Chiseling the Destiny of the Wood Carving Industry in Betis:

A Policy Formulation towards Revitalization and Sustainability Using

Futures Thinking Approach

Reynaldo C. Nicdao

Ranie B. Canlas

Reden M. Hernandez

Dolores T. Quiambao

Robin B. Dimla

Eddiebal P. Layco

Anna Liza C. Nacion

Emmanuel B. Parreño

Don Honorio Ventura State University

Bacolor, Pampanga
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Executive Summary

Against the backdrop of a vanishing wood carving industry in Betis, Guagua,

Pampanga, this paper explored and analyzed the causes leading to the decline of this five-

century old tradition using Futures Thinking and Foresight tools such as causal layered

analysis. Likewise, employing scenario development, the researchers identified alternative

futures for the wood carving industry in Betis. From these alternatives, an ideal future was

selected and pursued. Utilizing backasting, the researchers formulated policies and programs

towards the attainment of this desired future. Specifically, the establishment through

legislation of a Regional Center for Wood Carving by 2031 is proposed. The center shall be

housed at the Don Honorio Ventura State University. This center aims to lead the path to an

idealized future by 2040, dubbed as Mariquit na Inuquit, where the wood carving industry is

fully revitalized and sustainable; where wood carving is a source of pride and identity; and

where everyone is heard uttering “Mas mariquit ang inuquit!”

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Introduction

The province of Pampanga in Region 3 is best known as the Culinary Capital of the

Philippines and at its heart is the City of San Fernando which is internationally recognized as

the Giant Lanter Capital of the country. Aside from these famous landmarks, there exists

another locality that stands out and stakes a claim as the Wood Carving Center in the entire

Luzon (Mapanoo, 2015; Tana, 2004). Betis, Guagua is home to a five-century old wood

carving tradition whose origins may be traced back during the arrival of the Spanish

Augustinian missionaries in the 1500s (Mapanoo, 2015). Figure 1 shows a map of Betis.

Figure 1. A map of Betis, Guagua, Pampanga. The town of Guagua is adjacent to

Bacolor, which is home to the Main Campus of the Don Honorio Ventura State
University.

Together with hired Chinese immigrants, the Spanish friars taught the people of Betis

how to carve religious images using wood. Due to the distinctive skills of the wood carvers

of Betis, the craft and art flourished until the 20th Century (Mapanoo, 2015; Tana, 2004). By

this time, Betis has produced two internationally recognized maestros in the field, namely
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Juan C. Flores and Wilfredo Layug. In 1972, Flores (1900-1992) bested other sculptors

around the world when he won the grand prize in the Richard Nixon’s Sculpture Competition

by being the only competitor who carved the bust of Pres. Nixon using wood, then considered

a difficult material to work with. Meanwhile, in contemporary times, Layug (1959-present) is

perhaps the most prominent in the field, having been bestowed the prestigious Pro Ecclesia

et Pontifice (For Church and Pope) medal from the Holy See (Layug, 2022). Figure 2 shows

Layug and a sample of his ongoing art work.

Figure 2. [L]Anna Liza Nacion interviews maestro Wilfredo Layug in March 2022 for
a research and extension project. [R] Photo depicts the intricacies of Layug’s
craftsmanship as shown by the lines and curves of the male figure.

Indeed, while Paete, Laguna has been declared as the Carving Capital of the

Philippines under Presidential Proclamation No. 809, it is Betis that has served as home to the

most prominent wood carvers the country has ever produced. In fact it was the artisans from
CHISELING THE DESTINY
5
Betis that had been first commissioned to carve the wooden chandeliers in the Malacañang

Palace (Dimla, Nacion, Laxa, Santiago, and Pacatcatin, 2018).

According to Jesus Calma (personal communication, July 8, 2022) who has been in

the wood carving industry for the last 40 years, what makes the panduquit (wood carving) in

Betis distinctive from Paete art pieces is what he refers to as dibuho (pilantik in Filipino;

curves). While carvers from Paete would mostly use lines, the carvers from Betis would

render curves. Figure 3 shows Calma pointing to a sample of this dibuho.

Figure 3. [L] Calma points to the dibuho (pilantik) design that makes the wood
carvings at Betis distinct from Paete art works. [R] Photo shows an even more
elaborate rendering of this dibuho.

By the turn of the 21st Century however, the narrative of success at Betis has changed

from a story of triumph to one of survival, if not the looming extinction of the industry. The

prestige previously attached to this age-old craft began to erode as the succeeding generations

of this town received education and started to seek white collar jobs in the cities. According
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to Calma (personal communication, July 8, 2022), almost 80% of the residents of Betis were

wood carvers during the ‘70s to ‘80s. The number of wood carvers was by the thousands

during this period. However, this has plummeted in present times. Today, there are only less

than a hundred mandukit (wood carvers) in Betis and mostly are in their 50s (J. Calma,

personal communication, July 8, 2022). Figure 4 depicts the aging wood carvers in Betis.

Meanwhile, a documentary analysis of business permits issued by the Municipality of

Guagua reveals that there were only 47 registered officers and members of the Wood Carvers

of Betis Multi-Purpose Cooperative in 2013. Indeed, the number of wood carvers in Betis is

dwindling.

Figure 4. The photos [L-R] show the typical wood carvers in Betis, who are
now mostly in their 50s (Dimla et al., 2018).

The migration to white collar jobs and the aging workforce is compounded by the

emergence of malls and shops that sell less expensive furniture that uses foam instead of

wood (M. Castro, personal communication, July 9, 2021). Myrna Bituin (personal

communication, July 8, 2022), a prominent businesswoman and owner of Betis Crafts, noted
CHISELING THE DESTINY
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that the craft is “vanishing” as wood carvers have been overtaken by technology, and now

also faces a lack of supply of wood. Calma (personal communication, July 8, 2022) laments

that “we are now in a sunset” referring to the seemingly gloomy future of the industry. But

more than the economic implications of a dying craft, at stake also is a socio-cultural identity

of a town that has been tied to the arts for more than five centuries. Indeed, to lose the

pandukit is also to lose the identity of the people of Betis.

Problem Definition

A deeper understanding of the vanishing wood carving industry was carried out via

casual layered analysis (CLA; Inayatullah, 2004). Table 1 presents the results of the CLA.

Litany

At the surface, the vanishing state of the wood carving industry in Betis is tied to the

continued disinterest of the younger generations in the art form as they prefer to seek white

collar jobs in cities rather than perform manual labor at home. Ironically, the craft that

allowed their parents to send them to school is the same reason why these younger

generations wish to leave this family tradition. Armed with an education, these younger

generations prefer to wear tidy clothes and work in an air-conditioned office rather than being

dirtied by manual labor in the home factory. Education likewise allowed them to explore

careers abroad. To date, the maritime industry appears as a more lucrative option. A number

of young woodcarvers have left Betis to work as seamen who would refurbish and maintain

the furniture in international cruise ships (Calma, personal communication, July 8, 2022).

Table 1.
Casual layered analysis of the wood carving industry in Sta. Ursula, Betis, Guagua,
Pampanga
Level Description

Litany Vanishing wood carving industry

White collar jobs in the cities outcompeting a

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manual craft

Losing the craft to maritime industry

Aging wood carvers

Wood carvers being overtaken by technology

Losing a 500-year old tradition

Socio-cultural identity threatened to extinction

Systemic Socio-Cultural:

Lack of intrinsic interest of the younger

generation to get involve in wood carving craft
(less than 100 mandukit in Betis)

Technological:

Lack of technical competitiveness on the

integration of advanced technology within the
industry

Economic:

Reduction in tourism income

Reduction in household income

Inadequate technological know-how of

woodcarvers

Ecological/Environmental:

Difficulty in securing raw materials (i.e., wood)

due to restrictions implemented by log ban
(Executive Order No. 23, s. 2011- Moratorium
on the Cutting and Harvesting of Timber in the
Natural and Residual Forests and Creating the
Anti-Illegal Logging Task Force; Executive
Order No. 26, s. 2011 - The National Greening
Program)

Only 25% of the national demand for wood

comes from local sources while 75% are
imported (DENR, 2019)

Political:
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Reluctance to register household business as

formal business due to bureaucratic
requirements

Limited government support in accessing

advanced technology and in selling the
products to a wider market

Worldview Sustainable Development Goals

Environmental Protection

Reforestation

Sustainable Production

Progress through technological innovation

Preservation of Socio-Cultural Identity

Myth/Metaphor City/office jobs versus home-based jobs

White collar versus blue-collar jobs

Employment to entrepreneurship

Employees to entrepreneurs

Wood is superior in quality

Wood-carved art piece is superior in quality

(mas mariquit ang inuquit)

The continued disinterest of the younger generations to pursue their parents’ legacy

has resulted in the decline in the number of woodcarvers as well as an aging workforce.

From thousands of woodcarvers in Betis during the 70s to 80s, their number plummeted to

less than a hundred in present times. Moreover, those who have remained in the craft are now

aged 50 or more. Without a new generation to replace them, this five-century old tradition
CHISELING THE DESTINY
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may be doomed to extinction, threatening also a distinctive socio-cultural identity that have

long defined the people of Betis.

Parallel to the disinterest of the younger generation, the inability to integrate advanced

technology has also led the industry to be outcompeted by furniture makers who use less

expensive raw materials such as foam.

Systemic

In analyzing the problem under the systemic dimension, five drivers were considered

namely: (a) socio-cultural, (b) economic, (c) technological, (d) ecological/environmental, and

(e) political.

Socio-cultural. The vanishing wood carving industry in Betis is brought about by the

lack of intrinsic motivation of the younger generations to continue the craft. This has led to

the drastic decline in the number of wood carvers. Consequently, this has resulted also in an

aging workforce within the industry.

Technological. The non-integration of advanced technology within the wood carving

industry in Betis has also affected its competitiveness over cheaper but lower quality

furniture being sold in malls and furniture shops. To date, the majority of wood carvers in

Betis still employ drafting in generating designs rather than computer-generated blueprints

(Bituin, personal communication, July 8, 2022).

Economic. The decrease in the number of woodcarvers has also led to the decrease in

the number of households who are able to generate income from the craft. At the municipal,

provincial, and regional levels, income from tourism related to the wood carving industry has

likewise diminished.

Ecological/Environmental. The wood carving industry is likewise affected by its

very source – wood. Restrictions on the use of wood are imposed by Executive Order No. 23,

s. 2011 (Moratorium on the Cutting and Harvesting of Timber in the Natural and Residual
CHISELING THE DESTINY
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Forests and Creating the Anti-Illegal Logging Task Force) and Executive Order No. 26, s.

2011 (The National Greening Program). Being typically small to medium-sized enterprises,

wood carvers in Betis face even more difficulty in accessing wood. At times, some are forced

to buy wood acquired through illegal logging (Calma, personal communication, July 8,

2022). At the national level, the Department of Environment and Natural Resources (DENR;

2019) has noted that only 25% of the national demand for wood comes from local sources

while 75% are imported.

Political. The current actual number of wood carvers in Betis is difficult to determine

as some households are discouraged to register their business due to the bureaucratic

requirements. Business owners likewise feel that the government provides inadequate support

with respect to accessing advanced technologies and in selling their products to a wider

market.

Worldview

Being an industry that consumes wood as its direct raw material, the operations of the

business is countered by a current worldview that seeks development through sustainable

means. No less than the United Nations advocates this paradigm via its Sustainable

Development Goals (SDGs). Amidst the onslaught of climate change, there is a critical need

to protect the environment, and reforestation is seen as among the means to achieve this.

Another worldview asserts that progress can be achieved through the use of advanced

technologies. The exploitation of these technologies must be balanced by the need to protect

the environment.

Myth/Metaphor

The vanishing wood carving industry may be explained from the stereotypical

discourse that white collar jobs are superior to blue collar jobs; that educated persons work in

air-conditioned offices, not at home doing manual labor. Such positioning propels the
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younger generations to seek jobs in the cities and leave the very industry that had fed and

schooled them.

The aforementioned perspective may be countered by asserting that there is more

prestige attached to being an entrepreneur than being an employee; that it is more cool and

empowering to be an employer than to be an employee. Another argument that can be made

is that with respect to sculpture and furniture, wood is superior in quality; that there is

prestige in owning an art piece made of wood. More so, there is greater pride in creating one.

Indeed, mas mariquit ang inuquit (an art piece carved in wood is superior)!

The discursive construction that it is more prestigious to be an entrepreneur and that

there is pride in creating carved art pieces may be employed to persuade the younger

generation to continue the legacy of this age-old profession.

Objective

Purpose of the Paper

Against the backdrop of a vanishing wood carving industry in Betis, Guagua,

Pampanga, this paper aims to:

(a) identify the causes leading to the decline of the word carving industry in Betis;

(b) identify alternative futures for the wood carving industry in Betis;

(c) define an ideal future for the word carving industry in Betis;

(d) identify solutions to this problem using Futures Thinking and Foresight tools; and,

(e) formulate policies and programs towards the attainment of this desired future.

Scope and Limitations

The coverage of this paper is limited to the vanishing wood carving industry in Betis,

Guagua, Pampanga, and its implications to the Don Honorio Ventura University, the local

government units (provincial and regional) in particular, and the nation in general.

Methodology
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Design

This research is an exploratory qualitative study. Exploratory research is most useful

in exploring substantial evidence considering limited information is available (Polonsky and

Waller 2018; Cooper and Schindler 2006. The primary goal of exploratory research is to gain

better understanding of an issue or situation and it is an appropriate way to provide

groundwork for later more rigorous studies at a later date (Davis and Cosenza 1993;

Zikmund, Babin and Carr 2003; Cooper and Schindler 2006). Exploratory research is

typically qualitative (Cooper and Schindler, 2006) as it intends to build an understanding of

an issue rather than to prove a theory. This type of research has a potential to provide the

researcher with rich and useful data (Cavana, Delahaye and Sekeren 2001)

Participants

As there is limited data on the actual number of woodcarvers, the researchers

conducted face-to-face and online interviews with experts in the field. Among them is Myrna

Bituin who was interviewed via online July 8, 2022. Bituin is the owner of JB Woodcraft Inc.

and Betis Crafts Inc. Both companies sell wooden art pieces such as intricately designed

furniture to royalties and celebrities abroad. Bituin has been in the wood carving industry for

the last 50 years and occasionally would provide technical advisory to Philippine presidents.

Another veteran in the industry was interviewed face-to-face on July 8, 2022. Jesus

Calma, who runs a wood carving factory, has been in the business for 40 years (Figure 5). He

has likewise provided consultancy services to mayors of the Municipality of Guagua. Also,

another company owner, Manelle Q. Castro, was virtually interviewed on July 9, 2022.
CHISELING THE DESTINY
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Figure 5. Photo opportunity with Jesus Calma after the interview. [L-R]
Eddiebal Layco, Jesus Calma, Emmanuel Parreño, and Anna Liza Nacion

Materials

Documents were sought to estimate the number of wood carvers in Betis. The

researchers were able to secure business-permit documents from the Municipality of Guagua

as well as from the Wood Carvers of Betis Multi-Purpose Cooperative. Likewise, previous

studies made by DHVSU about the industry (Dimla et al., 2018) was also used as reference.

Future Thinking Tools

In analyzing the vanishing wood carving industry in Betis, the researchers used the

Scenario Planning Plus (SP+) framework. Figure 6 presents this frame. Scenario planning

attempts to question the future and at the same time creates multiple futures in the process.

This is carried out by providing descriptions of future situations and identifying paths that

lead into these futures (Amer, Daim, & Jetter, 2012). It likewise defines all the complex

elements and ties them together into a coherent, systematic, comprehensive and plausible

manner (Amer et al., 2012). SP+ has six elements, namely: (a) defining focus, (b)
CHISELING THE DESTINY
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environmental scanning, (c) sense making, (d) developing possible scenarios, (e) designing

strategies, and (f) monitoring.

Figure 6. The Scenario Planning Plus framework (Ugaddan, 2022).

Defining focus involves defining the nature of the problem and attempts to identify

the critical issue that would consequently demand the scenario planning effort.

Environmental scanning involves the systematic analysis of the external environment. Sense

making assesses the problem much deeper by identifying the root causes. Scenario

development involves the projection of multiple futures. Designing strategies involves

identifying alternative paths that would lead to the chosen idealized future. Lastly,

monitoring includes the tracking of relevant indicators of implemented policies and

programs.

Procedure

The researchers initially convened to brainstorm and identify critical issues besetting

the immediate communities of DHVSU, where the researchers hold top and middle level

management positions. Two major topics were identified. The first topic aimed at exploring

the job mismatch between graduates and industry requirements whereas the second topic

focused on addressing the seemingly dying wood carving industry in Betis, Guagua,
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Pampanga. The town of Guagua is adjacent to Bacolor, which is home to the Main Campus

of DHVSU. The two topics were presented for critiquing by Futures Thinking experts Dr.

Ruperto Sangalang, Dr. Maria Oliva Z. Domingo, and Noel de Guia. Eventually, the second

topic was identified as the problem that would be pursued by the researchers.

The second step involved the conduct of environmental scanning. The researchers

employed the STEEP framework in carrying out the analysis. This framework considers the

following drivers: social, technological, economic, environment, and politics. A deeper

assessment was then undertaken to make sense of the initial data. For this, the casual layered

analysis (CLA) was utilized (Table 1).

The succeeding step involved the development of scenarios. From the results of the

STEEP framework (also reflected under Systemic of the CLA), the top two drivers were

selected by consensus. These drivers are social-cultural and technological. Positive and

negative states of these drivers were then defined. A positive social state is characterized by a

heightened interest of the younger generation to get involved in wood carving whereas a

negative social state is visualized as having a lack of interest by the younger generation to get

involved in wood carving. Meanwhile, a positive technological state is described as having

highly developed technical competitiveness via the integration of technology in the wood

carving industry whereas a negative technological state is defined as the lack of technical

competitiveness attributed to the non-integration of technology in wood carving. Across the

intersection of these top two drivers and along their positive and negative states, four future

scenarios were identified. These are: (a) Matamlay Ang Inuquit, (b) Nasaan Ka Mariquit At

Inuquit?, (c) Nasaan Ka Mariquit?, and (d) Mariquit Na Inuquit. The last future, Mariquit Na

Inuquit, was identified as the idealized future.

From the idealized future, backasting was employed. This method identifies the

desired future, and then works backward to determine the policies or programs that could
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connect the present to that desired future (Ugaddan, 2022). Using the year 2040 as the

timeline for the chosen future, milestones were identified backwards. Policies were then

crafted and evaluated.

Findings

This section presents the results of the scenario development, backasting, and policy

formulation.

Developing Possible Scenarios

In the scenario development stage, using the top two drivers, namely social and

technological, four scenarios were identified by the year 2040. These are: (a) Matamlay Ang

Inuquit, (b) Nasaan Ka Mariquit At Inuquit, (c) Nasaan Ka Mariquit?, and (d) Mariquit Na

Inuquit. Figure 7 defines these scenarios.

Figure 7. Results of the scenario development process using the top two drivers, namely
social and technological.
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Matamlay Ang Inuquit. By 2040, at the institutional level, DHVSU is offering

seasonal trainings in wood carving. These trainings are by request of the client. No regular

trainings are installed. Likewise, this scenario is characterized by not having available

equipment for the woodcarving laboratory. At the local (municipal)/regional levels, there is

limited LGU support as indicated by lack of legislation institutionalizing the revitalization of the

wood carving industry.

Nasaan Ka Mariquit At Inuquit? For this scenario, at the institutional level,

DHVSU is already offering regular trainings in wood carving with more takers. However,

there is still limited equipment for the wood carving laboratory. Meanwhile, at the local and

regional levels, the scene is characterized by limited access to advanced technology due to

lack of funding from the LGUs.

Nasaan Ka Mariquit? Within this scenario, DHVSU is offering training and

specialization in wood carving under the Bachelor of Science in Industrial Technology and

the Laboratory High School. However, there are lesser takers. The wood carving laboratory is

also equipped with available equipment. At the local and regional levels, there is recognition

given to acknowledge the contribution of the wood carvers. However, there is lesser LGU

support as indicated by lack of legislation institutionalizing the revitalization of industry.

Mariquit Na Inuquit. In this scenario, DHVSU is offering an advanced program in

wood science and technology. There is also the presence of a wood carving laboratory with

advanced equipment. At the national level, through legislation, the National Center for Wood

Carving is established and housed at DHVSU. Consequently, the strong support from the

government paves the way for a revitalized and sustainable wood carving industry in Betis.

As such, this scenario is the idealized/desired future chosen by the researchers.

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Backasting

After determining the desired future – Mariquit Na Inuquit, backasting was employed

to identify milestones, policies, and programs that would have to be installed in order to bring

to fruition the desired state. Figure 5 presents these milestones, policies and programs. The

desired future is plotted against the year 2040. Backtracking, the researchers identified

milestones for the years 2031 and 2025.

Figure 8. Using backasting, milestones were identified for the years 2031 and 2025.
Policies and program for the year 2031 were then formulated

For 2031, at the institutional level, DHVSU has established a research laboratory and

extension center in wood science and technology. Meanwhile, at the local and regional level,

through an LGU ordinance, recognition is given to acknowledge the contribution of wood

carvers from Betis. Around this time also, a Regional Center for Wood Carving is established

at DHVSU. Moreover, a Duquit Month is institutionalized via legislated municipal/provincial

ordinance.

For 2021, at the institutional level, DHVU is offering training and specialization in

wood carving under the Bachelor of Science in Industrial Technology and the Laboratory
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High School. There is also available equipment for the wood carving laboratory. At the local

and regional levels, the Dukit Festival is organized but not institutionalized.

From the milestones identified above, the researchers zoomed in on the year 2031.

Policies and programs were drafted. A major policy establishes the Regional Center for

Wood Carving. The succeeding section presents this policy.

Recommendations

The succeeding presents the details of the proposed Regional Center for Wood

Carving to be established by 2031. The proposal specifies programs and activities that

address the socio-cultural, technological, economic, environmental, and political issues

currently besetting the wood carving industry in Betis.

Submission Date: July 15, 2022

Policy Sponsor: Don Honorio Ventura State University
Lead Proponent: Dr. Enrique G. Baking

POLICY PROPOSAL
FOR THE ESTABLISHMENT OF THE REGIONAL
WOODCARVING CENTER

I. Background/Reason for Proposed Policy

The art of wood carving is known as Betis’ traditional skill for generations. It is
a five-century old carving industry that has been passed from generations to
generations and whose origins may be traced back during the arrival of the
Spanish Augustinian missionaries in the 1500s. Due to the ingenuity and
distinctive skills of the wood carvers of Betis, two artisans had been
internationally recognized as wood carving masters. In fact, the artisans of Betis
had been commissioned to numerous woodworks of well-known structures and
churches, such as the first wooden chandeliers in the Malacañang Palace, the
retable of Pedro Calungsod and San Lorenzo Ruiz at the Pontificio Collegio
Filipino in Rome, and the image of the Lady of Hope of Palo and the Crucifixion
seen in the Papal masses.

The wood carving art is also being commercialized in practice which is good
for the economy but the demand for wood products is slowly depleting due the
lack of supply of wood and the emergence of malls and shops that sell less
expensive furniture that uses foam instead. But more than the economic
implications of a dying craft, at stake also is a socio-cultural identity of a town that
has been tied to the arts and craft for more than five centuries. Tradition is failing
CHISELING THE DESTINY
21
due to the lack of a formal mentoring system to ensure that skills are passed on
to the next generation of craftsmen and artists. Hence, to lose the pandukit is
also to lose the pride and identity of the people of Betis.

Thus, to ensure the longevity of the wood carving and to uphold the roots of
traditional craftsmanship and artistry of Betis, a center for wood carving industry
is proposed. The center shall promote the art of wood carving through education
and tourism visits, and serve as a place where any related matters regarding the
wood carving industry will be offered. The center shall combine the wood carving
workshop and a curated gallery for tourist attraction with first hand training with
the master carvers. Further, the proposed center shall be a wood carving
academy with a gallery that is designed to produce many younger generations of
master carvers and an attraction to public and local tourists.

II. Overview of Proposed Policy

Purpose
The primary aim of the establishment of the Regional Wood Carving Center is
to address the dwindling number of sculptors in Betis and to provide training
opportunities for younger generations who would like to go into wood sculpture.

The center also aims for the following:

● conduct precise research on the supply and access to optimum wood raw
materials;
● develop new skills in designing;
● establish an effective relationship with local/domestic and international
wood carving industry centers;
● develop computer-based techniques in woodwork design;
● create sustainable employment and income in the wood carving industry;
and
● provide educational, research, and workshop services based on the
needs of stakeholders.
Mission Statement
The Regional Wood Carving Center shall provide training of specialized
human resources in the wood carving industry. The center shall promote local
tourism by attracting visitors to a place with unique local cultures/traditions.

III. Stakeholders

Don Honorio Ventura State University

The University shall play an important role as the provider of effective
educational systems. The University will also take charge in the design and
structure of the proposed regional center.

Local Government Unit of Guagua, Pampanga

The Municipality of Guagua shall govern the program organized by the
community as it is involved with the tourism programs. The LGU shall take
charge in the provision of lot area for planting trees.
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Regional Offices
The Department of Trade and Industry (DTI) will be tapped for the capacity
building on woodcarving industry trends and product development. Also, the
office will collaborate to provide assistance for the beneficiaries to maximize and
penetrate online and physical marketing platforms.

The Department of Science and Technology (DOST) will collaborate with

DTI for the conduct of capability building trainings and product development.
Likewise, the office will be tapped for the establishment of a common service
facility on wood treatment or drying facility.

The Department of Social Welfare will collaborate with DTI and DOST for
the capacity building and product development and shall provide the training
tools for the beneficiaries.

Sta. Ursula, Betis Organizations of Sculptors

The organizations of sculptors in Sta. Ursula, Mandukit Anluagi Sta. Ursula
and Wood Carvers of Betis Multipurpose Cooperative, shall provide the
master-carvers who act as the training masters and shall be involved in the
educational system. They shall provide a standard system that will be used in the
delivery of training programs.

IV. Resource Requirements

Wood is the primary material used in wood carving. Wood obtained from the
forest is of prime quality and it is recommended to use dry wood from the forests
for manufacturing of quality woodworks. Commonly used woods are rattan,
kamagong, narra, mitla, balacat, balanti, balete, yakal, bangkal, germelina,
taquili, mahogany, baticuling, and santol. The wood species used for carving
have changed over time. Over exploration of some preferred slow growing wood
species has resulted in the decrease of species in the environment. Thus, a
faster growing plant is preferred to be planted.

Proposed Regional Center Building

The proposed site for the regional center shall be at the Don Honorio Ventura
State University Bacolor Camps (main campus). This site is chosen not only
because the proposed center will be a wood carving academy but it is also
located near local craft shops. The site can easily be accessed by vehicle and
public transportation through the main road – Mc. Arthur Highway.
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A political feasibility analysis on the proposed Regional Wood Carving Center was

carried out using the PRINCE framework (Coplin, Mills, and O'leary, 1972). The identified

actors are the following: DHVSU, LGU Guagua, DTI, DOST, DSWD, MASU, WCBMC,

residents of Betis, and environmental groups (civil society). Ratings were determined through

consensus. Table 2 presents the results of the analysis, indicating a probability of 82.5%

support from the identified stakeholders.

CHISELING THE DESTINY
25

Table 2.
Political feasibility results using PRINCE analysis.

The aforementioned approval rating seems to be reflective of the sentiments of Castro

(personal communication, July 9, 2021) and Bituin (personal communication, July 8, 2022) -

that the industry needs the support of government and the academe if it were to survive. The

establishment of the regional center aims to address this prayer by institutionalizing,

formalizing, and making sustainable its support to the wood carving industry.

Conclusion

To lose one’s identity is horrific. Such is the case of the vanishing wood carving

industry in Betis and its implications to its people. Amidst the perceived promise of a better

life in the maritime industry and in white collar jobs, Betis is losing its wood carvers and the

art form that have defined its people for more than five centuries. As Calma puts it, “we are

now in a sunset.” But this should not be allowed to happen. To lose the identity of the people
CHISELING THE DESTINY
26
of Betis is to lose also a part of the Filipino identity. Hence, the government must play a

critical role in addressing this issue. Legislators, LGUs, and state colleges and universities

must exploit their authorities, powers, and strengths to collaborate and envision a sunnier

future for the industry; a future that is revitalized and sustainable; a future that is mariquit na

inuquit.by 2040. This idealized future may be brought to fruition by crafting policies that

address the social, technological, economic, environmental, and political dynamics within the

industry. Specifically, the establishment of a Regional Center for Wood Carving at DHVSU

by 2031 is seen as a mechanism that would address these aforementioned drivers, thus paving

the way to the attainment of the preferred future by 2040. Central to this policy is the

changing of the heart and mind - that wood carving is not an inferior nor obsolete profession;

rather, from it emanates one’s pride and identity. Thus, the support of legislators and the

provision of funding are key in making this happen. DHVSU will certainly play its role to the

fullest in this pursuit. Indeed, we envision for Betis an idealized future where everyone utters

mas mariquit ang inuquit!

CHISELING THE DESTINY
27
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