The common denominator here is the fact that all of the respondents ended up working
under Nanay Marge in her clothing store called Hininang ‘Tu. In this store, they create the three
products that are discussed in the film and this research. This question was asked to see where
they came from and how they started their journey on practicing and producing the Higaonon
handicrafts.

Interview with Non-Higaonon Handicraft Practitioners: Years Practicing in Higaonon

Handicrafts
The respondents were asked how many years they had been practicing and producing
cultural Higaonon handicrafts, translated from “Pila naka katuig gatrabaho diri?”.

IN VIVO Coding

Contents/ Codes ● At least 10 years

● Since childhood
3 respondents (60%) have practiced and produced Higaonon handicrafts in at least 10 years
and exclusively in the industry. 1 respondent (20%) has practiced Higaonon handicrafts since
childhood but has produced in the industry for at least 10 years. And the remaining 1 respondent
(20%) have practiced since childhood but have produced the crafts, specifically embroidery, for
about 5 years.
This question was asked to the respondents in addition to the former, to see where the
respondents came from and to understand how long it has been in practicing and producing
Higaonon handicrafts. This information was to see where the respondents have been and what
they possibly have been throughout the years.

Interview with Non-Higaonon Handicraft Practitioners: Inner workings of Higaonon Handicrafts

The respondents were asked who taught them the inner workings of practicing and
producing Higaonon handicrafts or if they had learned alternatively.

10
 IN VIVO Coding

Contents/Codes ● Nanay Margarita

● Since childhood
● Seminars (TESDA Women’s training)
3 respondents (60%) were taught the inner workings of practicing and producing
Higaonon handicrafts exclusively from Nanay Margarita "Marge" Abaquita. 1 respondent (20%)
had known the inner-workings of practicing and producing the crafts since childhood. While the
remaining 1 respondent (20%) had known the inner-workings of practicing and producing from
TESDA Women's Training and further polished from Nanay Marge.
This question was asked to the respondents to further understand their journey on practicing
and producing the Higaonon handicrafts. The information gathered was important to the
conception of the character Lola in the animated film.

Interview with Non-Higaonon Handicraft Practitioners: Understanding what it means to practice

the Higaonon handicrafts
The respondents were asked what this work is for them, translated from “Unsa ni nga para
nimo?”

IN VIVO Coding

Contents/Codes ● Blessing
● opportunity
● More than an income
● Passion
All of the respondents have mentioned on average that the work they do is a blessing and an
opportunity for them and their families. To them, practicing and producing the Higaonon crafts is
more than just additional income.
This is also a reminder that, although this is a passion for the respondents, practicing and
producing the Higaonon handicrafts is a job first. The work they put in feeds their family and
puts their children to school. Nonetheless, the work they do is significant in the cultural sense to
keep the practice alive for future generations.

Interview with Non-Higaonon Handicraft Practitioners: The Best Experience/s

The respondents were asked what their best experience or experiences were with practicing
and producing the Higaonon handicrafts, translated from "Unsa imong pinakamaayo nga
kasinatian ani nga trabaho?”.

IN VIVO Coding

Contents/Codes ● Not just an income

● Art

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 ● Enjoy
● Opportunity
● Children/Family
Respondent 1 had mentioned that making cultural embroidery is special and not just a
form of income. They acknowledge the art they create with their own hands. Respondent 1 also
helps with basket weaving and enjoys the time they spend with their fellow practitioners.
Respondent 2, 3, and 4 mentioned the opportunity they get when working at home. Not only are
they helping to pay the bills, but they also get to spend time with their children and family
members through this practice. Teaching their children how to practice and produce Higaonon
handicrafts has given them a sense of happiness and fulfillment.
This information was crucial to the conception of the plot in the animated film: Hinimo ni
Lola. Although not deliberately mentioned, the idea of spending time with family while
practicing and producing the Higaonon art of accessory making is subtly shown.

Interview with Non-Higaonon Handicraft Practitioners: The Challenges faced

The respondents were asked what their challenges and obstacles were with practicing and
producing the Higaonon handicrafts, translated from “Unsa ang mga kalisdan nga imong
naagian ani nga trabaho?”.

IN VIVO Coding

Contents/Codes ● poor eyesight

● waiting
● new designs
● walking to rural mountain
4 respondents mentioned that their poor eyesight is the biggest challenge while practicing
and producing Higaonon handicrafts. In addition, 3 of the 4 respondents have also mentioned
that having to wait for new projects was also challenging. No work meant no income.
Respondent 3 mentioned that one of their biggest challenges was that whenever they ran out of
resources for producing, they used to walk to rural mountains to collect Rattan and Pandan.
Respondent 2 mentioned that one of her struggles was learning new designs and practicing these
designs by eye.
The information gathered in this question was, although not deliberately mentioned, it was
subtly shown in the protagonist's first challenge and the protagonist's whole purpose in the
animated film.

Interview with Non-Higaonon Handicraft Practitioners: Future plans

The respondents were asked their plans for themselves 5-10 years from now, translated from
“Unsa imong makita para sa imong kaugalingon lima hangtud napulo ka tuig gikan karon?”

IN VIVO Coding

12
 Contents/ Codes ● Still practicing/producing
● Still alive
● Pass down skills
All 5 respondents are still hoping to practice and produce Higaonon handicrafts 5-10 years
from now. 3 of the 5 respondents also hope that they would still be alive long enough to pass
down the skills and techniques of Higaonon art of accessory making.

Upon further analysis, the handicraft practitioners have made their work a part of
themselves and a significant part of their lives. Although, the work they put in is just that "work".
They acknowledge the art their hands create and acknowledge the benefits that come along with
it. As a practitioner, they treasure the time they can spend with their families and they also put
effort into passing down the techniques they learned and polished in this line of work. They are
careful with their hands and are particular with the names of each creation as each craft was
made in a specific way. Using the theory of Narrative Analysis will help analyze the in-text or
transcribed data gathered from the interviewees and additional literature, and help translate it into
a narrative concept. The animated film: Hinimo ni Lola follows Hiala as she learns the common
Higaonon crafts produced by her non-Higaonon handicraft practitioner. Designs used include
baskets, beaded accessories and finished and unfinished embroidered clothes are direct examples
of the Higaonon crafts. From the analysis, Lola is the representation of the non-Higaonin
Handicraft Practitioners. With their collective experiences in one character. Lola, like the
respondents, is also a handicraft practitioner and is conceptualized through the data collected
from the interview.

Animation in the Philippines has not been as prominent as it could have been given that
the animation industry began only around 40 years ago. This can be traced back to around the
1980s. Within those 40 years, the country produced 11 animated films that range from 2D, 3D
and 2D/3D hybrid films which are Isko: Adventures in Animasia (1995), RPG Metanoia (2010)
and Hayop Ka! (2020) to name a few. There is already a scarce number of films in the
Philippine Animation Industry, and, naturally, there is a lack of representation in the Higaonon
tribe, specifically the Higaonon Art of accessory making.

To answer the first research question: “How will animation educate and raise cultural
awareness of the Higaonon art of accessory making”, the researcher must first understand the
influence of animation and the use of visual narratives as a learning material for education. With
the use of the theoretical framework, the animated film: Hinimo ni Lola was viewed by 20
respondents in a survey evaluation.

CODES AND THEMES:

Deductive Coding : There is a predefined set of codes, then assign those codes to the new
qualitative data. With the given time constraint and a limit on a specific set of respondents, the
research falls under deductive coding.

Survey on the Animated Film

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 A survey questionnaire was conducted and answered by 20 respondents before watching the
animated film: Hinimo ni Lola and subsequent to the film. It was ensured beforehand that all of
the respondents are Filipinos currently living in the Philippines through purposive sampling and
that part of the respondents are children within the age bracket of 7-12 years. The survey
questionnaire was conducted to discern if the animated film has effectively educated the
audience and to discern if the animated film has effectively raised cultural awareness about the
Higaonon Art of Accessory Making. A total of 20 respondents answered the survey questions.
For confidentiality's sake, the respondent’s name was not included in the survey as their identity
is not related to the necessary data.

Prior to Watching the Film: Respondent Age by Category

The respondents were asked their age through categorized brackets: 7-12 years, 13-18 years,
19-24 years and 25 years and older. 7 respondents (35%) are under the age of 7-12 years. 12
respondents (60%) are under the age of 19-24 years. The remaining 1 respondent (5%) are under
the age of 25 years and older.
Given that the target audience of the film are children of the ages 7-12 years, this question
was essential for the collection of data to see which respondents fall under the target audience.
To recap, the original target audience of the film are children around the age of 7-12 years. In
Piaget’s developmental theory, children around the ages 7-12 years begin to recognize and
interpret their own understanding of more complex topics that require a higher level of cognition.
(McLeod 2020). As for respondents over the age of 12, they fall under Piaget’s Formal
Operational Stage. Adolescents in this stage can not only deal with more abstract problems but
can also follow an argument's structure without needing to think about individual
examples.Adolescents are also capable of dealing with hypothetical problems that have a variety
of answers. (McLeod 2020)

- 7-12 years of age - 13-18 years of age - 19-24 years of age - 25 years and older

PRIOR to Watching the Animated Film

RESPO Are you Do you Do you Please rate Please rate

NDENT aware of the think think your current your current
Higaonon animation animation knowledge on cultural
tribe? can be can be the Higaonon awareness on
used to effective in Art of the Higaonon
educate raising accessory Art of
children? cultural making accessory
awareness? making

1 Yes Yes Yes 2 3

2 Yes Yes Yes 1 2

14
3 No Yes Yes 2 3

4 No Yes Yes 1 1

5 No Yes Yes 3 3

6 Yes Yes Yes 3 2

7 Yes Yes Yes 4 3

8 Yes Yes Yes 2 2

9 No Yes Yes 1 1

10 No Yes Yes 1 1

11 No Yes Yes 3 2

12 No Yes Yes 2 4

13 Yes Yes Yes 4 4

14 Yes Yes Yes 3 3

15 No Yes Yes 2 2

16 No Yes Yes 1 2

17 No Yes Yes 1 1

18 No Yes Yes 2 3

15
 19 No Yes Yes 1 2

20 No Yes Yes 1 1

Prior to Watching the Film: Awareness of the Higaonon Tribe

The respondents were asked, in a yes-no manner, on their awareness of the Higaonon Tribe
in general. Therefore, regardless of the cultural Higaonon Handicrafts.
13 respondents (65%) are not aware of the Higaonon tribe; 7 out of the 13 respondents
that are not aware of the Higaonon tribe fall under the age 7-12 years, while the other 6
respondents fall under the ages 19-24 years. The remaining 7 respondents (35%) are aware of the
Higaonon tribe. 6 out of 7 respondents fall under the age of 19-24 years while the other 1
respondent fall under the age 25 years and older.
The question aims to see if the respondents are aware of the Higaonon Tribe in general. This
may be only by name or deeper; such as their lifestyle, their politics, their mythology, etc. In the
13 respondents, the 7 respondents that do not know about the Higaonon tribe are from the target
audience. This is an opportunity to educate and raise awareness of the Higaonon Art of accessory
making. A clean slate to see if the animated film can be as effective in teaching the target
audience and the additional audience.

Prior to Watching the Film: Animation as Learning Material for Children

The respondents were asked, in a yes-no manner, if they think that animation can be used to
educate children? All 20 respondents (100%), regardless of age category, agreed to animation
being an effective medium in raising cultural awareness.
In an interesting turn of events, there is a harmony of agreement that animation can
indeed be used to educate children. This question aims to see the respondent's surface opinion on
animation not as an entertainment medium but as a learning material with visual narratives for
children to learn on. The benefits of animation include: simplification of abstract topics, grabs
attention, allows information to be easily digestible especially for people who learn visually
(Neelakandan 2020)

Prior to Watching the Film: Effectiveness of Animation in Raising Cultural Awareness

The respondents were asked, in a yes-no manner, if they think that animation can be
effective in raising cultural awareness. And like the former, all 20 respondents (100%) agreed
that animation can be effective in raising cultural awareness.

Prior to Watching the Film: Rating Knowledge on the Higaonon Art of Accessory Making
The respondents were asked, in rating scale, their current knowledge of the Higaonon Art of
Accessory Making prior to watching the animated film: Hinimo ni Lola. In the rating scale, 1 is

16
the lowest and labeled as “I don’t know about it” while 5 is the highest and labeled “I have
considerable knowledge about it”.
8 respondents (40%) do not know about the Higaonon art of accessory making. 6
respondents (30%) somewhat knowledgeable on the Higaonon art of accessory making fall under
the age 7-12 years. 4 respondents (20%) have moderate knowledge on the Higaonon art of
accessory making while remaining 2 respondents (10%) are fairly knowledgeable on the
Higaonon Art of Accessory Making.
This question aimed to set a point to where the respondents believe to be before watching an
animated film about the Higaonon art of accessory making and to further prove the effectivity
and the success rate of film in educating the audience.

Prior to Watching the Film: Cultural Awareness on the Higaonon Art of Accessory Making
The respondents were asked, in rating scale, their current cultural awareness of the Higaonon
Art of Accessory Making prior to watching the animated film: Hinimo ni Lola. In the rating scale,
1 is the lowest and labeled as “I am not aware of the arts”, while 5 is the highest and labeled as
“I am considerably aware”.
5 respondents (25%) are not culturally aware of the Higaonon art of accessory making. 3 of
5 these respondents fall under the age of 7-12 years while the other 2 fall under the age of 19-24
years. 7 respondents (35%) answered that they are somewhat culturally aware of the Higaonon
arts. 3 out of 7 of these respondents fall under the age of 7-12 years, and the rest fall under the
age of 19-24 years. 6 respondents (60%) answered that they are moderately aware of the
Higaonon art of accessory making. 1 of these respondents fall under the age of 7-12 years. 1
respondent falls under the age of 25 years and older, and the other 4 respondents fall under the
age of 19-24 years. The remaining 2 respondents (10%) answered that they are fairly aware of
the Higaonon art of accessory making. Both of these respondents fall under the age of 19-24
years.
Upon further inspection, the majority of the target audience are not quite culturally aware of
the Higaonon art of accessory making given that they are either not culturally aware at all or just
somewhat culturally aware. This has given the opportunity to see if the animated film can be as
effective in raising cultural awareness to the audience.

A second part of the survey questionnaire was answered after the respondents have viewed
the animated film: Hinimo ni Lola
- 7-12 years of age - 13-18 years of age - 19-24 years of age - 25 years and older

SUBSEQUENT to Watching the Film

17
RESPONDENT After watching After watching How Additional
S the film, please the film, please effective was comments/
rate your rate your the film in feedback on
current current educating you the film
knowledge on cultural about the
the Higaonon awareness on Higaonon art
art of accessory the Higaonon of accessory
making art of accessory making
making

1 5 5 5 I wish to learn
more.

2 5 5 5 It was a very
nice film, but I
think the
choice for the
background
music could
have been
better.

3 4 4 4 It feels like a
game, and its
very cute. If
only the
subtitles could
be more
engaging in a
way.

4 4 4 5 The film is a
great basis or
starting point
for learning
about the
culture of
Higaonon art of
accessory
making

18
5 5 5 5 It was
informative in
a creative
manner.

6 4 4 5 None.

7 5 5 4 Thank you for

sharing and
good job!
Nice…

8 4 4 5 A very classic
like animation,
simple yet
pleasing to
watch

9 4 3 4 Nothing to say
but it was
great!

10 4 4 4 It looks very
nice po

11 4 4 4 It was good!

12 4 4 5 The short
animation was
cute and
adorable, also
it was
interesting to
learn about the
higaonon. Also
the vibe of the
music was so
chill and
relaxing

19
13 5 5 5 It was great :)

14 4 4 5 The animated
film may
actually raise
awareness even
for the people
who do not
have any
background
knowledge
about the
Higaonon art
and culture.

15 5 5 5 The entire story was

heartfelt and pulled
from memory, similar
to a passing of the
torch pertaining to the
craft from one
generation to another
ensuring the legacy
will live on. The
animation reminds me
of game cutscenes, as
for the music it really
evokes nostalgia fitting
the format of the story
overall it is indeed an
engaging tool for
education.

16 5 5 5 That was cool!

Keep it up!

17 4 4 5 It’s nice and

the girl looks
like me, which
is totally an
pogchamp
moment.

18 4 4 4 nice

19 5 5 5 Very pog

20
 20 4 4 5 I wish it was
longer with
more detail :)

Subsequent to Watching the Film: Knowledge on the Higaonon Art of Accessory Making
The respondents were asked, in rating scale, their current knowledge of the Higaonon
Art of Accessory Making after watching the animated film: Hinimo ni Lola. On the rating
scale, 1 is the lowest and labeled as "I don't know about it" while 5 is the highest and labeled
"I have considerable knowledge about it".
12 respondents (60%) are fairly knowledgeable on the Higaonon Art of Accessory
making after watching the animated film: Hinimo ni Lola. 5 of these 12 respondents fall under
the age of 7-12 years, and the other 7 respondents fall under the age of 19-24 years. The
remaining 8 respondents (40%) are considerably knowledgeable on the Higaonon art of
accessory making after watching the animated film. 1 of these 8 respondents fall under the age of
25 years and older, while the remaining 7 respondents fall under the age of 19-24 years.
With the information from the former question, the animated film showed a significant
rise from respondents who are not knowledgeable and somewhat knowledgeable of the Higaonon
art of accessory making to fairly and considerably knowledgeable after watching the film. There
is a quantifiable and positive difference to prove that the animated film: Hinimo ni Lola can
educate audiences that first have little to no knowledge and make them more knowledgeable
about the topic.

Subsequent to Watching the Film: Cultural Awareness on the Higaonon Art of Accessory
Making
The respondents were asked, on a rating scale, their current cultural awareness of the
Higaonon Art of Accessory making after watching the animated film: Hinimo ni Lola. In the
rating scale, 1 is the lowest and labeled as “I am not aware” while 5 is the highest and labeled as
“I am considerably aware”.
11 respondents (55%) are fairly aware of the Higaonon Art of Accessory making after
watching the animated film. 5 of these 11 respondents fall under the age of 7-12 years, while the
other 6 respondents fall under the age of 19-24 years. 8 respondents (40%) are considerably
aware of the Higaonon Art of accessory making after watching the film. 2 of these 8 respondents
fall under the age of 7-12, 1 respondent falls under the age of 25 years and older, while the other
5 respondents fall under the age of 19-24 years. The remaining 1 respondent (5%) are moderately
aware of the Higaonon Art of accessory making after watching film and fall under the age of 19-
24 years.
With information from the former question, the animated film showed a significant rise from
respondents who are not culturally aware and somewhat culturally aware of the Higaonon art of
accessory making to the majority of fairly knowledgeable and considerably knowledgeable.
There is a quantifiable and positive difference that the animated film: Hinimo ni Lola can raise
cultural awareness to audiences that first have little to no awareness and make them more aware
of the Higaonon art of accessory making.

21
Subsequent to Watching the Film: Effectiveness of the Animated film
The respondents were asked, in a rating scale, if they believe that the animated film featured
was effective in educating them in the Higaonon Art of Accessory Making. 1 is the highest and
labeled as "Not effective", while 5 is the highest and labeled as "Very effective".
14 respondents (70%) answered that the animated film: Hinimo ni Lola is very effective in
educating them. 4 of these 14 respondents fall under the age of 7-12 years, the other 10
respondents fall under the age of 19-24 years. The remaining 6 respondents (30%) answered that
the animated film is fairly effective in educating them. 3 of these 6 respondents fall under the age
of 7-12 years, 2 respondents fall under the age of 19-24 years and the other 1 respondent fall
under the age of 25 years and older.
Other than the past two questions that prove the effectiveness of the animated film in
educating and raising cultural awareness as it aimed to do, this question was to ask the
respondent themselves if they are also aware of the change before and after watching the
animated film. There is more proof of quantifiable and positive differences that the animated
film is effective in educating the audience.

Aesthetic: Ockham’s Razor Principle

The philosophical idea of Ockham's Razor suggests that objects or preconceptions should not
be presented excessively. Although Razor's philosophy is often used in the STEM (Science,
Technology, Engineering, and Mathematics) Strand of study, this phenomenon shall be applied
in the Arts Strand of study. In other words, the philosophical idea of Ockham's Razor can be
taken as expressing that the simplest explanation for a phenomenon should be pursued. There are
many reasons why simplicity can be perceived as beautiful and more efficient. The saying
"Simplicity is Beauty”, originally “Simplicity is the ultimate sophistication” was coined by the
legendary artist Leonardo Da Vinci, showcases that the designs in items can be seen as its most
splendid when it is they are not lost in the details (Ralevska 2013). The Minimalist design
movement that had emerged in New York around the 1960s had pulled away from the Abstract
movement and design. It was created for the notion to break down traditional styles and
impressions. Minimalism can also be a state of mind where you can have more than what you
need. It breaks down the unnecessary details that people tend to consume and only take what is
essential. In design, Minimalism breaks down the design, giving focus to its fundamentals, and
giving the overall more whitespace and fewer distractions.
In the conception of the animated film: Hinimo ni Lola, the overall design was made to look
simple and easy to digest. A doodle style inspired by animation such as Simon's Cat by English
animator Simon Tofield. Simon's Cat is based on the animator's cats throughout the years.
Simon's Cat uses freehand animation to emulate the traditional 2D freehand animation. Another
simple yet detailed art style is Netflix's Hilda. The show's style looks like that of a children's
book. These art styles are heavy inspirations for the background, character, and overall design of
the final output. The use of grayscale was to maintain the concept of simplicity in the design and
to emphasize the colors of black, yellow-white, and red for the cultural items. The difference
between the grayscale background and the colored items makes the cultural items pop and the
audience will focus on the details found on the items.

22
Technology: Multimedia and The Human Learning Process
Atkinson and Shiffrin’s Multimedia and the Human Learning Process is a fairly wide model.
For this research, we are noting the human’s sensory registers, namely the short term memory
and the long term memory, and how these can affect one's learning ability through multimedia.
Children in their early development, specifically that of infancy and pre-school, have little to no
capacity to retain information such as visual, verbal, audio, and textile in the long run of their
growth (Lukowski, A. F., & Bauer, P. J. (2014). However, a study by Heit and Hahn (2001) talks
about diversity-based reasoning in children where people make more deductions from a
diversified group of information than they do from a more similar or uniform set. As mentioned
in the above statements, children learning diversity, may it be cultural or social, is important in
growth as it welcomes self-confidence, social skills and is positively reactive to differences in
people and situations.
With this knowledge, new information about the culture and social issues, such as the
lack of representation and information about the Higaonon culture and arts, is possible for
children audiences as young as their early developmental stages. The animated film was made
into 5 minutes to keep the video short enough not to bore the viewers, especially to the target
audience, and to fulfill the university requirement of the minimum minutes for short films.
According to a recent study, excessive internet use for lengthy periods may have a negative
influence on some cognitive skills, particularly attention and short-term memory. And so keeping
it around 5 minutes was a way to make the viewer think it is short enough to watch, but it is long
enough to give out enough information about the Higaonon art of accessory making.

Communication: Universal Principles of Design

An article by Sonderegger and Sauer (2009) about the influence of design aesthetics in
usability has effects on the user's performance and perceived usability. And the results of the
article explain that subjects using the particularly attractive designs evaluated their devices as
being more useful than those using the less appealing models. Note that the visual appearance of
a design can affect a user's performance. Given if the design is appealing to the user, a positive
effect can be the result. However, this may also drive the user to decline on completed tasks.
In the context of film viewing, audiences are consumers with short-term memory and
attention when it comes to consumer products. With this understanding, keeping in mind the
ways to influence how a design is perceived, using the following: proximity, closure, and
highlighting can help make a film's overall message project through this.

History and Influence of Animation

Storytelling has traversed through different platforms throughout history. Narrative
storytelling dates back to cave drawings, to theatre plays, paintings, telenovelas, and, nowadays,
streamed films. One of these storytelling narratives includes the medium of animation. With
Animation, artists could create an entire universe from scratch.
Throughout the years, the influence of animation has been prominent and efficient around the
world. From 1980 to the 1990s the peak of Disney Princess has helped raise young girls and
women in their dreams and aspirations. And as times had changed, the empowerment of
feminism through these Disney princesses such as Brave (2012) taught audiences that happy
endings can exist without having to tie marriage into one's life. In addition, the film also shows

23
the value of family and familial relationships. Animation in culture has also raised awareness of
diversity. Children are exposed to different cultures and races through animation and cartoons.
Disney Princesses easily showcase their country's culture. For example, the first Asian Disney
Princess, Mulan (1998) showcased the culture of China.
Even raising awareness of social issues such as the endangerment of animal species and
illegal logging can be showcased in cartoon animation. This was successfully done in Rio (2011)
and Rio 2 (2014) respectively. Raising the issues of global warming, mass usage of non-
biodegradable items, and the potential of worldwide garbage pollution from Wall-E (2008) was
also successfully portrayed in the film. Animation can also be a platform to spread values to
children and introduce them to cultural and social representation. Shows such as Steven Universe
(2013) helps children and even young adults understand sexual orientation (Brown 2020), the
importance of family values and principles (Sepinwall 2019), women empowerment, racial
diversity (Clark 2020), mental health in easy and fun digestible content.

Visual Narratives as Learning Materials in Early Childhood Development

Animation as a visual narrative for learning has also been used around the world. An
example would be the hit TV series Dora the Explorer (2000). For English-speaking countries
such as the United States of America, Dora taught Spanish to children; while non-English
speaking countries such as Greece, would teach English to children instead. According to Kokla
(2016) in the study about the TV character Dora as a foreign language teacher for preschoolers
showcases the acquisition of receptive and productive vocabulary. Its results further explain a
positive outcome on the children's vocabulary. In addition, the TV series has also given the
Latino community all around the world a representation in media. Children exposed to proper
diversity in race and culture have proven positive outcomes. According to Rodolfo Mendoza-
Denton, a social psychologist at the University of California (2011), young children are
"colorblind" to differences. Making children's values and morals a clean slate to teach.
According to the Nebraska Extension about Early Childhood Development, promoting the
importance of cultural diversity builds children's skills and self-confidence, increases awareness,
appreciation and inclusion of the different beliefs and cultures around the world, and maximizes
academic achievement and even educational success. In education, children develop
characteristics that provide a critical cultural response and anti-bias experiences. Children
develop awareness of and start to recognize existing societal beliefs, emotions, and
preconceptions about people and themself.

VI. CONCLUSION AND RECOMMENDATION

The Higaonon tribe is one of the Philippines's 110 ethnolinguistic groups. Despite being
one of the ethnic groups found in the mountainous regions of Misamis Oriental, Bukidnon, and
Agusan, and Lanao, there is a lack of representation of their culture. There is especially a lack of
representation of the Higaonon culture in the Animation Industry. The output for this thesis
research is a 2D animated film and the paper itself aims to educate and raise cultural awareness
of the Higaonon cultural art of accessory making, and to understand the Higaonon art of
accessory making through non-Higaonon handicraft practitioners. From literature study,
animation as a visual narrative can be used for education through means of informative

24
entertainment. In addition, the exposure of critical topics such as social issues and the importance
of values has a positive effect on children under the ages of 7-12 years.
The researcher has to first understand the Higaonon art of accessory making through non-
Higaonon handicraft practitioners. A one-on-one interview was then conducted in Cabadbaran
City, Agusan del Norte with five (5) respondents who are non-Higaonon, Mindanaon and
practicing the aforementioned arts for at least 5 years. Using narrative analysis, the transcript was
studied, and the conception and production of the animated film: Hinimo ni Lola was made with
the guide of the theoretical framework. The characterization of Lola in the film represents the
joint experiences from the non-Higaonon handicraft practitioners, backed up by the information
collected from literature review. While the characterization of the protagonist represents the
audience in general who know little to nothing of the topic.
A survey was conducted to see if the animated film is effective in educating and raising
cultural awareness on the Higaonon art of accessory making. The results show that a total of
twenty (20) respondents are initially not as familiar with the Higaonon art of accessory making.
Although, they do believe that animation can be used to educate and to raise cultural awareness.
After watching the animated film: Hinimo ni Lola, a 5 minute short film which focuses on the
three common handicrafts of the Higaonons, the results show a significant and positive rise in
their knowledge and cultural awareness of the Higaonon art of accessory making. In other words,
the animated film: Hinimo ni Lola had successfully and effectively educated the audience
(respondents) and raised cultural awareness of the Higaonon art of accessory making.
For future researchers who wish to tackle the topic, consider a different approach on the
sampling method of the research. Use of random sampling for the survey questionnaire is
recommended to really capture the data needed and see if the animated film is as effective in a
larger scale of audience. In addition, collection of more data on the non-Higaonon handicraft
practitioner is highly recommended for more accurate analysis for the next animation film on the
Higaonon art of accessory making.

VII. REFERENCE

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Berney, S., & Bétrancourt, M. (2016, June). Does animation enhance learning? A meta-
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Brown, T. (2020, March 25). “Steven Universe”: How the queer kids’ show changed TV
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Digital Storytelling: A Powerful Technology Tool for the 21st Century Classroom. (2021).
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25
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