Arts 1 Indigenous Creative Crafts Coursepack

1
HOLY CROSS COLLEGE OF CALINAN, INC.

DAVAO-BUKIDNON ROAD, CALINAN, DAVAO CITY
SECOND SEMESTER, FIRST TERM

SY 2023-2024
A COURSEPACK IN ARTS 1:
INDIGENOUS CREATIVE CRAFTS
CHRISTIAN JOY J. LEROG, LPT

INSTRUCTOR
Mobile no. 09272997513
Email address: xianlrg@gmail.com
FB Name: CJ Lerog
2
COURSE DESCRIPTION
This course develops your ability to appreciate, analyze, and critique works of art.
Through interdisciplinary and multimodal approaches, this course equips you with a
broad knowledge of the practical, historical, philosophical, and social relevance of the
arts in order to hone your ability to articulate your understanding of the arts. The course
also develops your competency in researching and curating art as well as
conceptualizing, mounting, and evaluating art productions. The course aims to develop
your genuine understanding appreciation for Philippine arts by providing opportunities to
explore the diversity and richness and rootedness of Filipino culture.
COURSE OUTLINE
Number of Hours Content

16 Philippine Indigenous Creative Crafts
10 Philippine Indigenous Art: Weaving
10 Philippine Indigenous Art: Physical Ornament
9 Philippine Indigenous Art: Pottery
9 Philippine Indigenous Art: Sculpture
Total Number of Hours: 54

3
Table of Contents
Page
UNIT 1. PHILIPPINE INDIGENOUS CREATIVE CRAFTS
Lesson 1.1. What is Indigenous Art? 5
Lesson 1.2. Philippine Indigenous Arts 10
Lesson 1.3. Brief History of Davao and Its Tribes 13
Lesson 1.4. Top 6 Indigenous Arts 19
Lesson 1.5. The Four Art Disciplines and The Study of Crafts 23
Lesson 1.6. Crafts 34
UNIT 2. PHILIPPINE INDIGENOUS ART: WEAVING

Lesson 2.1. Brief History, Procedures, and Tradition of Weaving 41
Lesson 2.2. DIY Loom (Cardboard Loom) 48
Lesson 2.3. How to Weave? 52
UNIT 3. PHILIPPINE INDIGENOUS ART: PHYSICAL ORNAMENT

Lesson 3.1. Physical Ornament 61
Lesson 3.2. The Last Tattoo Artist: Apo Whang-Od 64
UNIT 4: PHILIPPINE INDIGENOUS ART: POTTERY

Lesson 4.1. Pottery 70
Lesson 4.2. Methods and Techniques of Pottery 76
UNIT 5: PHILIPPINE INDIGENOUS ART: SCULPTURE

Lesson 5.1. Sculpture 81
Lesson 5.2. Kinds, Methods, and Techniques in Sculpting 86
4
Appendices
Rubric #1 Crafts
Rubric #2 Weaving
Rubric #3 Physical Ornament
Rubric #4 Pottery
Rubric #5 Sculpture
5
UNIT Suggested time allotment: 16 hours
1
PHILIPPINE INDIGENOUS CREATIVE CRAFTS
TARGET GOALS:
• Do a research work presenting a narrative report containing the information of a specific

indigenous group related to the different factors. (C)
• Present a comprehensive report about the sixth (6) indigenous arts of the Philippines.
(C)
• Make and present a craft from raw materials found in their surrounding using any kind of
methods. (C)
• Compare and contrast the four-art discipline in terms of its function to arts. (EV)
DESIRED VALUE/S: Creativity, Patience, Perseverance, Open mindedness, and Cooperation
LESSON 1.1: WHAT IS INDIGENOUS ART?
I. LEARNING OUTCOMES:
• Define explain when to consider a person or group as true indigenous people. (U)
• Conclude how indigenous arts became beneficial to the wellness and economic aspect
of the indigenous people. (AN)
• Create their own definition of indigenous arts. (C)
II. INPUT
Indigenous People
Before we go directly on what is indigenous arts all about? Let us first define what is an
indigenous people really is. Dictionaries define indigenous as "originating in a particular region or
country; native; innate; inherent; natural.” The word dates back to the Latin indigena, meaning
native or original inhabitant. The word indigenous has many meanings. In every region of the
world, many different cultural groups live together and interact, but not all of these groups are
considered indigenous or native to their particular geographic area. In fact, it is those groups who
6
claim a shared sense of identity who are internationally recognized as “indigenous peoples.”
Throughout human history, peoples have migrated to various regions of the Earth, and cultures
have mingled and exchanged influences. For these reasons the identification of indigenous
peoples is not always straightforward and simple (Indigenous People, n.d.). And it is estimated that
there are more than 370 million indigenous people spread across 70 countries worldwide.
Practicing unique traditions, they retain social, cultural, economic and political characteristics that
are distinct from those of the dominant societies in which they live (UN, n.d.)
Indigenous or aboriginal peoples are so-called because they were living on their lands
before settlers came from elsewhere; they are the descendants according to one definition of those
who inhabited a country or a geographical region at the time when people of different cultures or
ethnic origins arrived. The new arrivals later became dominant through conquest, occupation,
settlement, or other means a through those events when they settle in an area their purpose on
living expounds. Indigenous people not only live for survival but for other purposes like engaging to
arts. And their product in arts becomes an artwork which are mostly integrated to their culture,
tradition and beliefs which makes it uniquely different to other point of view to arts (Indigenous
People, n.d.).
Artwork created by the Indigenous people who come from the land is indigenous arts.
Connection to four elements of wind, water, air in nature, fire, and references to physical, spiritual,
and intellectual realms are the common themes (Stranan, 2018). Indigenous Philippine Art is an art
made by the indigenous peoples of the Philippines through their crafts and artworks which are
influenced and inspire by their lifestyle, culture, belief, traditions, ethics etc. It is made from raw
materials which include extract from trees, fruits, and vegetables. In addition, some of the art
treasure of the Philippines is found on rock in caves, tress, and woods (Limcango, 2010).
Philippine Indigenous Arts and Crafts
In Cebu, Philippines weaving is still one of the most precious traditional livelihoods that are
kept and practice. The art of weaving of the Cordillera tribal groups in the Philippine North still
exists despite the threat of the more practical, mass production of cloth it originated in the pre-
colonial times. To produce blankets and articles of clothing the natives use backstrap loom.
Throughout the province of Antique Piña cloth is produce in looms, Fibers are obtained from the
leaves of the pineapple which makes a delicate and exquisite hand-woven cloth. It is popularly
7
used in Barong Tagalog, the country's traditional formal menswear. The ‘barong’ is now already
popular around the world because of the organic and airy textile being used. Abaca fiber come
from the abaca plant is widely grown in certain regions in the country. It is woven mainly to make
sinamay fabric and abaca rope, as well as specialty papers like vacuum bags, currency, and tea
bags. There are also handcrafts like bags, carpets and clothing made of abaca. Baskets are also
made by the Cordilleran’s as livelihood. They also use these as storage for food when they need to
go to mountain terraces to raise crops. Certain types of baskets also serve for carrying grains, for
hunting animals, and for fishing in the streams. Bamboo baskets are used as fish traps; the shape
and size of baskets determine to the kind of fish to be caught (Freeman, 2016).
Benefits of Indigenous Arts
1. Economic Benefits - Profits gained by the indigenous people are just one financial
benefit from selling of their arts and craft. Nevertheless, compliance noted that
indigenous artist necessarily translates into major economic benefits or better living
standards in terms of their success (Smith, 2018).
2. Social Benefits - Social benefits are provided to indigenous people in the sector of
visual arts and crafts. It provides a range of benefits across many sectors of indigenous
society, promotes health and well-being and through participation in the visual arts it
enhances social cohesion within communities. The function of art and craft extends
beyond aesthetic pleasure – it is embedded in daily life, family connection, and traditional
law as well as in dreaming lore and spirituality. For many Indigenous artists, visual art
and craft is not seen as a commodity but rather as something akin to a family member –
it represents a multi-layered connection to the past, present and future. The social role of
creating visual art and craft is also primary to the social benefit and meaning of art and
craft activity in the community context (Smith, 2018).
3. Benefits to Indigenous Groups - Within indigenous groups or community mediums of

visual arts has been successfully used as a form of expression and a gate to spread and
cultivate their culture. The visual arts have provided an avenue for the advancement of
Indigenous women in personal development and self-esteem, financial independence
and empowerment within their communities (Smith, 2018).
8
4. Health Benefits - Engagement in arts activities can have a positive impact on the health
and wellbeing of indigenous. Art has been used for healing Indigenous patients suffering
from a range of physical and mental ailments. One example is the Art Therapy class in
Sydney (Smith, 2018).
5. Cultural Benefits - Indigenous artists express their culture, identity and connection to
the land and their community through their art. The practice of art making within
communities is part of the continuum of ceremonial practice, reinforcing people's
connection with traditional lands, ancestral beliefs and ritual. It also provides
opportunities for the transmission and reinforcement of cultural knowledge to younger
members of the community (Smith, 2018).
Read the full text at:

https://www.aph.gov.au/ParliamentaryBusiness/Committees/Senate/Environment_andCo
mmunications/Completedinquiries/2004-07/indigenousarts/report/c03
9
PRACTICE EXERCISE
Instruction: Answer the following questions below briefly but precisely in 3-5 sentences. You will
be rated using this rubric:
Clarity and Relevance – 3 points

Grammar – 2 points
1. Write your own definition of Indigenous Arts based on what you have read.
2. Defend how art becomes beneficial to indigenous art.
3. Write down below two (2) reasons that a person or group of people are considered as
indigenous groups. Expound each reason.
10
LESSON 1.2: PHILIPPINE INDIGENOUS ARTS
• Argue that Philippines is not illiterate before the arrival of the Spanish. (EV)
• Conclude where the indigenous people gather inspirations in making their various
indigenous arts. (AN).
II. INPUT
Philippine indigenous arts refer to the various forms of the arts that have developed and
accumulated in the Philippines from the beginning of civilization in the country up to the present
era. They reflect the range of artistic influences on the country's culture, including indigenous forms
of the arts, and how these influences have honed the country's arts (Romero, 2013).
In addition, Philippine indigenous art is different from the western understanding and
standard of art. Art is not separated from its other values and functions such as “religious, moral,
spiritual, social and ecological concerns”. Sensory modes are cultivated holistically and have to be
developed together. Basically, for indigenous communities, art is assimilated into life. There is no
dichotomy of the artist and society nor rigid standards that dictate materials, forms or techniques.
The process of creation is valued over the work of art and conceptualization and realization is
simultaneous (De Leon, 2011).
On the other hand, the term Western art or western indigenous arts largely describes the art
of western Europe but is also used as a general category for forms of art that are now
geographically widespread but that have their roots in Europe. Art historians describe the history of
Western art in terms of successive periods and/or movements, including classical, medieval,
Byzantine, Romanesque, Renaissance, baroque, rococo, neoclassicism, Romanticism, realism,
Impressionism, modernism and postmodernism. Definitions of these periods are often debated, as
it is impossible to pinpoint where they begin and end, or to account for the wide array of art
produced within them. Nevertheless, such terms are indispensable in navigating the complex
history and stylistic shifts of Western art across time. As conclusion western indigenous and other
forms of art is different to Philippine indigenous arts in terms of setting, purpose and depth of
integration to indigenous groups way of life (Art gallery NSW, 2000).
11
Indigenous communities can be found in various regions in the Philippines. These

communities have their own unique arts and crafts. Whether it be visual arts, song and dance,
handicrafts, tapestries and clothing or pottery, each region boasts of exceptional talent, skill and
creativity. Unfortunately, these masterpieces have been “downgraded” by outsiders to merely crafts
or handicrafts that are only worthy of being sold in tourist shops (This is also known as the art vs.
crafts controversy) (Racette and Robertson, 2009).
The earliest art forms in the Philippines that have not yet been somewhat penetrated by
Western influences are music and dance (Ortiz, 1976). In addition, in Cordillera their ethnic or
indigenous dances still exist because kinds of dances like the war dance of now being toned down
the war dance interwoven in Igorot rituals, the Ifugao funeral dance, and the Benguet victory dance
are examples of the dances in pure indigenous form. Other dances represent the daily affairs of the
community such as planting, fishing, pounding rice, etc. (Panizo and Rustia, 2003). An example of
a song that represents the daily affair of planting rice is the traditional folksong Magtanim ay ‘Di
Biro (Ortiz, 1976).
In addition, there is always an impression or misconception that Filipinos were illiterate

before the arrival of Spanish. That we didn’t have our own culture is a big misconception and
needs to be corrected. The truth is that Cordilleran were not conquered by colonizers like the
Spanish is the enough reason why Filipinos should preserve, give more importance, and always
protect the culture and traditions of the highlands (Mangilog, 2018).
Ethnic dances in the different municipalities of Mountain Province have differences and
commonalities in terms of steps, attire or costumes, purposes. These dances are part of the
people’s customs and traditions that have become part of the Igorots’s identity (Fiar-od, 2014). In
any festive gathering among Igorots, be it a ritual, barrio or town fiesta, wedding celebrations,
people’s assembly, the gongs are played according to its rhythm appropriate to the specific
purpose of the occasion. Such purpose could be for entertainment, socialization, or in more serious
cases, as part of an Igorot ritual (Fiar-od, 2014).
Similar to performance art, sculpture and visual arts are practical in nature in indigenous
communities. Everyday implements and accessories are adorned and decorated with such
handiwork. In the Mountain Province, “shields, spoons, ladles, bowls” and figurines are infused with
art through woodcarving. In Mindanao, on the other hand, original Muslim art can be recognized
12
through certain motifs, colors and patterns. These stylized elements are evident through brass
work, tools, weaponry and musical instruments. (Ortiz, 1976).
A Filipino person’s characteristic of being relational or communal is evident in his or her art.
Traditional indigenous art reflects this orientation as well. In essence, Philippine indigenous art is
not separated from its other values and functions such as “religious, moral, spiritual, social and
ecological concerns”: art is assimilated into life, the community is involved in the work of art; thus,
one artist is rarely, recognized and remains anonymous most of the time, there is no dichotomy of
the artist and society, no rigid standards dictate materials, forms or techniques, the process of
creation is valued over the work of art, and conceptualization and realization is simultaneous (De
Leon, 2011).
PRACTICE EXERCISE

1. Does the Philippines have its own forms of art before the colonization of Spaniards take
place? If yes, what are these forms of art? And why do you say so?
2. Write down the three (3) factors that are being considered and became the source of
inspirations of the designs of the different indigenous arts and crafts. Expound each factor.
13
LESSON 1.3: BRIEF HISTORY OF DAVAO AND ITS TRIBES
• Identify the different individuals and indigenous groups which are crucial to Davao’s
history. (R)
• Conclude how rich Davao is in terms of history and as a city. (EV)
II. INPUT
May 8, 1967, the undivided province of Davao where Davao del Sur belonged and Davao
City which is the capital of old Davao shared the same history. The province of Davao Del Sur was
created by the defunct Congress on May 8, 1967 under Republic Act No. 4867. It started
functioning as a province on July 1, 1967 which was comprised of only ten (10) municipalities
where Digos as the capital. The elective provincial positions were filled by appointments by the
President of the Philippines until the time when the officials were duly elected and qualified in the
1967 election (Dejeto, 2018).
The province derived its name from the word “Daba-Daba”. This is a bagobo word which
used to refer to a “Sacred Brass” that belonged to the legendary bagobo chieftain named Datu
Duli. Datu Duli lived at the rolling hills of the famous Sandawa Mountain, the ancient name of Mt.
Apo. Later on, the letter “O” was added to the word which meant justice to the bagobos. It was
added to describe the fairness with which justice was dispensed with by Datu Duli among his
people. As years went by, the word “Daba-Daba” was shortened to Daba-o which later on was
pronounced Davao (Dejeto, 2018).
The early inhabitants of Davao del Sur were the Bagobo-Guinggas who occupied the places
at the foot of Mt. Apo, the Bilaans of the Hagonoy Valley, the Manobos in Malita and Jose Abad
Santos and other ancient tribes. One of the highlights of this indigenous group is its political
structure which is composed of the Chieftains called “Matanum,” the Council of Elders, the
Magani’s, the Babaylans and the slaves called “Al-lang” in the native dialect. Even today political
structure is still being used especially here in Davao City. The political structure established order
and constant progress through having designate roles which comes with different powers and
responsibilities. On the other hand, the Datu can have as many wives as he can but upon the
14
recommendation and approval of the first wife. In marriage, age is not an issue for as long as
arrangements and settlements are reached, agreed upon and complied with by both parties. All
conflicts and problems are finally addressed and resolved by the Chieftain with the Council of
Elders.
The food is abundant enough to be able to supply the community for the next harvest
season. The weavers can supply the needs for clothing. In fact, a Bagobo weaver, Salinta Monon,
won this years’ Gawad sa Manlilikha ng Bayan (GAMABA) for her handloom weaving, a proof of
the Bagobo artistry and craftsmanship. Environmental preservations and utilization of natural
resources are properly dealt with by the people according to their tradition, practices and culture.
The aboriginal tribes are believed to belong to the second wave of Indonesians who came to
the island from Southeast Asia years before the birth of Christ (BC), probably between 1,000 and
2,500 years ago. These early settlers lived a peaceful life, developed a rich culture unaffected by
outside influence until the end of the 14th century when the Muslim Malays from Java and Sumatra
introduced the Arabic strain into the ways of life of the early Davaoweños, The Muslim influence
became an established fact with the famed Mohammedan leader Shereef Kabungsuan of Arab as
its first sultan. Muslim tribe like the Maranaos and Maguindanaos occupied certain places of Davao
Del Sur. The original inhabitants remained unconverted to the new faith (Dejeto, 2018).
The introduction of the Christian religion in Davao del Sur occurred after the colonization of the
northern islands. Here is the account of Zaide:
“In 1847, Jose Uyanguren, a wealthy soldier adventurer, offered to the Spanish government
a proposition that he would pacify and colonize Davao at his own expense. Governor Claveria
approved Uyanguren’s proposal on February 27, 1847. In two years of hard fighting, he was able to
pacify the warlike tribes and founded a settlement which he called Nuevo Vergara in honor of his
natal city in Spain. It is now Davao City “(Zaide, History of the Philippines, McCullough Printing Co.,
Manila 1957, p. 72). However, the Spanish entry into the province dates even before Uyanguren’s
pacification drive. The early excursion of Spain in Davao del Sur occurred during the period of
exploration. Alip accounts that one of the early Spanish expeditions landed in one of the islets in
Sarangani. This is the Villalobos expedition in 1542 (Intellectual Reserve, 2020).
15
The Spanish were the first Europeans to discover Davao, when in 1528 they arrived at the
coast and encountered groups of the native people. But it wasn’t until the middle of the nineteenth
century when the Spanish began populating the area and gaining control of Davao ’s ports, when
permanent European settlements began being built. Control of the ports meant valuable trade
leverage in the vastly expanding world trade market. Although they tried, the Spanish were unable
to gain complete control of the Mindanao Island, as the native people fought back and resisted
(Tripadvisor, n.d.).
At the turn of the 20th century, other tribes from the Visayas arrived who later became the
leaders of the province in government, particularly the Cebuanos. Soon they were joined by the
pioneering Ilocanos and Ifugaos who occupied the municipality of Magsaysay. Others came
captivated by the promise of Mindanao all of whom built together what is now the province of
Davao Del Sur (NEDA, n.d.).
Before World War II the city was developed as a Japanese colony, which owned extensive
abaca plantations, but it was razed during the war. The rebuilt city is an attractive blend of Spanish,
American, and Moorish influences. Largely rural outside its urban core, Davao City is one of the
world’s largest cities in land area, sprawling among coconut groves and rice lands. The regional
headquarters for commercial and administrative activities, Davao City is served by a major airport
and highways. The city’s industries include the production of abaca fibres, textiles, cement, and
plywood. Davao City is the site of the University of Mindanao (1946), the Philippine Women’s
College of Davao, and other colleges. Talomo Beach, the Bago Iñigo fish farm, and the pearl farm
on Samal Island are nearby. Inc. city, 1936. Area 854 square miles (2,212 square km) (NEDA,
n.d.).
The Land
The western part of the province is dominated by Mt. Apo which is the country´s highest
peak. Mount Tanglao and Mount Latian are two other landmarks in the hinterlands. Wide fertile
valleys are found between the mountain ranges and the narrow coastal plains in the east. The
weather is basically warm with no marked seasons. Rainfall is evenly distributed throughout the
year (NEDA, n.d.).
16
The People
Most of the population are Visayan migrants. Cebuano is the most widely spoken language.
Other prominent migrant groups are the Ilonggos and the Ilocanos. Several ethnic groups exist in
the province, among them B´laans, Bagobos, Manobos and Tagacaolos. These early settlers
occupied the slopes, and base of Mt. Apo, and have developed their own cultures which have been
preserved to this day. The Bogobos, for example, are known for their colorful dresses woven from
Abaca fiber and ornamented with beads, shells, metal disks and embroidery in geometric patterns.
They also wear bells as anklets or costume accessories, so they jiggle when the walk or dance
(NEDA, n.d.).
On the other hand, the B’laan are composed of three subgroups from Koronadal, Sarangani,
and Davao. Many B’laans speak Cebuano aside from the B’laan language. Their means of
livelihood are swidden farming, weaving (the males weave baskets and the females, mats), fi
shing, hunting, food gathering, and tool- and weapon-making.
B’laans have kept themselves culturally, politically, and economically distinct from their
Muslim neighbors; they have never succumbed to the rule of the datuships. Thus, most of B’laan
traditions, customs, and way of life have remained intact. It is not unusual to see B’laans still eating
their mama (betel nut). The sound of bells hanging on the women’s sabitan galing(a belt of brass
rings) can still be heard as they go about their daily chores. Elders continue telling stories of old
times to the next generation (Wapano, 2007).
Another is the Manobo which simply means “people” or “person”; alternate names include
Manuvu and Minuvu. The term may have originated from “Mansuba,” a combination of man
(people) and suba (river). Manobos are concentrated in Agusan, Bukidnon, Cotabato, Davao,
Misamis Oriental, and Surigao Del Sur. The Manobo usually build their villages near small bodies
of water or forest clearings, although they also opt for hillsides, rivers, valleys, and plateaus. The
communities are small, consisting of only 4-12 houses. They practice slash-and-burn agriculture
(Indigenous People, 2020).
The Ubo are a Manobo sub-tribe who inhabit the more isolated mountains of Southwest
Cotabato in the area known as Datal Tabayong, as well as, more southerly Davao del Sur. As of
last count, they numbered close to 17,000 (OSCC, 1987); a follow up on their numbers in
17
subsequent years has proved difficult (Indigenous People, 2020).
Known for their intricate casting, the Ubo fashion fine weaponry and jewelry that they believe
possess souls, making it harder for the maker to part with them. Agriculturally, they practice
swidden, a slash-and-burn farming, oft planting and harvesting rice, root crops, and vegetables for
consumption. Like the Bagobo, the Ubo believe in multiple deities headed by a central figure,
Diwata (God); they're animist, they also believe in ancestral spirits and unseen beings inhabiting
the animate and inanimate objects found throughout their environment. In civic matters, the political
leader and Datu (Filipino chieftain) of the village attains his position by virtue of wealth; speaking
ability and knowledge of customary law, known as fendan. The primary obligation consists of
settling disputes among members of a family, neighbors, and the community. When a fine is set
and/or imposed by the Datu, the accused has to pay it to the aggrieved party; if he's unable to,
then he will become servant to the one who pays for him, otherwise known as dok (Indigenous
People, 2020).
Commerce and Industry
Because of its favorable climate and fertile soil, Davao del Sur is primarily an agricultural
province. It is popularly known as Coconut Country since coconut is its major commercial crop. Its
rice and corn production is more than sufficient for its population. Other crops grown are bananas,
cacao, ramie, coffee, fruits and vegetables. Davao City is the commercial center of southern
Mindanao. Foreign and domestic vessels load and unload goods at its port. Davao Gulf is the
major fishing grounds of the city. There are eleven coastal municipalities facing the Philippine Sea.
Logging has supported a wood-processing industry, but rapid forest depletion is a cause of
concern (NEDA, n.d.).
Read the full content of the lesson at:

https://www.familysearch.org/wiki/en/Davao_del_Sur_Province, _Philippines_Genealogy
18
PRACTICE EXERCISE

1. Give 2 roles of the people inhabiting the land. Elaborate your answer.
2. Does the geographical formation of a land affect the lifestyle of the people living in that
area? If yes, give a real-life example to support your claim.
3. Today, we enjoy a generation of progressive technology. Most of our ways are already
integrated with technology like in farming, vegetation, and fisheries which make our life
easier and more efficient. With this, should we dump our old and traditional ways and further
move forward to dominant technology enhancement? Why do you say so?
19
LESSON 1.4: TOP 6 INDIGENOUS ARTS
• Identify the Philippine top indigenous arts. (R)
• Distinguish the different indigenous arts. (U)
• Examine the different pieces of art or outputs from the indigenous art. (AN)
II. INPUT
Top 6 Indigenous Arts
1. Cloth Weaving - Weaving is the textile art in which two distinct sets of yarns or threads -
called the warp and weft - are interlaced with each other at right angles to form a fabric
or cloth. The warp threads run length-ways on the piece of cloth, while the weft runs
horizontally. Cloth is woven on a loom, a device for holding the warp threads in place
while the weft threads are woven through them, back and forth. Weft is an old English
word meaning "that which is woven". Woven cloth can be plain (in one color or a simple
pattern), or it can be woven in decorative or artistic designs (Hamam, 2013).
One of the most precious living traditions that are still kept until today is weaving.
Originating in the precolonial times, the art of weaving of the Cordillera tribal groups in
the North still exists despite the threat of the more practical mass production of cloth.
The natives use backstrap loom to produce blankets and articles of clothing.
Piña cloth is also produced in looms throughout the province of Antique. It is a delicate
and exquisite handwoven cloth that is made from the fibers which you can get in the
leaves of pineapple plants. It is popularly used in Barong Tagalog, our traditional clothes.
Having its organic and airy textile, it is becoming more popular now around the world.
Abaca fiber come from the abaca plant that is endemic and grown in the country. It is
woven chiefly to make sinamay fabric. Abaca is popular in making a rope, specialty
papers like vacuum bags, currency, and tea bags. There are also handcrafts like bags,
furniture, carpets and clothing made of abaca.
20
2. Basket Weaving - Baskets are mainly used by the Cordilleras for their occupation. They
use them as a storage for their food when they need to go to mountain terraces to
cultivate their lands. A basket is needed for carrying grains, hunting animals, and fishing
in the streams. Baskets made of bamboo become their fish traps; the shape and size of
baskets are according to the kind of fish they want to catch.
3. Jewelry Making - Since the early 16th century, jewelry making in the country has been in
existence. It is believed that the skill of our early Filipino in making jewelry are adopted
from their Asian neighbors like the Chinese. Jewelry-making is a source of livelihood for
the family and it is traditionally a home-based industry. The government gives their
support and attention in this industry. By this support, the country became the top
producer of gold. These are the two major product categories that the fine jewelry
industry in the Philippines is engaged for production:
a. The first one is the precious metal jewelry, which are made of gold and silver. It
can be in the form of rings, earrings, bracelets, brooches, pendants, necklaces, tie
pins, and cuff links (with or without gemstones). Decorative items like spoons and
forks, and office items such as pen and pen holders are also included in this
category.
b. Another production in the jewelry industry are the pearls, precious stones, and
semi-precious stones. These are unworked or worked pearls. Colored gemstones
like emerald, rubies, and sapphires are also in this group.
4. Pottery - Pots in the Philippines have different sizes, shapes, and designs. Their designs
are usually geometric with stylized nature motifs. Pottery became more functional as the
time pass by (Caparas, 2014). Pottery is made up of ceramic materials and
encompasses major types of pottery wares such as earthenware, stoneware and
porcelain. To be considered pottery, a piece must be a fired ceramic ware that contains
clay when formed (Grimm, 2015).
An example of this is Palayok, which is used for cooking. Banga and tapayan are used
for storing liquids. There is also the clay-made stove or "kalan". The making of burnay
pottery in Ilocos Sur is still a lively tradition that continues up to the present.
21
5. Woodcarving - Philippine sculpture is the most familiar art form among Filipinos. The
most popular woodcarving in the Philippines are carvings of the anitos (nature gods),
santos (saints), and statues of Christ and the Blessed Mother.
Philippine sculpture has undergone changes in terms of shape, size, and the medium
used.
6. Tattoos - Filipino tattoos have a rich history, dating back to before the Philippine Islands
were colonized by Spaniards. When Spanish ships first arrived there, they were greeted
by the heavily tattooed Visayas tribe and they called the islands "La Isla De Los
Pintados" which meant "The Island of the Painted Ones".
In the Philippines, tattoos were a source of accomplishment and rank. Men bore ink on
their chests and heads as signs of their strength as warriors. Women wore detailed lines
on their arms and wrists (Visays and Mindanao tribes) or full chest and arm tattoos
(Luzon mountain tribes) and they were seen as marks of beauty. Most tattoos were
earned through the passage of rites ceremonies, or for accomplishing tasks. The styles
varied depending on the region and tribe that the people came from (Caparas, 2014).
If there is one person who could best represent the rich culture of Kalinga, a province
located in the far north of the Philippines, it is none other than Whang Od, the oldest
Filipino tribal tattoo artist. Some even say she put Kalinga on the Philippine map of must-
visit places for local and foreigners alike. In fact, many people brave the cold weather
and the 10-hour trip to the mountains just to get inked by her (Dumaraos, 2017).
Whang-od Oggay is known as the last mambabatok (Kalinga tattooist) from the tribe of
Butbut in Buscalan, Kalinga. She has been tattooing for the past 80 years including
headhunters of the indigenous tribe, at the beginning of her long career. These
headhunters were the warriors of their tribe, who protect their villages, to the extent of
killing their enemies. For them, it is a symbol of bravery and courage. She also inked the
skin of women from the tribe, the tattoos are considered as a sign of beauty and
elegance (Dumaraos, 2017).
22
Whang-od is living proof of the tribe’s batok (hand-tapping) culture. Covering her body
are tattoos with different meanings and designs. Each of her arms, she said, took a day
to be inked completely. After her body was covered, she related how her father rejoiced
and killed a pig to celebrate the feat. Now, after 80 years of tattooing, Whang-od is inking
foreign and Filipino visitors who visit her (Dumaraos, 2017).
Read more about this topic at:

https://theculturetrip.com/asia/philippines/articles/meet-apo-whang-od-the-last-hand-
poke-tattoo-artist-in-the-philippines/
PRACTICE EXERCISE
Instruction: Answer the following.

a. Compare and Contrast Cloth Weaving from Basket Weaving.
Cloth Weaving Basket Weaving
b. Cite 2 specific products (whether a craft or artwork) of an indigenous group. Then

examine and fill out the blanks with the information of your chosen product.
Indigenous group origin (artist): Indigenous group origin (artist):
Indigenous art: Indigenous art:
Components (made of): Components (made of):
Purpose/Function: Purpose/Function:
23
LESSON 1.5: THE FOUR ART DISCIPLINES AND THE STUDY OF CRAFTS
• Explain the four different art disciplines. (U)
• Discuss how essential aesthetics is to arts. (U)
• Discuss how beneficial is craft making business. (U)
• Analyze how crafts can enhance art education and upgrade the quality of life of the
public. (AN)
II. INPUT
The four foundational art disciplines of the DBAE are: art making, art criticism, art history,
and aesthetics. The discussion of each owes heavily and exclusively to Stephen Dobbs’s Learning
in and Through Art, but the possible applications of each discipline to the study of crafts are entirely
the present authors.
1. Art Making - Art making is the process of “responding to observations, ideas, feelings,
and other experiences by creating works of art through the skillful, thoughtful, and
imaginative application of tools and techniques to various media” (Dobbs, 1998, 27).
Through art making, students can explore and study a host of concerns and issues. By
studying and encountering an array of media and tools, students may ask about the
sources of the “artist’s visual idea” and how these take form in an “art object”. Students
can also learn “traditions of craftsmanship,” including “potentialities of materials” could
give rise to insights on artists’ preference for materials to be used, the steps involved in
working with certain media, the influence of the environment, and work habits on a piece
of work. Students learn to “express thoughts, values, and feelings” visually through
methods developed by artists, and they can come up with a variation of somebody’s
work or a completely new take. Art making also teaches students about “visual problem
solving” or how artists resolve “the tension between opportunities and limitations at
hand.” Lastly, it also brings students to “the motivations and attitudes of artists,” as well
as “their contributions to society,” and how personal, social, and cultural backgrounds
shape their works.
24
As for actual craft making, this segment of the DBAE creates an opportunity for the
students to engage in actual craft making—for instance, Ilocano pottery. An actual
pottery sample may first be examined in class in terms of texture, material, and even
use. Students would then try their hand at actual pottery making. They learn the steps
and discover the skills to produce a clay vessel. In the course of the activity, they can:
Discover the techniques—for instance, the right pressure to apply, the moderation
needed to handle wet clay, and other technical details.
Identify the tools used to create designs and fashion the clay into their desired
form. They may realize, for instance, that a kitchen ladle could be a good paddling
tool, or that a fork could be used to impress designs on the clay’s surface. This
way, students learn the traditional way of making Ilocano pottery, which they may
see from an invited artisan or even from a video documentary. Also, innovation
and improvisation are introduced and even encouraged.
Explore potentialities of the material and tools and gain insight into what makes
one molding material better than another. For instance, students can grasp how
different types of commercial clay behave compared to clay soil. And in taking up,
say, Bulacan paper-cutting craft, they can point out why a specific type of scissors
works better than another; why a certain kind of paper is more suitable for paper
cutting; or what motif is best given the available tools.
In the area of visual problem solving, the students can discover how to resolve tensions
between opportunities - the means available - and the restraints encountered, say, in
clay molding. What does one do when he or she discovers a weak layer of clay at the
bottom of the vessel? Certain issues would press for solutions, too. Where is the best
place to conduct an open firing, for instance? What time of the day? What precautions
should be observed? What kind of skills would be needed to mold a newspaper, which
has been soaked in water for days and mashed? Could this be combined with other
molding materials like clay soil or commercial clay? How would one resolve its internal
supports? In the case of paper cutting, how does one remedy a situation where the
paper is accidentally wet? Could a cut-out still be executed on it?
25
Issues of workspace will also demand attention. How should the workspace be
arranged? Is sitting better than squatting as one shapes the clay? How do work habits
affect the production of a craft? Is having a snack while working compatible with pottery
making or with other craft making activities, for that matter? Other issues of interest are
themes, subject matter, and the function of a craft. Again, in clay molding, what does one
need the clay pot for, and how will its use determine its size, shape, and design? Will it
be painted over or glazed?
Lastly, students can also read about artisans and appreciate their philosophy, as well as
their social contributions, not least of which is to keep some traditions alive. However, a
lot of work in this aspect has yet to be done since traditional artisans are not famous and
celebrated. All the same, in looking at the artisans themselves, students can appreciate
various influences and contributions to an artisan’s work: training, experience, and
cultural and social backgrounds. They can also develop some good habits and personal
qualities for good craftsmanship, like perseverance, patience, self-awareness, and
resourcefulness.
2. Art Criticism - Art criticism has to do with “describing, interpreting, evaluating, and
theorizing about works of art with the end of increasing understanding and appreciation
of art and its role in society...” (Dobbs, 1998, 38). Here, the roles of “language, thoughtful
writing and talk about art” come to the fore. The DBAE classroom draws on art criticism
to help students carefully observe works of art, comparing them while considering the
contexts in which they were produced. A class can discuss: “the subject and theme of
the work;” “the intentions, interests, or social or political concerns of the artist;” the
“significance” of the medium; the opinion of critics about the work and how it bears on
the development of artists; the artwork’s function in society and audience’s interpretation
of and reaction to the artwork; and the “aesthetic experience” the artwork provides and
how it “sustains attention” and stimulates “active discovery of new things”.
In incorporating art criticism into craft education, one can take, for instance, the tradition
of handloom weaving. Traditional textiles, such as those produced in weaving centers in
the Mountain Province, Ifugao or Ilocos Norte, are adorned with motif, both figurative and
nonfigurative. In art criticism, students can take up these subjects and explore how they
relate to the main function of the textile piece within a given cultural environment. The
26
prevalence of the lizard motif in Ifugao textiles, or the flowers, mountains, and rivers in
Itneg textiles, can be points for discussion. So is the crocodile motif in most T’nalak and
B’laan fabrics, or the ukkil or okir motif in Tausug and M’ranao textiles, metalwork, and
woodwork. These design patterns and motifs may also be studied by comparing the
views of anthropologists and the communities that actually use them.
Furthermore, art criticism can study the colors of a craftwork. Topics of note could be:
Why traditional pottery is stained reddish-brown or sometimes left alone with the
natural color of the clay soil reveal information well related to the function of each
clay piece?
Why certain indigenous communities prefer certain colors in their fabrics has
much to say about that community’s perception of a certain hue. Why do Ilocanos,
for instance, use yellow and its related hues a lot, even in their food?
Why bamboo poles, which are used as procession arches in parades are never
painted over is also worth taking up. Despite there being no red horse’s endemic
to the Philippines (or anywhere else for that matter), why do Paete taka (papier-
mâché) makers paint their horse’s bright red?
Art criticism can also discuss aesthetic experience; students can focus on, say, the
power of a Vigan silver frontal to sustain attention what with its seemingly simple fern
pattern pressed on the metal’s surface, but which, upon closer inspection, reveals
human faces hidden within the fern pattern. Optical illusions figuring in Itneg or Ilocano
blankets are capable of mesmerizing the viewer more so, after learning what the motif
stands for.
Within the art criticism segment of DBAE, students are trained to express their
appreciation for crafts in written and verbal discussion. Here, the opportunity for students
to go deeper into the understanding of a certain craftwork is immense. The functionality
of a craftwork is seen within the context of its designs, colors, and form.
3. Art History - Art history is described as “inquiry into the historical, social, and cultural
contexts of art objects, focusing on the aspects of time, tradition, and style’ as they relate
27
to artworks” (Dobbs, 1998, 38). Dobbs states that the purpose of art history is “to
establish and sustain a systematic order in the cultures and traditions of art” (Dobbs,
1998, 38). As far as educational goals are met, art history can develop in students the
notion of “historical thought” by discussing “the processes of causation, change,
continuity, motivation, and evidence.” Such a concept may be taken up as “elements that
influence the development of art” (Dobbs 1998, 39). There, too, is the concept of
“historical imagination,” which is accessible through art history when “students speculate
about the beliefs and values of other people and cultures” as seen and articulated
through their art.
Historical imagination can enter the discussion by highlighting the development of the
bakya, or Filipino wooden clogs. The bakya used to be carved with rural images on its
heel and created with a crocheted dahon or flap. Its variations through time are matters
of historical study. The same holds true for native Filipino costumes, the history of which
is linked to different and specific sociocultural conditions.
According to (Dobbs, 1998) historical inquiry into a work may take a wide range of forms:
Authentication
Iconography, or “the meanings of the objects and symbols in the work”
Provenance, or the “history of the ownership of the work”
Function
Style
Psychology, or “the personal factors that help relate the artist to his or her time
and the work to a particular social or cultural milieu;” and
Connoisseurship, or how “the intensive study of the work reveals or helps resolve
with regard to problems of authorship, ownership, or physical condition.”
Applying art history to the study of crafts, students get an idea of the long tradition of
craft making in the country. However, unlike art history, volumes of which have been
28
widely circulated, a consolidated reference for the study of Philippine craft history has yet
to be produced. Early historical accounts about the Philippines by chroniclers and
travelers, ethnohistorical data, and dictionaries produced during the Spanish colonial
period all refer to traditional crafts. Yet all these must be compiled and published to
benefit Philippine craft education under the DBAE framework. Is not this belated
publication on Philippine craft history another indication of the marginalized position of
Philippine traditional crafts? In the study of craft history, other references may include
early samples of crafts in museums, where developments in craft production can be
noted. Both continuity and divergence may be detected by comparing old craft samples
with new ones.
In the path exploring craft history, some areas of historical inquiry may not always be
possible. Authentication, which requires modern equipment and methods, need not be
studied at the elementary and secondary education levels. However, this area could
easily be integrated into a heritage conservation program at the university level. The
same is true with connoisseurship or the study of works in terms of issues of authorship,
ownership, or physical condition.
When integrating art history to crafts education, visits to ethnographical museums, where
crafts are displayed, become necessary. The only problem is that in the Philippines,
ethnographical museums are not aplenty. And until they are established, craft samples,
especially the early specimens, can be exhibited with the cooperation of private
collectors. Schools may also begin building their own collections of inexpensive crafts
such as hats, mats, cooking utensils, pottery, and the like, which the DBAE inspired
crafts classes can eventually use as teaching materials. Such a collection may serve as
a laboratory for craft history classes, where cataloguing methods to establish
provenance and documentation can be practiced.
4. Aesthetics - Aesthetics is a “branch of philosophy... that examines the nature, meaning,

and value of art” and other things, from an aesthetic point of view” (Dobbs 1998, 46). The
study of aesthetics helps students “understand what distinguishes art from other kinds of
phenomena, the issues that such differences give rise to, and how one may justify
judgments about art objects”. Concretely, classes can inquire into whether crafts can
possess aesthetic qualities, that is, whether crafts can hold qualities that make them art
29
or render them “beautiful.” Discussion may revolve around the aesthetic qualities of, say,
the abel iloko, the piña-made barong tagalog, the bamboo procession arches of Quezon
province, the humble clay caramba, or the kiping-decked Lukban house on a Pahiyas
festival day (held in May each year). More advanced classes can look into the aesthetic
issues that surround crafts vis-à-vis paintings and sculptures.
As an adjective, aesthetic speaks of” a particular kind of experience one can have with
any phenomenon. As Dobbs says, aesthetics encompasses the “study of the special
qualities of the aesthetic experience and its unique contributions to human life and
culture, with the complexities and subtleties of aesthetic experience, which, for the
purposes of DBAE, focuses on the visual imagery of art objects” (46). In this regard, an
experience in attending the annual Pahiyas festival, a visit to a traditional artisan’s
workshop, or one’s hands-on experience in sitting with a back-strap loom in a small
Ifugao village can become a subject for aesthetic discussion in a crafts class.
Aesthetic inquiry builds on the “content of the other three disciplines” (Dobbs 1998, 49).
It “directs attention to the act of artistic creation, the art object itself, its interpretation and
appreciation, critical evaluation, and the cultural and social context”. Following Dobbs,
one can ask whether the value of an artwork is external to it. In responding to this, one
would refer to artist’s motives and intentions; the tools used, and constraints faced; the
theme or subject; the sociopolitical influences on the artist; the media, etc.
The question of beauty is also part of aesthetic inquiry. Students get to think
philosophically about the nature of art and beauty; that is, they explore reasons why (or
why not) a work is beautiful, drawing from the three other disciplines mentioned above.
When applied to crafts education, aesthetic inquiry takes actual craft pieces as subjects
on which to base aesthetic judgments. Students explore questions related to its
production; for instance, the artisan’s possible considerations in designing a wooden
bulul (Ifugao rice god); the aesthetic reasons why a particular textile pattern is effectively
placed in one portion of the tapestry and not in another; or the reasons for one’s
preference for a certain craftwork over another.
30
Aesthetics can also investigate the value of crafts within a given cultural context, and the
demands on or responsibilities of the artist. If, for instance, a life-sized bulul is used by
an art collector as a clothes hanger, is its aesthetic value reduced or enhanced? And
why or why not is this an aesthetic issue?
Aesthetic inquiry raises the level of craft appreciation by teaching students how to argue
for or against their interpretations and perceptions of crafts. To bring this discipline to a
common and accessible level raises not only the position of crafts in Philippine society
but also the awareness of the public.
A SUCCESSFUL JOURNEY IN CRAFT MAKING
Water lily handicraft trade pays off in Las Pinas

By Nathaniel R. Melican - @inquirerdotnet
Philippine Daily Inquirer / 11:30 PM July 20, 2012
Starting out as a backyard industry nearly a decade ago, the water lily handicraft business
especially in Las Piñas City is booming as more people take notice of the wide range of products
that can be made out of the plant that grow in abundance even in urban waterways.
Some of these products were put on display at the 7th Water Lily Festival held on Thursday
at Carnival Court, BF Resort Village, Las Piñas City, a brainchild of former Rep. Cynthia Villar that
promotes water lily-based livelihood projects.
These included baskets, trays, chests, bags, traditional bags (bayongs), hampers, cabinets,
lamp shades of different shapes and sizes and even a dining table complete with chairs. The
smaller items range from coasters to slippers. But as an added demonstration of the plant’s artistic
and commercial uses, the festival also featured a beauty pageant wherein contestants donned
gowns fashioned completely from dried water lily stalks and leaves.
“This goes to show that with creativity, you can do a lot with water lilies,” Villar said at the
sidelines of the event.
31
Villar noted that aside from providing livelihood for hundreds of families in Las Piñas, the
water lily business has also cleaned up the city’s waterways.
“The industry has become so successful our Zapote River is now free of water lilies and fish
have begun breeding here again. We are now getting our water lilies from the Laguna de Bay, and
I hope the lake will also be cleared of water lilies because of this business,” she said.
Leaps and bounds
Rosendo Torres, who teaches how to make crafts and furniture from water lilies under the
Villar Foundation, said the industry has grown by leaps and bounds since the first entrepreneurs
tested the material about a decade ago.
“We have developed so many products since then, and we have more ideas in the pipeline. More
importantly, the market for these products and the profits we get from them have increased as
well,” he told the Inquirer in an interview.
Torres, himself an exporter who first dabbled in handicraft making in 1985 and tried water
lily in 2000, said his buyers had since ranged from individual patrons to supermarkets and
department stores which place orders in bulk.
“Some exporters have also approached and bought products from us, shipping them to the
United States, Europe, and Japan. Our water lily slippers are popular especially in Japan,” he
noted.
Torres said the hampers, for example, sell for P750 and P900 each, while the trays sell for
P100 to P200 each. A lampshade would be worth at least P500, while a three-drawer cabinet,
P5,500. A dining set made up of a table and four chairs (with metal or wooden supports) would be
worth P25,000.
“In terms of profits, seven years ago we were selling (items at) about P25,000 to P30,000
per month. Now we are selling upwards at P100,000 per month,” Torres said.
32
Holiday Season Demand
Sales go up during the holiday season when orders for popular Christmas gifts like baskets,
trays, and ornamental pots shoot up. To cope with demand, the foundation hires about 100 more
workers, in addition to the 50 who work during off-peak seasons.
“It’s a very profitable business, especially since you really don’t need a big capital to start
this up. You just need to harvest water lilies, dry them, and start working on them. So many
workers become interested in this livelihood,” Torres said. Torres has been working for the Villar
Foundation for seven years, teaching the craft to interested organizations or local governments
nationwide. “I’ve taught thousands of people the skills they need to start a water lily handicraft
business. Just recently, we went to Davao to teach the folks there,” he said. Torres said the
industry still has room to grow especially overseas, and that people can still think of many other
products which can be made from water lilies.
Read more about this topic at: https://newsinfo.inquirer.net/232409/water-lily-handicraft-trade-

pays-off-in-las-pinas#ixzz6UjX6c3nn
33
PRACTICE EXERCISE

1. How essential is aesthetics to arts?
2. Cite and list businesses stores found in your neighborhood that sell crafts (could be around
Davao City). Then make a list of your observations (it could be negative or positive, just
specify) on how this business selling crafts affect them and your community.
34
LESSON 1.6: CRAFTS
• Infer how crafts were marginalized in the Philippines. (U)
• Discover the different products or forms of crafts in ancient and modern times. (U)
• Analyze and make their own interpretation of a craft or artwork. (AN)
II. INPUT
For you to understand what the term craft is and how it is related to indigenous groups is to
know basically their meanings. The term “craft” originally came from the Old English word craft,
which means power, strength, or might. Later on, it came to mean “skill or art” and was associated
with an idea of “mental power” (Harper, 2001). Eventually, it was linked to “things made by hand”
(Oxford Dictionaries, 2009). Other connotations of the word are decorative arts (handmade luxury
goods for use and display inside buildings or on the human body), “trade and folkways,” and “long
traditions of pre-industrial production of handmade objects” (Metcalf, 1999). The term “crafts” came
into wide use with the Arts and Crafts movement, which was founded in the late nineteenth century
and drew upon the vision of English theorist and critic John Ruskin (1819–1900). Ruskin was
known for his criticism of classical architecture and for his essay in praise of Gothic cathedrals. He
saw in the Gothic the “democratic spirit” (Rodel & Binzen 2003, 22) and the individual worth and
effort of the craftsman.
In addition, the history of crafts education in the Philippines parallels the rise and fall of an
empire. It started small, with the scattered and informal teaching and learning of crafts during the
pre-Hispanic period, where crafts production catered to the needs of a chief, a social elite, or the
general population of consumers (Brumfiel & Earle, 1987 in Junker, 2000, 262). In Spanish colonial
Philippines, convents were turned into schools and workshops of carpentry, iron works, drawing,
painting of images, cutting and sewing of altar cloths, designing and sewing of altar pieces, textile
weaving, and other forms of practical arts (Flores, 1998, 143). Such schools, serving as
handmaidens of missionary work, came to an end when the Academia de las Bellas Artes opened
in 1785. At that time, painting and drawing then came to be regarded for its purely academic worth
(Flores, 1998). Crafts education in the Philippines reached its peak during the American period
when the educational system was revised and expanded to include industrial work and crafts for
35
livelihood, like woodwork, clay modeling, basket and mat weaving, and embroidery and lace
making (Sobritchea, 1996). Over the decades, crafts subjects offered under the American public-
school system would be jettisoned, save for woodwork and clay modeling, which still figure in the
present curricula of the public elementary school system. What have come to take the place of
crafts are painting, sculpture, architecture, photography, printmaking, dance, theater, and cinema
(Department of Education, 1998). Such a trend continues into the tertiary level. In three major
Philippine universities conferring fine arts degrees, common areas of specialization include
painting, sculpture, advertising arts, and industrial design.1 Although crafts may be part of the
curricula, no undergraduate or graduate degrees are offered in the area of crafts.
The Philippine art scene echoes the same preference for painting and sculptural works and
also draws a broad distinction between crafts and fine arts. While the fine arts enjoy the patronage
of the higher centers of learning, crafts—much less, traditional crafts—have not been equally
fortunate. The marked difference between functionality and pure aesthetics assigned to crafts and
fine arts, respectively, seems to have relegated crafts 60 Icasiano 69 Volume 45 Numbers 1 & 2
2009 to a position of inferiority. As such, public exhibitions of crafts have not been common in the
local art scene. Galleries are wont to present painting and sculptural works, which are the sole
possessor of commercial and aesthetic value. Even the locally conferred National Artists Award
sees art as distinct from craft and, therefore, is open only to artists who are or were practitioners of
Western-oriented art.
To help remedy this, the National Commission for Culture and the Arts launched the Gawad
Manlilikha ng Bayan (literally, National Creators Awards) to honor traditional artisans and culture
bearers. Also, in 2002, the exhibition “Crafting Economies” opened at the Cultural Center of the
Philippines. Curated by Patrick Flores, the exhibition aimed to confront the “marginalization of
‘craft’ in the contemporary art world; it sought to integrate it with the present-day concerns in
aesthetic judgment, and then finally discredit the distinction of art and the discrimination of craft
without ceding the agency of aesthetic critique and experience” (Flores 2001, 11). Clearly, this
exhibition acknowledged the aesthetic properties of craftworks, to help clear the way for their
integration into the art world. Its aim is not to end up calling craft art but to see craft’s “aesthetic
potential.” Flores clarifies:
“To reconsider craft is not to invest it with artiness (to do so would be to fall into the ‘art’ trap
once again), but to reoperationalize its aesthetic potential. By the same token, to renounce art is
36
not to reduce it to craft, but to redeploy the mode of its making in society and history. It is this
‘society and history’ that renders art/craft material to our lives, that allows it to circulate in an
economy of exchange and reciprocation”.
On the other hand, indigenous people are the locals or inhabitants of an area in long period
of time. And through adaptation and development for the purpose of survival and etc. livelihood of
different indigenous groups progress and crafts or handicrafts became relevant to indigenous
persons or groups. In the area of economics indigenous persons can be used by artisans and
handicrafts organizations to protect and market their products. And Some IP tools are well adapted
to the concepts of collectivity and collective rights at the heart of many communities. And so, on the
area of culture IP rights can promote respect for national culture and encourage the creativity of
new generations of artists (Vezina, 2014)
Unity and diversity in art and culture can be seen in the folk arts of Asia where the works of
Filipino artists look like the work of folk artists in nearby Indonesia, Thailand, Malaysia and China.
The works of folk artist are alike everywhere in the world.
Without seeing, speaking or knowing each other, folk artists make cloth, baskets, pots and
mats that look alike. Some folk arts in the world, you may compare and note similarities and
differences in their art forms. This will give you a chance to explore indigenous motifs of some
countries. The elegant motifs of ethnic arts and crafts will be given emphasis, recognition and
appreciation (NCCA, n.d.).
In connection to that, creativity through craftsmanship is what Filipinos are also known.
Many artisans across the country showcase different unique crafts and arts that will surely catch
your interest. Traditional arts and crafts from villages have found new life as esoteric art forms and
decor accessories in modern Manila homes. Art spans the Philippines from Manila’s museums to
exterior decor of the humblest rural homes. Even the simple tools and weapons used by the early
nomadic people were artistically designed. Effigies of the early people of the Philippines indigenous
tribes have men and women donning a variety of headdresses, earrings, anklets, bell rings,
bracelets, and necklaces. Such artistic expressions, influenced by religious beliefs and cultural
practices, reached an apogee in the early Iron Age when people of Malay descent migrated in
droves to the country (Romero, 2018).
37
“Planting of the First Cross” (1965)

Artist: Vicente S. Manansala
Location: GSIS Northwest Hall (Gallery XXIII), North Wing Galleries, Level 3 (Senate Floor)
One of the most famous crafts of the Philippines is the “Planting of the First Cross” (1965)
by Vicente Manansala (Francisco, 2017). Vicente Silva Manansala was a Filipino artist known for
his Cubist paintings and prints. Through his depictions of contemporary Filipino life, Manansala
addressed issues of intimacy, poverty, and culture. His melding of social commentary with painting
had a profound influence on the younger Filipino artists of his generation, such as Angelito Antonio
and Manuel Baldemor. Born on January 22, 1919 in Macabebe, Philippines, he studied at the
University of the Philippines School of Fine Art until 1930. He later received a UNESCO fellowship
to study at the École des Beaux-Arts in Paris. The artist passed away on August 22, 1981 in
Manila, Philippines. His works are in the collections of the Honolulu Museum of Art, the Philippine
Center in New York, and the Lopez Memorial Museum in Manila (Artnet, n.d.).
Vicente Manansala vividly captured the birth of Christianity in the Philippines in this historical
artwork. It features Filipinos in 1521 as they stand with curiosity and interest while Spanish soldiers
erect the countries first cross the same one that still stands in a special kiosk in Cebu. The piece
combines the artist’s mastery of both traditional and modern painting techniques, as well as his
unique style of “transparent cubism.”

https://images.summitmedia-digital.com/spotph/images/2017/09/22/manansala-planting.jpg
“Spoliarium”
Artist: Juan Luna
Location: Main gallery at the first floor of the National Museum of Fine Arts in Manila
In this painting we could see people pulling the bloody bodies of gladiators from the arena
after the entertainment of their oppressors which I suppose to be Romans. For me, I think the
message that the painting is trying to convey is that the inequality, injustice, moral and political life
in our society in the 19th century. We could represent the Filipino slaves as the gladiators, and the
Romans as the Spaniards. Us, Filipinos being maltreated by our colonizers, the way they abuse
our country is also the way they abused our people; Filipinos struggle in the reign of Spaniards.
38
Multiple deaths were also present that time, which in the painting represents many dead bodies.
Another thing is that this could also be a picture of our present society wherein numerous deaths
are the headlines of the news, because of the new administration; their means of solving the drug
addiction in our country (Cordeta, 2017).

https://www.facebook.com/NCCAofficial/photos/planting-of-the-first-crossvicente-s-
manansalanational-museum-of-the-philippines/10153368851960283/
PRACTICE EXERCISE
Picture Analysis: Look at the picture carefully. Analyze and make your own interpretation about
the “Spoliarium” of Juan Luna.
Interpretation:
39
ASSESSMENT #1
PHILIPPINE INDIGENOUS CREATIVE CRAFTS
Name: Program & Year:

Subject: Arts 1: Indigenous Creative Craft Instructor: Christian Joy J. Lerog, LPT
I. RESEARCH WORK
• Choose one IP group to be the focus of your investigation.

• Get to know their culture by reading from the different sources (internet, newspapers,
magazines etc.).
• But if you belong to your chosen IP group. You can talk and ask your elders on the
things about your community that you do not know yet as a member.
• Focus your investigation/discussion to the following:
• origin of the tribe, people (what makes them different from other tribes), politics (ways
of governance), ways of living, religious activities
• Make a narrative report containing the information related to those mentioned in the 4 th
bullet.
• Rating: Rubric # 1
II. COMPREHENSIVE REPORT
• Make a comprehensive report about the 6 indigenous arts

discussed in this lesson.
• Research more on its origin and purpose through time.
• On each indigenous art, reflect on what skill is being
developed for him who used to do it.
• Use any graphic organizer to organize your entries or you may use the one presented
on the side(right).
• Submit your output on your Silid account.
• Rating: Rubric # 1.
III. VENN DIAGRAM
• Compare and contrast the four-art discipline in terms of its function

to arts. (20 pts.)
40
IV. CRAFT MAKING
• Create any piece of craft using any kind of methods. However, the components of your
craft must come from raw materials found in your surroundings.
• Rating: Rubric # 1
41
Suggested time allotment: 10 hours

UNIT
2 PHILIPPINE INDIGENOUS ART: WEAVING
TARGET GOALS:
• Apply weaving skills by producing a simple product. (AP)

• Develop comprehension and innovation through making the DIY loom. (CR)
• Produce a DIY loom using raw materials. (CR)
• Use the DIY loom during the weaving process. (AP)
• Create a woven textile following the process and using the DIY loom. (CR)
LESSON 2.1: BRIEF HISTORY, PROCEDURES, AND TRADITION OF WEAVING
• Compare weaving from olden to present times; (AN)
• Conclude how the art of weaving survived amidst changes of times; (AN) and
• Justify how essential the art of weaving as an art is for the survival of the indigenous
groups. (EV)
II. INPUT
Weaving has the process of passing threads or strands of material under and over each
other to produce textiles. May be plain or decorated by dyes, embroidery, and appliqué. Process of
passing threads or strands of material under and over each other to produce textiles (Vicente,
2012).
Other terms for weaving are Maghablon, Havil, Hablon, Habol, Habe, Mun’obol,
Binangonmag-abi, Abel. Warp threads = vertical. From warp beam to the breast or cloth beam.
Weft threads = horizontal. Attached to shuttle that crosses horizontally. Heddle rod - Raises/lowers
odd and even warp threads. Makes space for shuttle. Back strap Loom - Still used in Southeast
Asia. Oldest and simplest type of loom Weaver shifts weight forward and backward to control
42
tension of warp yarns. Breast beam on lap and backstrap passing back. Outstretched feet support
warp beam. Woven matting or wood attached to the breast by string or rope (Vicente, 2012).
Leather Backstrap
Woven matting or wood attached to the breast by string or rope. Outstretched feet support
warp beam. Breast beam on lap and backstrap passing back. Weaver shifts weight forward and
backward to control tension of warp yarns (Vicente, 2012).
Loom
For manageability: Width of back strap loom falls within arm span of weaver. Length of cloth
determined by length of warp threads. To create large blankets and malong (tubular skirts), two or
three separately woven pieces are stitched together (Vicente, 2012).
Frame Loom
Other backstrap looms: Warp beam secured to tree or house post. Warp beam slotted in
upright door frame. Bigger and more complicated structure. No longer dependent on body tension.
Weaving procedure (traditional way)
Use of backstrap loom.
Organized interfacing of warp and weft threads
Leaning back against backstrap controls tension on warp
Passing of shuttle
Facilitates weft thread
Pressing of new weft evenly using beater

43
Brief history
Weaving is the one of the oldest forms of arts and crafts, but it did not begin as a hobby.
Early civilizations needed it to provide clothing and shelter in order to survive. Once people begin
to settle and clothing started being made for more than simply survival purposes, it began being
created to show power, frighten the enemy, and social approval or social status (Carver, 2014).
Tradition
Weaving is culture, identity, and way of life for some of the most illustrious indigenous
communities in the Philippines. The country has a vibrant weaving tradition, from the red and white
fabrics of the Gaddang and Kalinga of the north, to the striped malong of the Maranaos and
Maguindanao of the south. “Textiles are signifiers of meaning,” writes Norma A. Respicio in “The
Patterns of Culture in Philippine Traditional Textiles,” expressing a people’s creativity, worldviews,
belief systems, and ideologies. The woven textiles express both the agricultural roots of each
community, as well as a strong non-Christian belief system animated by ancestral and natural
spirits, such as the wind god, a motif prevalent in weaving communities (Bueno, 2017).
Work of women. Shows their role in their society as weavers. Indicate position as respected
figure. Female weavers respected as male warriors are (Vicente, 2012). In addition, The
Philippines has a long and storied history of weaving, spanning centuries of tradition across
different indigenous cultures, going through changes in function, meaning, and value over time. For
many of the indigenous peoples, weaving has been a vital way through which they practice and
embody who they are and what they believe. Through time, the impact of trade, industrialization,
globalization, technology, and mass production have evolved the value and function of handloom
weaving and transformed into what it is today: an assertion of identity, a means of earning a living,
one of the latest design trends, and a source of cultural pride (Castro, 2020).
Textiles are also used for rituals and traditional dances for courtship, war, healing, harvest,
and protection. Commonly, colors are used to signify one’s identity in the community. For example,
red is a color of power used by the Pinatubo Negrito for healers, by many tribes in Mindanao for
the bagani warrior class, and in other areas for village heads. Textiles are also important symbols
used throughout the stages of one’s life. For inabel, certain variants are used at these different
stages- through birth, weddings, and deaths. Earth colors are usually reserved for matters related
44
to death, such as its use in funerals, or even as the wrapping for the dead. For instance, The
Ga’dang in the Cordilleras used brownish red bark cloth for this purpose, before the advent of
cotton. Furthermore, weaving was considered a recreational activity, where weavers can come
together and socialize with one another. This would evolve dramatically in the centuries to follow
(Abola, 2020).
Famous Philippine indigenous textiles
1. Mandaya - The Mandaya people of Davao Oriental are known for their masterful ikat (a
weaving pattern) in abaca, the primary fiber they use for weaving. One of their most
popular textiles is called dagmay, a handwoven cloth designed with patterns of man and
crocodile, for which the Mandaya weavers are known for. Geometric and curvilinear
forms in yellow, blue, and white yarns, as well as hooks, crosses, and diamond shapes,
are favorite embellishments in the Mandaya’s woven fabrics.
Through their clothing, Mandaya women also distinguished themselves from their less
affluent neighbors. Those of higher stature wore red cotton blouses with black sleeves,
while “common women” wear brown or black abaca blouses (Bueno, 2017).
2. B’laan - The B’laan inhabit the hills behind the west coast of the Davao Gulf, as well as
the boundaries of the Cotabato and South Cotabato provinces. They employ similar
weaving styles as their neighbors the Bagobo and the T’boli, also producing ikat textiles
on abaca or handwoven cotton.
They are well known for their embroidery and decorative skills, as when they utilize
cross-stitches and outline-stitches to embroider stylized human figures, or when they
stitch small discs of mother-of-pearl at regular intervals over the cloth (Bueno, 2017).
3. Maranao and Maguindanao - Along with the Maguindanao people, the people of the
lake — as the Maranao are called produce malong, large tubular garments both worn by
men and women for a number of purposes. They are made by sewing two pieces of
sarong cloth lengthwise along its edges to produce a square and can be woven from
either cotton or silk. Landap has been noted to be probably the most distinctive malong,
which comes on one solid color or two colors arranged in alternating bands.
45
The Maranaos weave into the malong colorful bands called langkit, consisting of three to
four colors with okir designs: scroll, leaf, or vine motifs woven in abstract forms. The
Maguindanao, for their part, incorporate patterns directly into the bands.
The sarimanok is a key figure in Maranao art, despite an Islamic prohibition on the use of
representational forms, and sometimes appears in the okir designs (Bueno, 2017).
4. Yakan - While originally hailing from Basilan, the Yakan have migrated outwardly to
Zamboanga due to unrest and conflict. They are known for weaving brightly-colored
fabrics, producing a myriad of textiles with distinct, strongly geometric, repetitive
patterns, including the bunga sama (based on the diamond), the sinaluan (small bands
of bisected and quartered lozenge shapes), the pussuk labbung (saw-tooth pattern) and
the kabban budi (triangular-rectangular design) (Bueno, 2017).
5. Bagobo - The Bagobo traditionally live in the east and south sides of Mt. Apo and
eastern Cotabato, but now inhabit Davao. Their weaving tradition is tied to the magandi,
a dominant warrior class, identified by the red color of their clothing.
Like the Mandaya and the B’laan, the ikat is a prominent fixture in their textiles,
characterized with rhomb designs and curvilinear patterns. Some of the recognizable
motifs in their textiles include those inspired by the natural environment: lightning, plants,
stars, and human figures (Bueno, 2017).
6. T’Boli - The T’Boli of Lake Sebu in Cotabato are well-known for their t’nalak, a distinctive
abaca cloth that traditionally comes in three colors: deep reddish brown, black, and
white. The brown and black colors come from naturally occurring dyes, with white being
the natural color of abaca. Some well-known t’nalak patterns include the bangala (man in
house), klung (shield), sawo (python), nipa, g’mayaw (mythical bird) and the tofi (frog), all
based on the basic sigul, a zigzag arrangement of triangles or rhombs, comprising the
overall pattern set in the cloth.
It is believed that designs for the t’nalak are borne from the weaver’s dreams, and that
the spirit of Fu Dalo (guardian of t’nalak designs) begins to reside in the cloth at the start
of its production, thus warranting extreme care to prevent breakage of the yarns while
weaving (Bueno, 2017).
46
7. Tausug - The Tausug of Jolo in Sulu is an Islamic community structured around a

sultanate. They used to weave cotton and silk textiles from imported yarns. Linked to the
Tausug is the habul tiyahian (or labur tiyahiran), their traditional textile, an embroidered
sarong.
They are also well-known for tapestry weave techniques found in their pis (head cloths),
tadjung (tubular skirts), and kandit (sashes). The cloth surface of the pis siyabit is
characterized by diamond shapes, diagonal crosses, and zigzag motifs inside small
squares and rectangles. Predominant colors are pink, orange, and maroon shades,
sometimes with a touch of white or green.
The descriptions above heavily reference from The Mercedes Zobel Collection of
Indigenous Philippine Textiles’ “Art and Order of Nature” and Sylvia Fraser-Lu’s
“Handwoven Textiles of South-East Asia” (Bueno, 2017).
47
PRACTICE EXERCISE

1. Is the purpose of weaving still the same from the olden times up to this current time? Why
do you say so?
2. What was the main purpose of the indigenous people that brought them to invent and
practice the art of weaving? Support your claim.
3. Aside from that main purpose of the indigenous people, what are the other benefits of
weaving to them? Elaborate your answer.
48
LESSON 2.2: DIY LOOM (CARDBOARD LOOM)
• Follow the steps in making the loom. (U)

• Infer how essential is a loom to weaving. (U)
II. INPUT
Making the Loom (Cardboard Loom)
Cardboard is plentiful and sturdy – so, it’s great as a weaving base. I have used cardboard
in other projects, and just love its texture and versatility (Fibers and Design, 2019).
Materials needed:
Pieces of cardboard
A Cutting Tool
Ruler
A Marking Tool
Hot Glue
Strong and Thin Cotton Thread (Warp)
For further clarification search this on YouTube:

Weaving Beginners: DIY Cardboard Loom Tutorial
Link: https://www.youtube.com/watch?v=A39PfntnTyo
49
Instructions:
The video tutorial for building a cardboard loom can be found on the link and video title
above and the written version can be found below. In the video you can also find other tips for this
project (Fibers and Design, 2019).
Part 1: Building the frame of the cardboard loom
Step 1: Decide on the desirable size of the loom and cut

the cardboard (used in this project: 2 pieces 15 in x 13
in). Try using the large parts of the board and avoid
using parts with folds. Luckily, I found a large piece of
cardboard that had a fold in just the right place. So, it
made it easier to attach the two panels together.
Tip: I chose to double the cardboard sheets. This makes

the loom sturdier. You can achieve this by hot gluing the
two sheets together.
Tip: Remember that you will be weaving in a vertical

orientation. The wider the base of your loom is, the
wider the woven piece will be.
Step 2: Along the top and bottom sides of the cardboard,

mark every .25 inch. Be sure that the top and bottom
markings match up.
Tip: Make the first cut .5 inch from the edge of the
board. Then, cut every .25 inch.
50
Step 3: Along the 2 parallel ends of the cardboard sheet,

cut each of the 0.25-inch markings. Each cut should be
inches long.
Step 4: Take 4 strips of cardboard that are of the same

diameter of the loom. Cut the width of each strip to 1
inch. (I will refer to this as the “spacer”.)
Tip: Adjust the height of this spacer to your satisfaction.

If you will be working on a tapestry piece (to create an
image or change colors) or need more space to get
behind the piece, you might want to keep the height. If
not, then you could just use one or two spacers.
Step 5: Hot glue the pieces together in a stacked
position.
Step 6: Place a stack a half inch way from the cut
edges. Place one stack on one end and another stack
on the parallel side. The stacks should not overlap the
.5-inch cuts.
Part 2: “Dressing the loom”: Warp cardboard loom. The base of the loom is ready. Now it is
time to wrap the loom (“dressing the loom”) with the strong, thin yarn. This vertically placed
yarn is called the warp.
Step 7: Knot the end of the strong, thin yarn. Be sure it is secure.
Step 8: At the top of the loom, slip the knotted end of the yarn into the first .5-inch
cut. The knot should be secured on the underside of the loom.
51
Step 9: Continue to move the yarn into the first .5 inch cut at the bottom of the loom.
Step 10: As you continue to wrap yarn from the top and
bottom of the loom, loop the yarn through the cardboard sections.
The yarn should always loop around the next cardboard section
(the next .25-inch cut) in order to secure the yarn.
At the last section, secure the tension by creating a knot.
Here are some images of the project completed on this loom:

52
LESSON 2.3: HOW TO WEAVE?
• Identify the different basic weaving terminologies. (U)

• Manipulate the DIY loom to make a woven textile. (AP)
II. INPUT
Once you have dressed the loom, or wrapped the yarn around the loom, it’s time to weave.
For further clarification search this on YouTube: Weaving Beginners: How to Weave – Link:
https://www.youtube.com/watch?v=hCy3Crq7fYs
Basic Weaving Terminology / Information
Warp
The warp is the vertical yarns that are held in place during weaving.
The warp holds the design in place. The warp can vary in thickness and
color- a thin and sturdy yarn is normally used but depending on your
project it may vary. For beginners, I would recommend a warp yarn with
extraordinarily little give (or elasticity) (Fibers and Design, 2019).
Weft
The wefts are the yarns used to create the pattern and design on the
warp. Normally these yarns are added to the warp horizontally. They are
woven in and out of the warp to create a pattern or design. The weft
various in colors, fibers, textures, and thickness. Diversifying the weft yarns
in a project create an elaborate design, while using yarns with similar
elements create a more uniformed appearance. Experimentation will allow
you see which style is the best fit for your project.
53
How to Weave?
Over-under method (Plain weave)

You may have created some paper weaving projects as a child
on cardboard or with a plastic cup using the “over-under” method-
meaning, with a piece of yarn or paper, you weave it under a yarn
and over the next yarn. You repeat this process until you get to the
end. The same process applies with a loom and it is called plain
weave.
Basic Weft Information
The first yarn woven has an end- it is called the tail. An1.5 inch of the yarn tail should remain
out when it is first introduced to the warp.
However, unlike the strips of paper used, you will use a string of yarn. It is continuous and it
must move between and around warp yarns.
The job of the weft is not only to decorate the warp, but also support the warp. The edges of
the warp, or the selvedges, should always be picked up by the weft yarn. This will ensure that your
weave remains straight and consistent. It will also secure your piece together. Missing one warp
yarn can disrupt your weaving pattern.
5 Steps to Take before weaving you project
1. Prepare a shed stick
What is a shed stick?
A shed stick is a piece of flat, thin wood or

plastic that allows you to weave between the warp
yarns easily. When the shed stick is positioned
vertically, it creates an opening, which allows you to
pass the weft through.
54
You may wonder why this is important. Think about the paper weaving
example. It is easy to move the paper pieces with your hands up and down, because
there are not so many pieces. But, when using a loom, your piece can have many
yarns to keep organized and the tension of the warp yarns must be kept. Therefore,
the yarns cannot be moved too much.
How to use a shed stick?
The more yarns the loom has, the more you must pay attention to the weaving
pattern, so a shed stick will hold in place one pattern. Let me explain with some
directions:
1. Weave the shed stick into the warp.

2. Start with the first yarn of the warp.
3. Weave the shed stick under the first yarn and over the next yarn.
4. Continue this pattern until you get to the end of the warp.
5. Keep the shed stick in between the warp yarns that you just woven through.
6. Center the shed stick.
7. Now one side of the plain weave pattern is being held in place by the shed stick.
Weft yarns are sent through easier.
8. How about the other yarns? Yep, those yarns you will have to weave in manually.
Just think of every other row as a small gift from your shed stick.
55
How to create a shed stick?
1. The shed stick must be (about1 inch to 1.5 inches)

longer than that warp diameter on each end – this will
allow you change the position of the shed stick while it
is between the warp.
2. Whether you use a piece of plastic or wood, the shed stick must be flat and thin.
You will run the shed stick along the warp often, so it should not have any fibers
that can grab hold to the yarns while it is moving
3. Dimensions of a shed stick vary depending on your project size, but a rectangular
form 12-14 inches by 1.5 inches is good.
4. A quick alternative is using a ruler. Its shape and
texture is ideal for this.
5. In the video tutorial below, I use a thin, sturdy piece of
cardboard as my shed stick. Careful though, not all
pieces are created equally, and sometimes they do snap when you place too
much pressure on them.
2. Add warp spacers
Before weaving any yarn, weave in warp

spacers. This can be a piece of card stock paper or
even a long paper towel.
There are a few reasons for this:
First, it gives space for tying the warp off at

the end of the project. Once the project is finished,
the piece will be cut and tied off in order to remove it
from the loom. You will need some extra yarn to
secure the woven piece in place. These extra yarns
are normally woven back into the piece later.
56
This additional space can also be used to attach to a dowel for hanging and
display. In this case, you must adjust the number of spacers for the size of the project
dowel.
Second, it controls the weft yarn. The first few rows of weaving can become
lost behind the initial yarns of the warp and the loom spacers (if you are using a
cardboard loom or a loom with a beam). Therefore, these warp spacers create a
barrier and give the weft a platform to start weaving from. This allows you to weave
straighter and consistently.
Weft yarns need help adjusting to the warp also. Normally when you weave
the first few rows, the weft is caught between the warp unevenly. These weft spacers
initiate the shaping of the woven piece. You will still have to adjust the weft yarns, but
the spacers work as a barrier that gives some structure to the initial weaving section.
Third, it gives structure to your warp. When weft yarns are added to the warp,
thewarp yarns spread out and sometimes loose their alignment. There can be
inconsistencies in the space increments between each warp yarn and they will be
need to be adjusted before weaving project yarns. Weaving a few spacers in before
the weft yarn, will help the warp straighten out and find its placement.
Note: You do not have to catch the edges of the warp when adding the spacers.
However, when adding the weft yarns next, you must catch the warp yarns.
57
3. Create shuttles/bobbins for your yarns
One way to get the weft yarns through the warp, is by wrapping them on a
bobbin or shuttle. There are some differences between the bobbins and shuttles, but
they are used for the same purpose. These terms “bobbin” and “shuttle” are
sometimes used to discuss the same thing, but here is the difference.
Yarn bobbins are smaller and light weight. You can cut a small piece of plastic
or card stock and wrap some weft yarns around it. These are great for tapestries
Yarn shuttles are a bit bigger and they can be bulkier, because they are used in
larger looms.
Directions:
✓ Cut a 6 inch by 2-inch rectangular form.
✓ On the shorter ends, cut two lines inward (to
create a triangle) that is 1.5 inches high.
✓ On the center of the paper shuttle, tape the end
(the tail) of your desired weft yarn. Be sure to

secure the tail so it is flat.
✓ Wrap the yarn around the paper shuttle until it is
full.
Note: Wrap enough yarn but not excessively. A thick shuttle can rub against the warp
and disrupt the previously woven yarns.
58
4. Control weaving density
Above: Less pressure used.

Below: More pressure used.
With each row of weft yarn you add,

secure the yarns by adding pressure. This
can be done by using a loom comb, or also
known as a loom beater (for tapestries).
There are various types and sizes of loom combs.
Some things to keep in mind about looms combs:
Similar to a hair comb, the wider the separation between the teeth of a comb,
the easier it glides between the warp yarns. When a wider comb passes through the
warp, but does not touch or push down every part of the weft yarn. In general, finer
combs concentrate on very specific areas and details. A fine-tooth loom comb pass
through all, or most, yarns in a section when brushing the warp.
When securing the weft yarns, apply the same amount of

pressure down in each row. This controls the density of
the woven pattern. Using more pressure, will create a
denser design. The warp yarns will not be so visible.
Using less pressure, will create a looser design. The warp
yarns will be more visible.
Tip: By using a ruler, you can monitor the width of the weft. Although the density of
the weft will be visible, a ruler will show a correlation of the yarns and width woven.
For example, 10 rows of yarn X, correlates to 1 inch.
You can check the measurements of the yarn by

wrapping it around a ruler. Wrap a weft yarn
around the ruler to see how many loops create
an inch. This will give you an idea of how much
59
yarn you need and the density of the yarn.
Comb Hack:
If you do not have a loom comb / beater, there are two alternatives. Use a
cleaned wide tooth or fine-tooth comb, like the ones for combing hair. You can also
use a fork that you can use for eating. Note: Hair combs and eating utensils should
be cleaned before and after use if you will be using them in a multipurpose fashion.
5. Control the edges
As mentioned in the Basic Weaving Terminology / Information section, edge control is

especially important. Here are my 2 top rules for staying in control of the warp edges,
or selvedge.
1. The most important edge rule is to always wrap the final warp yarn in the next row
of weaving. Never leave a warp yarn on its own because it will affect your weaving
pattern. It is especially important to include the final warp yarn in the next row so
that the weaving remains supported and cohesive.
2. When starting a new row, you will open the warp to insert the loom bobbin or
shuttle. Before beating the yarn, pinch the old end of the yarn edge, and gently
give it a pull. Keep the new row on a diagonal and slowly beat it down to the
previous row.
60
ASSESSMENT #2
PHILIPPINE INDIGENOUS ART: WEAVING

I. DIY LOOM
• Create your own functional DIY loom through following the steps given on the
discussion.
• You will take picture of each step while making your DIY loom for the
documentation.
• The way of submission is through a picture of your finish output (DIY Loom) and
send it to your Arts 1 instructor through Silid.
II. WOVEN TEXTILE
• Your output for this lesson is to create a woven textile using the given steps
indicated in the lesson.
• The dimension or the size of the woven cloth should be 3 inches in length and 2
inches in width and any color will do.
61

UNIT
3
PHILIPPINE INDIGENOUS ART: PHYSICAL ORNAMENT
TARGET GOALS:
• Create their own indigenous group provided with their own physical ornaments. (CR)
• Create their own tattoo designs inspired by the original tattoos of Apo Whang-od. (CR)
LESSON 3.1: PHYSICAL ORNAMENTS
• Explain physical ornaments. (U)
• Conclude how indigenous people gather their designs and inspirations in the form of
their ornaments. (U)
• Conclude how physical ornament enriches the creativeness and art of an indigenous
group. (U)
II. INPUT
What is Ornament?
In architecture, ornamentation can be applied or used by carving it in stones, metals and

even in woods. It can also be formed by plaster or clay, or even painted onto surfaces as applied
ornament. However, huge monuments or sculptures and the likes are exempted from the term. In
the human body, the patterns and/or prints are considered ornaments, including the different
pieces of jewelries that people wear in their body. Tattoo is also considered a physical ornament
(Leyuzon, 2017).
Physical ornament is an extension of how indigenous groups could show their creativity. Yet
the designs in their ornaments serve some purpose which are integrated to their culture and not
62
just with imagination or free will. Indigenous groups collaborate their lifestyle, ethics, needs, and
specially beliefs in the designs of their ornaments. The purpose of the ornaments differs from time
to time. However, the first purpose of the ornaments was purely for survival. Tools are still under
ornaments and so these tools were carrying the purpose of making the lives of the indigenous
people easier and more convenient. In addition, physical ornamentation could be in a form of
traditional costumes (textiles), tattoos, and jewelry. And most of their designs vary in the location,
user, and their function (Gacias, 2011). Here are some physical ornaments worn by the different
indigenous people or group:
1. The Tagalogs
a. Bracelets and chains of gold on arms but not on legs
b. No tattoos
2. The Visayans/Pintados “The Painted Ones”

a. Heavily tattooed
b. Wore lots of jewels (gold, ivory, and brass) in the ears, around their necks, arms,
leg
3. The Cagayanons
a. Black and white stones for jewelry, called bulaganes and bahandines
4. The Negritos
a. Simple
b. Clothing, girdles, necklaces, neckbands of braided rattan
Jewelry is another form of indigenous ornaments. The art of making jewelry is already
present.
In addition, ornaments design mostly comes from the creativity and innovations of each
indigenous group. Gathering inspirations and designs would differ from the environment, purpose,
functions and etc. Our brothers and sisters in the highlands like the Aeta’s wear plain and simple
attire for their clothing. Traditional Aetas, who are skilled in weaving and plating, wear wrap around
skirts or bark cloth (for women) and loin cloths for men. They are also into music and the arts –
making use of ornaments as accessories and have ensembles of instruments to create melodious
63
rhythms (Valdeavilla, 2018).
Ifugao tribe Lingling-o is used as either an earring or a

necklace pendant by Filipino tribes in the island of Luzon in
northern Philippines. It is also found in other areas within the
Philippines! The Ifugao, the Bontoc, Kalinga, and Gaddang
tribes wear them as pendants or necklaces or as earrings.
Filipino lingling-o been dated circa 500 BC. The lingling-o worn
by the Ifugao, Bontoc and Kalinga in the mountains of
Cordillera is frequently made of silver. Considered very valuable fertility charms linglingo are often
wedding gifts. Linglingo can be made of gold, jade, shell, clay, stone, brass or copper. The material
used, when making a lingling-o, is a sign of its owner’s social status (Tribalartasia, n.d.).
PRACTICE EXERCISE

1. Write your own definition of physical ornaments based on what you have read.
2. Why is it that the mediums/materials in making lingling-o could be with gold, jade, shell, clay,
stone, brass, or copper?
64
LESSON 3.2: THE LAST TATTOO ARTIST: APO WHANG-OD
• Describe themselves with Apo Whang-od. (U)

• Discuss how Apo Whang-od changes her village through the art of physical ornament by
tattooing. (U)
• Explain the importance of physical ornament to the indigenous group in terms of culture
and tradition. (AN)
II. INPUT
If there is one person who could best represent the rich culture of Kalinga, a province
located in the far north of the Philippines, it is none other than Whang Od, the oldest Filipino tribal
tattoo artist. Some even say she put Kalinga on the Philippine map of must-visit places for local
and foreigners alike. In fact, many people brave the cold weather and the 10-hour trip to the
mountains just to get inked by her.
Who is Whang-od Oggay?
Whang-od Oggay is known as the last mambabatok (Kalinga

tattooist) from the tribe of Butbut in Buscalan, Kalinga. She has been
tattooing for the past 80 years — including head hunters of the
indigenous tribe, at the beginning of her long career. These head
hunters were the warriors of their tribe, who protect their villages, to the
extent of killing their enemies. For them, it is a symbol of bravery and
courage. She also inked the skin of women from the tribe, the tattoos
are considered as a sign of beauty and elegance.
Whang-od is a living proof of the tribe’s batok (hand-tapping)

culture. Covering her body are tattoos with different meanings and designs. Each of her arms, she
said, took a day to be inked completely. After her body was covered, she related how her father
rejoiced and killed a pig to celebrate the feat. Now, after 80 years of tattooing, Whang-od is inking
foreign and Filipino visitors who visit her (Dumaraos, 2017).
65
In addition, over the years, her work became internationally recognized, leading to the
prosperity of her village. As a community, they now have more advanced means of farming, for
example, and a paved road that leads to the trailhead of their town, which sits high atop a mountain
of rice terraces. Whang-Od works with the same traditional designs that have adorned her tribe for
centuries. She doesn’t do custom work, and still uses a pomelo thorn as a needle and soot from
her cooking pot as ink. For me—a woman that’s already heavily tattooed—making the 12+ hour
journey to see Whang-Od is simply an honor. She’s more than an artist, Apo Whang-Od is a role
model for women who choose unconventional paths (Lewis, 2018).
Whang-Od’s Tattoo
Whang-od’s tribal tattoo ink is made up of charcoal and

water. Once mixed, it is tapped into the skin using a thorn from a
citrus tree — either from calamansi or pomelo. The thorn is then
attached to a 12-inch-long bamboo stick and from there, Whang-od
will start tapping it deep into your skin. She has sample designs so
that you can choose which design you’d like. The locals or your tour
guide will then gently relay your request to Whang-od and from
there she will start tapping your desired design.
Getting inked by Whang-od takes some courage as the

session can be painful, depending on your body’s tolerance. As a
sign of courtesy, visitors are also encouraged to bring in some
offerings for your host like food, medicine, and matches which are essential for their day-to-day
existence (Dumaraos, 2017).
Passing the tradition to her bloodline
Whang-od never married. She lost her significant other

during the Japanese occupation and since then, Whang-od has
stayed single. Without a child of her own to teach, she is
training her grandniece Grace Palicas to continue the tribe’s
tattoo tradition. She believes that she can only pass it to her
bloodline because if someone outside the tribe were to continue
66
the tradition, the tattoo would be infected.
For her part, Grace is more than willing to continue what the tribe has started. She has even
had the opportunity to participate in different tattoo festivals around the country.
Whang-od is now in her mid-90s and from the looks of it, she is not stopping anytime soon.
And there seems to be no shortage of people who want to be inked by her and believe in her art
(Dumaraos, 2017).
Meanings behind the Ink
The significance of tattoos varies perspectives with the different cultures. Tattoos are
protective markings from disease, especially for pregnant women in ancient Egyptians. In Thailand,
Yantra Tattoos are sacred markings on the body which act as a charm for those who bear it. On
the other hand, it is a Greek culture to mark their slave with tattoos to symbolize that it is their
“possession”. In the Philippines, tattoos during the pre-colonial age were a wide-spread tradition
that not just culminated one’s life as a warrior but it also had several connections with our animistic
roots.
It was William Henry Scott who recorded the names of tattoo designs of our ancestors which
mostly designs reflected the beautiful imagery of nature. An inch-wide vertical design that
resembles a snake or crocodiles’ scale pattern zigzagging from one’s legs to their waist is called
“labid”. “Bangut” was an exclusive tattoo design for the face of warriors, resembling the gaping jaw
of crocodile or sometimes the face of an eagle. In a similar way, there are tattoos which were only
done or applied on certain body parts such as “Ablay” for shoulder, “Dubdub” for chest and “Daya-
Daya” for the arms.
67
In a study made by Lorenz Lasco of UP Diliman entitled “Ang Kosmolohiya At Simbolismo

Ng Mga Sandatang Pilipino: Isang Panimulang Pag-aaral” (An Introductory Study on The
Cosmology and Symbolism of Ancient Philippine Weapons) taken from Dalumat Ejournal, he
observed the images of Pintados found in the Boxer Codex (1595), the tattoo designs on their
chest, thighs and back bear a striking similarity with the sun, while a snake like pattern runs down
their limbs. According to his study, the sun and the snake represent powerful beings that were
sacred to our ancestors.
The sun symbolizes the upper layer of the multi-layered universe found in Philippine
mythology which is known as the “Kaluwalhatian” (Sky World) where ancient gods dwell. Pigafetta,
the chronicler of Ferdinand Magellan witnessed in Cebu (and in Mactan) how the Babaylan revered
the sun in their rituals. Juan Salcedo also observed in Agusan that the Babaylan raised their hands
in the direction of the sun whenever they asked for a deity’s intervention. Snakes, on the other
hand, were associated with the underworld or “Kasakitan”; a reference to the large serpent familiar
of the Manobo goddess Dagau which is coiled below the five pillars that support the world. The
facial tattoo Bangut depicting the crocodile jaw is a symbol that links these tattooed warriors to a
Tagalog deity called Buwaya which acts as a psychopomp or being responsible for transporting
dead souls to their resting place using a coffin like object on his back. The artful tattoo designs
made by our ancestors are windows into the spirituality of our people during the period when they
are still untouched by colonizers (De Guzman, 2017).
68
PRACTICE EXERCISE

1. How did Apo Whang-od change her village through her artistic traditional tattooing?
2. How does physical ornament become an extension of indigenous groups, creativity and
outlet for their culture and tradition?
ASSESSMENT #3
PHILIPPINE INDIGENOUS ART: PHYSICAL ORNAMENT

I. Directions: (Conceptual Tribe)

✓ Create/conceptualize your own indigenous group.
✓ Write down 5 pieces of information that would tell the background of this
indigenous group.
✓ Draw different physical ornaments for your indigenous groups.
✓ Your indigenous person should have at least four (4) physical ornaments.
69
✓ Write down your answer on a separate sheet of paper (short bond paper) if
there are tables or graphic organizers kindly copy them and fill it out with
your answer on the other sheet of paper.
✓ Copy the heading format as shown below. Then fill out the needed
information.
✓ This activity will be a total of 30 points.
Example:
(Your own data)
*Indigenous group name
*Drawing
II. Directions: (Tattoo Stencil)

✓ Design and draw your own indigenous-inspired tattoos.
✓ Your tattoo designs should have a story behind it.
✓ Write the meaning or story of your tattoo design in 3-5 sentences only.
✓ Write/Draw down your answer in a separate sheet of paper (short bond

paper).
70

UNIT
4
PHILIPPINE INDIGENOUS ART: POTTERY
TARGET GOALS:
• Create DIY pots/jars through/using the method of Paper Mache and has a touch of
indigenous aesthetics or art. (C)
LESSON 4.1: POTTERY
• Define what is pottery. (U)
• Identify the different types of pottery. (R)
• Understand how the status of technology affects the progress of pottery. (U)
• Create DIY pots/jars through/using the method of Paper Mache and has a touch of
indigenous aesthetics or art. (C)
II. INPUT
History of Pottery
The first potter’s wheel was found in Mesopotamia between 6,000 and 4,000 BC. No longer
were pottery makers restricted to long process of hand molding clay. They have more freedom in
experimenting with new forms and aesthetics.
Pottery is made up of ceramic materials and encompasses major types of pottery wares
such as (a) earthenware (b), stoneware (c) and porcelain. To be considered pottery, a piece must
be a fired ceramic ware that contains clay when formed.
Earthenware is clay fired at relatively low temperatures of between 1,000 to 1,150 degrees.
This results in a hardened but brittle material which is slightly porous (small holes through which
liquid or air can go through), therefore cannot be used to contain water. To remedy this, a glaze is
used to cover the object before it is fired in the kiln for a second time and rendered waterproof.
71
(a) Earthenware Pots (b) Stoneware Pots
(c) Porcelain Pots
Stoneware is made from a particular clay which is fired at a higher temperature of 1,200°C.
This results in a more durable material, with a denser, stone-like quality. The finished product will
be waterproof and unlike earthenware, does not need to be glazed.
On the other hand, Porcelain comes from a refined clay which is fired at very high
temperatures of approximately 1,200–1,450°C. The result is an extremely hard, shiny material
often white and translucent in appearance. The earliest forms of porcelain originated in China
around 1600BC and this association popularized the term 'fine china’, or bone china when the
porcelain has had ground animal bone added to the clay, in order to create an even more durable
material (Nom living, n.d.).
The earliest types of items found by archaeologists were generally undecorated, unglazed,
hand-formed clay vessels, by 6000 BC. Places like the Middle East, China and Europe had
developed a wide array of design techniques.
72
Venus of Dolni Vestonice was the earliest ceramic object dated as far back as 29,000 BC in
Czech Republic. With limited access to tools, clay also let these people mold and shape by hand,
creating human statuettes, bowls, utensils and more.
As soon as early humans developed fire, they discovered that heating these formed clay
objects transformed them into a different material that was permanent and much more useful to
them — mainly items like bowls, plates, and utensils for storing and preparing food.
Pottery is one of the most durable forms of art, with many fragments found from almost all
time periods and civilizations throughout the world.
Historical evidence points to two facts about ceramic wares in the Philippines: that there
existed traditional forms of pottery making by different tribal communities; and that these traditional
forms have been abandoned/displaced with the advent of Chinese porcelain (Mendoza, 2017).
In the Philippines, the beginning in the Song period, the flood of Chinese porcelain dealt a
deathblow to traditional pottery styles. Given the thousands of tons of porcelain shards excavated
in the islands, the period of Filipino history from the Tang to the arrival of the Spanish at Cebu in
1565 has been termed "the Porcelain Age. The peoples of Borneo and the Philippines saw them
(porcelain) in magical terms. The jars were given names, inducted into clans, married to each
other, buried with ceremony, and passed down through generations; they were seen to converse,
chase one another, turn into animals and forest spirits, take human form, heal the sick, tell
fortunes, and issues prophecies. The Palawan people of Palawan Island, between Borneo and the
Philippines, believed that shooting stars striking the earth gave birth to porcelain jars. The Tinguian
from the region of Abra in the Philippines and the Ifugao from the province of that name regarded
73
the jars as gifts from gods who lived in the sky and in local caves. The Tagbanuaon Palawan Island
summoned deities and spirits to tribal feasts by tapping their porcelain jars to give a musical ring.
Blowing across the tops of the vessels produced vibrating moans, which were read as divine
warnings against calamity (Mendoza, 2017).
Similar to other archipelagic countries in Southeast Asia such as Indonesia and Malaysia,
the regard for pottery in earlier times in the context of the supernatural world meant that the
peoples in these areas viewed porcelain as having more supernatural powers than their
earthenware. Hence, traditional forms of pottery making were abandoned after Chinese porcelain
was introduced.
However, the ancient Philippines had a very rich tradition of pottery as verified by the finds
at Ayub Cave in South Cotabato and other parts of the islands. Japanese texts mentioned trading
expeditions to the island of Rusun (Luzon) for the highly-prized Rusun and Namban jars. Japanese
texts were very specific about these jars being made in Luzon. The Tokiko, for example, calls the
Rusun and Namban jars, Ru-sun tsukuru or Lu-sung ch'i (in Chinese), which means simply "made
in Luzon." These Rusun jars, which had rokuru (wheel mark), were said to be more precious than
gold because of its ability to act as tea canisters and enhance the fermentation process (Mendoza,
2017).
Most intense archaeological discoveries in Philippine history under pottery
The Philippine Manunggul Jar
Victor Decalan, Hans Kasten and other volunteer workers from the
United States Peace Corps were the ones who discovered the Manunggul
Jar in a cave believed to be a burial site (Manunggul, was part of the
archaeologically significant Tabon Cave Complex in Lipuun Point, Quezon,
Palawan) discovered on March 1964. The Manunggul jar was one of the
numerous jars found but in all respect it was unique (Chua, 2020).
Robert Fox described the jar in his landmark work on the Tabon Caves: “The burial jar with
a cover featuring ship-of-the-dead is perhaps unrivalled in Southeast Asia; the work of an artist and
master potter. This vessel provides a clear example of a cultural link between the archaeological
74
past and the ethnographic present. The boatman is steering rather

than padding the "ship." The mast of the boat was not recovered. Both
figures appear to be wearing a band tied over the crown of the head
and under the jaw; a pattern still encountered in burial practices among
the indigenous peoples in Southern Philippines. The manner in which
the hands of the front figure are folded across the chest is also a
widespread practice in the Islands when arranging the corpse.”
The carved prow and eye motif of the spirit boat is still found on the traditional watercraft of
the Sulu Archipelago, Borneo and Malaysia. Similarities in the execution of the ears, eyes, nose,
and mouth of the figures may be seen today in the woodcarving of Taiwan, the Philippines, and
elsewhere in Southeast Asia (Chua, 2020).
The Manunggul jar was a symbol of the National Museum’s important role in spearheading
the preservation the cultural heritage “pamana” using multi-disciplinary techniques. In this light, a
simple jar became the embodiment of the history, experiences, and aspirations of the people and
how the values of maka-Diyos, makatao at makabansa became part the value system of the
Filipinos (Chua, 2020).
The “Yawning” Jarlet of Leta-Leta Cave
This jarlet, declared a National Cultural Treasure, is the earliest

pot recovered in the country. It has a distinct rim that resembles a
shouting or yawning person, hence the name. Discovered by Dr. Robert
Fox in Leta-Leta Cave, northern Palawan in 1965, this jarlet is
associated to the Late Neolithic period (approximately 1000 to 1500
BC). It was excavated in a burial site where a stone adze, as well as
other intact pieces of pottery–including a stem cup and a footed jarlet,
both of which are also declared national cultural treasures were
recovered.
75
The Flying Elephant of Lena Shoal
Another National Cultural Treasure, this blue-and-white dish with

flying elephant design is one of only two pieces ever recovered in the
world. It was retrieved from the Lena Shoal wreck site in Palawan in
1997 through an underwater exploration project initiated by the Far
Eastern Foundation for Nautical Archaeology (FEFNA) and the National
Museum. Made during the Middle Ming Dynasty (ca. 1500), the
porcelain dish was recovered from the wreck site of a Chinese trading
vessel. It features black and brown specks in the paste as well as lotus scroll with pointed leaves
on the rim. In its center, you can clearly see a dark-blue flying elephant design made even more
dramatic by a background of stormy and foamy waves.
Maitum Anthropomorphic Burial Jar No. 21
In 1991, archaeologists from the National Museum excavated

several clay burial jars in Ayub Cave, Pinol, Maitum, Saranggani
Province. These Metal Age (ca. 5 BC to 225 AD) jars depict human
beings and feature three types of heads: Plain, with perforations, and
with red (hematite) and black (organic matter) paints (Miksic, 2013).
PRACTICE EXERCISE
Directions:
1. When could you consider a craft that is under pottery? Support your claim. Limit your
answer in 3-5 sentences only.
2. Between stoneware and porcelain which is more durable? Limit your answer in 3-5
sentences only.
76
LESSON 4.2: METHODS AND TECHNIQUES OF POTTERY
• Identify the different techniques, equipment, and tools of pottery. (R)

• Differentiate the classifications of Pottery based on its characteristics. (U)
• Determine things appropriate for the purpose and objective for pottery. (U)
II. INPUT
Since clay is found nearly everywhere, early humans had easy access to this responsive
material, allowing them to mold and shape the world they observed around them. With limited
access to tools, clay also let these people mold and shape by hand, creating human statuettes,
bowls, utensils and more. There are two main methods of making pottery these are the hand built
and wheel thrown (Deneen, 2019).
Three (3) main techniques are involved in making Hand Built Pottery:
1. Pinch pot – a simple form of hand-made pottery that’s been around since ancient times.
The potter kneads the clay and presses it into the shape of a pot, dish, bowl or cup.
2. Coiling – using clay, the potter rolls it until it forms a long roll. Then,
by placing one coil on top of another, different shapes are formed.
3. Slab – a thick, flat plate or slice of clay is cut into shapes

which are then joined to form an object. The joined edges
are scored and slip is used (slip is clay diluted with water
to the consistency of cream, used for joining individual
pieces of clay).
77
Wheel-thrown Pottery, however, requires special knowledge

about how to work the wheel and handle the clay while it’s
spinning, among other things.
Classifications of Clay
a. Earthenware is made of baked clay and is often finished

in a glaze. Because it’s a porous material, earthenware
pottery can crack when exposed to water or heated,
such as in the dishwasher (Deneen, 2019). Earthenware,
pottery that has not been fired to the point of verification
and is thus slightly porous and coarser than stoneware
and porcelain (Augustyn, 2020).
b. Stoneware is one of the most popular clay materials to

make tableware with because of its imperviousness to
liquid and heat.
c. Porcelain pottery closely resembles glass and does

best with undergoing in firing process that makes sure
that the required firing temperatures were reached. We
would not advise starting with this material. It would be
better to hone your skills on either earthenware or
stoneware before moving up to porcelain (Deneen, 2019).
Main equipment needed
The main piece of equipment you’ll need to get your pottery hobby off the ground is a kiln
– a simple device for firing and baking glazes onto the pottery.
78
There are two (2) types of pottery wheel or potter’s wheel. The electrical-powered (a)
which is small electric wheel is a good choice because it doesn’t require the user to develop the
coordination needed to kick the wheel while forming a shape. And the other is the manual-
powered (b) which gives the user more control than an electrically powered wheel (Deneen,
2019).
Main tools used
1. Apron and towels – pottery is a very messy form of art. Don’t wreck your clothes and
keep your hands clean with an apron and towels.
2. Sponges – these versatile tools are incredibly useful when working at the potter’s wheel.
Sponges help absorb or distribute water during throwing, making it easier to mold and
shape the clay. A sponge attached to an extender can help remove or distribute water to
and from hard-to-reach areas.
3. Wire – you’ll need a thin piece of wire in order to remove the piece of pottery from the
wheel once it’s complete. The wire is usually nylon or metal with wooden notches at
each end which the user holds.
4. Ribs and scrapers – these handy tools help shape and smooth pottery as it’s being
formed on the wheel. They can also be used during the rib-and-hand technique used on
coiled pottery.
5. Potter’s needles – these specialized pottery tools resemble long needles and are
perfect for a variety of different uses, such as trimming edges on a wheel or scoring
slabs of clay for hand throwing applications.
6. Fettling knives – available in soft or hard temper, these knives can be used to achieve
79
desired angled and curved cuts. Soft fettling knives are flexible and can be bent into a
variety of shapes, while hard fettling knives are more inflexible and are better for making
clean, straight cuts.
7. Chamois leather – these tools are great for smoothing the rim of pots or compressing
edges of thrown ware.
8. Loop, wire, and ribbon tools – a set of these will give you versatility when trimming
slabs of clay, especially when hand molding pottery.
9. Brushes – great for when trying to carry water and slip to specific areas when you’re
molding clay. You will also need brushes to apply any paint, underglaze or overglaze.
10. Throwing stick – this tool assists in cleaning up the outside of pottery pieces, as well as
making an undercut bevel at the base. A bevel makes cutting the pot from the wheel
much simpler.
11. Wooden ribs – is a wooden rib used to smoothen the base of your pottery, especially
shallow bowls or plates (Deneen, 2019).
PRACTICE EXERCISE
Directions:
1. Do professional potters recommend making porcelain pots to beginner? Why or why

not? Limit your answer in 3-5 sentences only.
2. Between earthenware and stoneware, which is better for the purpose of storage? Limit
your answer in 3-5 sentences only.
80
ASSESSMENT #4
PHILIPPINE INDIGENOUS ART: POTTERY

I. Directions: (DIY Pots/Jars)
✓ You will make your DIY pots/jars through/using the method of paper mache.
✓ I will give you the freedom to choose the design and size of your DIY pots/jars
as long as it undergoes the method of paper mache.
✓ However, still, remember and be concerned that your craft-DIY pots/jars

should be saleable and has a touch of indigenous aesthetics or art.
✓ And here’s a tip you could achieve the concept of indigenous through the
design, color, and accessories that would compose your DIY pots/jars.
✓ You should have documentation for making your DIY pots/jars. You need to
take pictures of the important events that take place before, during and after
having the finished product for the teacher to verify that it’s your own work.
✓ Rating: Rubric # 4.
81

UNIT
5
PHILIPPINE INDIGENOUS ART: SCULPTURE
TARGET GOALS:
• Infer the effects of acculturation to forms of art and its progress. (AN)
• Conclude how art through sculpting changes and develops a person and the society.
(AN)
LESSON 5.1: SCULPTURE
• Discuss the contribution of some of the Philippine National Artists for Sculpture. (U)
• Discover the different events that brought change and development to Philippine
sculpture. (AN)
II. INPUT
The Pre-colonial / Un-colonial
The mortuary practice of grave goods provision that extends from the Manunggul Jar to the
Agusan Hoard bespeaks of a peculiar character found not only among Filipinos, but also among
other major cultures great and small throughout the world. Other than the mortuary tradition, one
also finds the sculpture of religious and spiritual deities in Luzon, which often took the form of
paired male-female nudes that recall collective narratives of tribal genesis—and in the case of the
Ifugao, used pragmatically to guard the ricefields and literally “stomp on” invading rats. These
paired statues are incidentally found as grave markers among the Mahafaly-Malagasy in
Madagascar, who are the westernmost of the Austronesian peoples, of which the Filipinos count as
among the oldest branches. Called bulol by the Ifugaos, and likha by pre-Colonial Tagalogs, these
anthropomorphic gendered sculptures are what remains of a large sculptural tradition destroyed by
Catholic missionary zeal, of which fragments only remain to narrate their tantalizing aesthetic
82
strength, and cultural-political relevance as images around which a vast architecture of social
conditioning, economic class exchange, administration, healing and warfare, political decision
making, and political-aesthetic renewal converged (Canete, 2013).
From Reconquista to Secularism: Folk and the City
With Spanish colonization starting in 1565, and ending with the entry of America in 1898,
sculptural production in lowland colonized areas was radically re-formed to suit the new
conventions of Catholic iconography, utilizing mostly Chinese labor and the attendant permutations
caused by the amalgamation between Chinese-Filipino-Spanish blood and cultural infusions
throughout the three centuries of rule from the viceroyalty of Nueva España and, after 1821, direct
rule from Madrid. The system of colonial economy centering on the Galleon trade of prestige goods
between China, the Philippines, Nueva España and Spain would also characterize sculptural
production from the early 17th to late-18th Centuries with a distinct aesthetic flavor, as when the
carving of santos, retablos, relieves, and Iglesia architectural details would reflect a hybrid infusion
of Mexican, Chinese, Malay, and Hispanic forms. The dressing up of santos for the regular round
of processions on top of elaborately decorated carrozas would also cue us to the adaptation of
indigenous concepts of “sacred incarnation” through the tedious processes of painting and garbing
up these religious statues using a profusion of floral and curvilinear forms, rich colors, and precious
fabrics, metals and stones as an act of devotion and social capitalization, in ways not dissimilar to
the older practices of “feeding” likha with real food, and gilding their bodies in gold. As most of the
early sculptors neither signed their works, nor where they documented by the friars under whom
they worked, the earliest names that come to us begin from the second period of Spanish
colonization (Canete, 2013).
Modernity, Post modernity, and Post colonialism
The arrival of the Americans hastened the secular trend of Philippine sculpture by opening
the floodgates of education—as well as the opportunities of mass emancipation—via the University
of the Philippines School of Fine Arts (now the College of Fine Arts), of which the more prominent
early graduates were Moises Villaluz and Guillermo Estrella Tolentino. Tolentino’s rise as the most
prominent Filipino exponent of the Beaux Arts academic tradition of sculpture from the West was
initiated by his collegiate grounding at UP, and furthered by studies in New York and Rome.
Tolentino’s distinct output of nationalist public statuary, which adhered to the orthodox traditions of
83
the Roman academy, but were also part of an indigenization of the romantic aesthetic nationalism
that arrived belatedly in the closing years of Spanish rule (Canete, 2013).
Early carved human figurines are known from the cordilleras. Still today, the bulols, or "Ifugao rice
Gods," are kept in the house or granary, and are usually made in pairs. They are carved of narra
wood, which represents wealth, happiness, and well-being. Every step in their production requires
a ceremony, from tree selection to arrival at the owner's house. A consecrated bulol has been
bathed in pig's blood, had myths recited to it, and received offerings of wine, ritual boxes, and rice
cakes. The carvings brought to the Philippines by early Arab and Russian missionaries were of
beveled type as the slanting type called Okkil. Although the word literally means XXX it is not
confined to carving alone but also refers to design. A familiar example of sculpture with the
integration of architecture is the Art Deco Style of the Metropolitan Theater at Liwasang Bonifacio
completed by Juan Arellano in 1931.
Woodcarving comes in ornamental form in the houses of the Maranao like that of the
"torogan" which features the "panolong", an extended beam carved with the Sarimanok or the
Naga design (Silent Gardens, 2020).
Famous Filipino Sculptors
Filipino sculptors came to be known in the middle of the 19th century.

Classical Philippine sculpture reached its peak in the works of Guillermo
Tolentino (1890-1976). His best-known masterpiece is the Bonifacio
Monument, which is a group sculpture composed of numerous figures
massed around a central obelisk. The principal figure is Andres Bonifacio,
leader of the revolution against Spain in 1896. Behind him stands Emilio
84
Jacinto, the brains of the Katipunan. The Bonifacio Monument - completed in 1933 -- marked the
apex of Tolentino's career (NCCA, n.d.).
Napoleon V. Abueva is known as the "Father of Modern Philippine Sculpture". He was born
in Tagbilaran, Bohol in 1930. In 1951, he won the Pura Villanueva-Kalaw scholarship and finished
Bachelor of Arts in Sculpture in University of the Philippines in 1953 (Silent Gardens, 2020).
One of Tolentino'’s pupils, is one of the pioneering modernists in

sculpture. He used various media. And his stylization bordered on the
abstract as in Allegorical Harpoon, in which the dominant horizontal
thrust of the figure evokes the vitality of primitive forms.
Abueva'’s more famous work is Fredesvinda, which was included

in the First ASEAN Sculpture Symposium held in Fort Canning Hill,
Singapore, from March 27 to April 26, 1981 (NCCA, n.d.).
Abueva utilized almost all kinds of materials from hard wood

(molave, acacia, langka wood, ipil, kamagong, palm wood and bamboo) to
adobe, metal, stainless steel, cement, marble, bronze, iron, alabaster,
coral and brass. Among the major works of Abueva are: Kaganapan
(1953), Kiss of Judas (1955), The Transfiguration at the Eternal Garden
Memorial Park (1979), Sunburst at the Peninsula Manila Hotel (1994) and
the bronze figure of Teodoro M. Kalaw in front of National Library. The
Pegaraw pegasus and tamaraw by Napoleon V. Abueva (Silent Gardens, 2020).
85
PRACTICE EXERCISE
Directions:
1. Between the two (2) famous National artists in sculpture. Which is the best for you?
And what is his specific artwork (sculpture) are you greatly amazed? Support your
claim in 5-7 sentences only.
2. Cite a realistic example of how the forms of art in the Philippines like sculpture were
affected with acculturation from early indigenous inhibitors of our land? Limit your
answer in 3-5 sentences only.
86
LESSON 5.2: KINDS, METHODS, AND TECHNIQUES IN SCULPTING
• Describe the two (2) major sculptural processes. (U)

• Explain what is wire sculpting. (U)
• Compare and contrast the techniques of sculpture. (AN)
II. INPUT
2 Major sculptural processes
1. Subtractive – unwanted materials are cut away.

2. Additive – construction of a figure by putting together.
Four (4) techniques in sculpture
1. Carving – It is done by cutting or chipping away unwanted shapes or parts from a mass
of wood, stone, or other hard material. Carving is one of the subtractive processes of
sculpture wherein materials are systematically eliminated from outside in (Getty, n.d.).
2. Modeling – It is an additive process. Malleable material (such as clay) is built up

(sometimes over an armature) and shape to create a form like modeled sculptures
(Getty, n.d). Unlike carving, corrections are possible during modeling, and the result—
fired clay or preserved wax—is not as permanent as a stone or wood carving (Augustyn,
2020).
87
3. Casting – Materials that are used for cast sculpture are melted down-usually metal-that
is then poured into a mold. Usually bronze, the mold is allowed to cool, thereby
hardening the metal (Getty, n.d.).
4. Constructing/Assembling – Assembling is an additive

process. Assembled sculptures are created by gathering and
joining different materials by the sculptor (Getty, n.d.). The
sculptor joins prefabricated elements as in welded metal
constructions. This is also additive sculpture. Three-
dimensional sculpture from everyday found objects and can
be used to create dramatic, humorous, satirical, and emotional works of art. Steel, wood,
and found materials are glued, welded, or connected in some other fashion to create a
sculpture (Dantes, 2017).
Characteristics of the materials used in sculpture
Materials used in Sculpture:
1. Stone – hard and durable, weather and fire resistant, but is heavy and durable.
a) Basalt and Diorite (black and hard)
b) Marble (finely-grained, with crystalline sparkle)
c) Granite (tough, coarse-grained but suitable for bold effects
d) Limestone (Softer)
88
2. Wood – lighter, softer, and cheaper, and is easy to cut.

3. Terra Cotta – which means “baked earth” is made by firing clay, as in pottery making.
4. Bronze/Metal – is solid and too expensive. The difficult process of casting bronze is one
of its disadvantages.
Kinds of sculpture
1. Relief – attached to a surface or a background

2. Free-standing or full-round – free standing sculpture that can be seen from all sides.
3. Kinetic and Mobiles – are moving three-dimensional figures, best example is those
which are suspended on air.
'Boy Tsinelas' re-purposes flip-flops into action figures

by Barnaby Lo
When asked how he makes action figures from flip-flops –

or tsinelas in Filipino – Elmer Padilla could hardly come up
with an explanation.
"I guess it's just talent. I didn't learn it. I just create them
with my mind and hand."
There are many things in Elmer's life he finds hard to explain these days. Less than two
months ago, he was barely making ends meet as a rickshaw driver in his hometown in the
central Philippine province of Samar. He said he's worked all kinds of jobs, but none of them
earned him enough to provide a decent life for his family.
"When I don't drive, I dive, using only a tube attached to a compressor to breathe, to fish. Life
was really hard," Elmer related to CGTN. With little opportunity in his hometown to lift his
family out of poverty, he decided to move his family to the big city. He had family in Imus, a city
not far from the Philippine capital Manila, so that's where they first settled. He tried to apply for
a job in construction but failed. With less than a dollar left in his pocket, he walked the streets
in desperation.
89
His one last shot, Elmer thought, was to use a talent he knew he had but was never much of a
moneymaker. He collected discarded flip-flops, sat outside a market, then started cutting the
flip-flops and piecing them together to make action figures. Moments later, a crowd had formed
around him.
"It felt good that people were watching, and that people bought what I made," Elmer said.
Those people took photos and posted them on Facebook.

From then on, one thing happened after another. A local
television news magazine picked up his story. Then a
reporter from a rival network, Marie Lozano, asked him if
he wanted to make action figures for Chris Hemsworth
and Mark Ruffalo, the actors who play Thor and The Hulk
in Marvel movies, as she was set to interview them. He
gamely obliged of course, and in footage released by
ABS-CBN News, the two actors were thrilled when they
received the toys. Mark Ruffalo even went out of his way
to tweet about Elmer and his creation, which he described
as "inventively creative, sustainable, and just pure
awesome."
If Elmer's life hadn't changed before then, that tweet
completely turned things around for him.
"I can't believe that someone I idolize has expressed so

much appreciation for my work, especially the part where
he said they're environment-friendly. I am so grateful,"
Elmer said.
Of course, Elmer was one of the first to see the latest Marvel film "Thor: Ragnarok", a full week
before its worldwide release. And if he's not on television getting interviewed, he's at a toy or
comic book event. All that while orders for his toys are piling.
"I have to really sit down and work soon," he told CGTN, "Yours is the last interview I'm
giving."
90
Know more about him by searching this on YouTube: Action Figures Made from Flip Flops |
OMG PH
Link: https://www.youtube.com/watch?v=uk5uSgaWd68
Wire Sculpting
Overview:
An ancient folk art form, wirework was probably first practiced by the Egyptians beginning
around 3,000 BC. By the mid-nineteenth century this lively folk art flourished with the availability of
an impressive range of products from kitchen implements to wire fencing. By the 1920's, wire
sculpture introduced this medium to the world of fine art (HSN, 2020).
Basic equipment:
Pliers are used to bend and shape wire, and usually only the most basic kinds of wire
cutters and pliers are needed.
• Round-nose pliers are versatile pliers that are especially good for bending wire into
smaller round loops or circles, because the jaw consists of two smooth, slender cones. The
diameter of a finished circle is determined by where on the cone the wire is wrapped ¾
nearer the base for a larger circle or toward the tip for a tiny circle. Squeeze the jaws
together to see how the gap between the two cones tapers, closing at the tip. Find the spot
in the gap that matches the wire thickness to choose the appropriate spot for wrapping. Half-
round pliers are useful for bending wire into broad curves.
• Flat-nose pliers have a flat smooth surface on the inside of the jaw, making this the
tool to use if you want to grip wire without marring it. These pliers are also good for bending
right angles into the wire (HSN, 2020).
Basic techniques:
Wire is a remarkably malleable material. It can be braided, coiled, twisted, wrapped, corded,
woven, crocheted, spiraled, filigreed and fashioned into innumerable wonderful shapes.
➢ Twisting wire
Twisting two or more wires together adds strength and creates texture. Soft wires such as
91
copper are the easiest to twist. Harder wires such as galvanized wire require more effort and
caution. Letting go of the wires prematurely may cause them to spin dangerously out of control.
The easiest method for twisting wire is with a hand drill, giving you more control over the
wire. Start with a piece of wire at least three times as long as the desired twisted length, keeping in
mind that the tighter the twist, the more wire you'll need. Fold the wire in half and wrap it around a
table leg or doorknob. If necessary, place some padding between the wire and the doorknob or
table leg to protect the surface. Place a cup hook in the drill, and secure each wire ends to the cup
hook. While holding the wire taut, slowly turn the drill handle, twisting the wire.
If you don't have a hand drill, you can create your own modified version with a wooden coat
hanger that has a revolving wire hook. Cut a piece of wire at least three times as long as the
desired twisted length. Fold the length of wire in half and loop it around a door handle or other
secure point. Wrap each wire ends at least three times around the hanger, on either side of the
handle, to secure. Step back until the wire is taut and begin rotating the coat hanger. For an even
twist, hold the wire horizontally and don't relax your grip. Twist the wire to the desired degree,
taking care not to over twist or the wire may snap. Remove the wire from the drill or door handle
and cut both ends.
➢ Basic Anchor Loop

Most wire craft designs start with a basic anchor loop. Grasp the end of the
wire with round-nose pliers, about 1/4" down from the end of the nose, keeping a firm
grip on the pliers' handles. Create a tight loop by carefully winding the wire around
the nose of the pliers by either turning the pliers or by pulling the wire around.
Remove the loop from the nose of the pliers, and place the looped end between the
tips of the pliers, squeezing to flatten out the end.
➢ Wrapping Wire
When wrapping wire, the core wire should be thicker and harder than the wrapping wire.
Two pieces of the same thickness can be used, if the wrapping wire is soft enough, copper wire is
ideal. When cutting the core wire, leave an extra 2-1/2" to form the winding loop. If you are using
long lengths of wire, you may want to coil them first so they won't become unmanageable.
Using round-nose pliers, make a loop at the end of the core wire and attach the wrapping
92
wire to this loop. Insert a pencil or chopstick into the loop and use it as a winder
by rotating it with one hand. While winding, use your other hand to tighten and
scrunch the wire coils so that the wire is closely wrapped. You can also use flat
chain-nose pliers, taking care not to damage the color coating.
➢ Coils
Coils, a commonly used decorative shape, add grace and style to a
design, while removing the hazard of sharp ends.
Closed Coils: Using round-nose pliers, make a small loop at the end of the
wire. Hold the loop firmly with parallel or channel-type pliers, and continue
bending the wire around itself until you have a coil of the desired size. Keep
adjusting the position of the pliers as you work, taking care not to mar the
wire.
Open Coils: Using round-nosed pliers, make a small loop at the end of the wire. Holding
the loop in the pliers, place your thumb against the wire and form a curve, eyeballing the
space you want between the rings of the coil. Finally, carefully flatten the coil with
parallel (channel-type) pliers.
Flattened Extended Coils: The flattened extended coil is a quick and easy
way to form decorative trim or a structural device such as the side walls of a
container.
Wrap the wire several times around a broomstick or dowel to make a coil.
Remove the wire from the broomstick when the coils reach the desired
length. Splay out or flatten the loops one by one by holding them firmly
between your fingers and thumbs, or by squeezing a small group of coils
with nylon jaw pliers. Keep splaying out or squeezing the loops until the
whole coil has been flattened. The loops will now look more oval than round. You can stretch the
coil further to open the loops if desired.
Tip: Make a length of dimensional coils by wrapping wire around a dowel.

Remove the wire from the dowel when they reach the desired length.
After removing the coiled wire from the dowel, use nylon jaw pliers to tuck
93
the sharp ends in and to manipulate the coils into any manner of shapes.
Tip: To slightly separate wire coils evenly, slip the blunt edge of a butter knife between the coils
and rotate the knife's blade to separate the coils.
➢ Scrollwork or Ribbon Coils

Place your wire on an anvil or other hard, flat
surface; hammer the length of wire into a flat ribbon
shape. Use round-nose pliers to shape the wire
around the plier's jaw. Adjust the pliers as
necessary, and continue scrolling to form a coil. Use
nylon jaw pliers in incorporating the coil into another wire piece.
➢ Weaving
Weaving, knitting and lace-making techniques can be drawn on to make basketry and textile
designs. Fine enameled copper wire is especially suitable for weaving as it is soft and pliable,
and it comes in a wide range of colors.
a. The simplest way to weave is by winding wire over and under
struts or spokes. To create struts, cut equal lengths of wire and
fold them loosely at their halfway points, or points of intersection.
Holding the wires in one hand, attach a length of wire to the
center and start weaving around the wire spokes in an
over/under fashion, fanning the spokes in a circle as you go.
After going around three times, splice in an additional spoke to get an uneven
number, in order to establish the over/under pattern. Lay a new spoke next to one
that is already in the weaving, and as you continue weaving, incorporate the new rib
into the pattern, spreading the spokes in a uniform circle as you go.
b. For a more closely woven, tidier finish, weave around an even

number of struts by passing the wire over each strut and looping
it back around the wire strut to create a smooth, closely woven
surface.
94
c. Follow the previous technique, but reverse the weave, this time
passing the wire under each strut before looping it back around the
wire strut to create ridges in the weave.
➢ Loop Joins
Loop joins are used for attaching two pieces of wire together, such as for a chain. To make
the links of a chain out of wire, you essentially create small figure eights with perpendicular loops.
Begin by bending the end of a piece of wire about 1/4" at a 90-degree angle with flat-nose pliers
and form a small loop with the round-nose pliers. Grasp this loop with the flat-nose pliers and bend
the wire at a 90-degree angle. Cut the wire, leaving about 1/4" length if you measure from the loop.
Turn this length into another loop with the round-nose pliers. Make enough figure eight links for the
length of chain you want. Join the links by opening and closing the loops with the flat-nose pliers, to
keep them round. Be careful that you do not unwind the loops.
➢ Wire Beads
Twist wire into individual round beads, just as if you were winding a ball of yarn. To make a
large wire ball, take one 24" piece of 18-gauge wire. Make a loop at one end. About 1/2" below the
loop, bend the wire loosely back on itself. Hold onto this part of the wire with the flat-nose pliers.
Use your hands to wrap the length of wire around the center post with the loop on it. Continue to
wrap the wire, much like the way you would wind a ball of string. If you want an airy ball, wrap
loosely. If you want a dense ball, pull the wire tight. Use the flat-nose pliers to help manipulate the
wire if needed. The pliers are also useful for holding onto the ball--you will need to keep shifting
where you are holding the ball as you wrap it. When the ball is approximately 5/8" in diameter, or
the size you want it to be, thread the end of the wire through the middle of the ball along the center
post and out the opposite end. Create a loop on the opposite side of the ball from the first loop.
95
➢ Hook and Eye Clasp
For the hook, cut a 6" piece of wire and bend it against itself tightly, using flat-nose pliers.
With the base of the round-nose pliers, form a rounded hook shape about 1/2" from the folded end,
keeping the two pieces of wire side by side. Using the flat-nose pliers, grasp the wire "tails" 3/4"
down from the bend of the hook. Bend one tail at a 90-degree angle forward and the other at a 90-
degree angle backward. Using one of the tails, wrap around the two wires toward the hook,
creating a tight coil. You will need to hold the two pieces of wire together with the flat-nose pliers
while wrapping. Trim away any excess wire. Trim the remaining tail to 1/2" and create a loop with
the round-nose pliers. Use this loop for attaching the chain links together.
For a ring to go with the hook, wrap a short piece of wire measuring about 2", around the
base of the round-nose pliers. Keep working the pliers so that you are creating a large circle coil,
about 1/4" in diameter. You need to create a split ring that has overlapping ends, like a key chain
ring. Remove any excess wire and tighten the ring with the flat-nose pliers if needed.
Tip: To reduce the amount of tweaking on the split ring,

make three rotations and then trim the ring down so that the
ends overlap only once.
➢ Hardening
Wire hardening is the process of stiffening the wire to strengthen it and lock in its design by
manipulating the wire. Nylon jaw pliers can gently flatten and harden wire without nicking or
changing the diameter of the wire. Two sizes of pliers are available: regular and thin-nosed, for
96
tighter places.
d. Moving the wire gently back and forth several times will result in hardening it. For
example, after moving wire loops backwards and forward several times, a noticeable
stiffening of the wire occurs, locking in the shape of the design.
e. Another method, hammering, will (1) harden the wire, (2) flatten the wire, (3) flatten
the design, and (4) texturize or mark the wire. Hammer with a rubber mallet or the flat
end of a chasing hammer (HSN, 2020).
PRACTICE EXERCISE
Directions:
1. Which is more preferable having additive and subtractive processes or having just one
(1) process in sculpture? Limit your answer in 3-5 sentences only.
2. Is knowing the concept and techniques in wire sculpting essential to you? Defend. Limit
your answer in 3-5 sentences only.
97
ASSESSMENT #5
PHILIPPINE INDIGENOUS ART: SCULPTURE

I. Directions:
1. How are the following factors integrated to Philippine forms of art like in
sculpture:
a. beliefs
b. tradition
c. influence
2. What is the highlight for the progression of art in times of Reconquista to

secularism? Why do you say so?
3. What would Philippine arts look like especially in the area of sculpture if
colonization never happened?
II. Directions: Refer to the article in the previous section entitled “Boy Tsinelas' re-
purposes flip-flop into action figures by Barnaby Lo”. This will be a total of 25 points.
1. Give three (3) effects (it could be positive or negative if there is) brought by
sculpting a flip flop action figures to him? Elaborate each effect into 3-5
sentences only. (5 points per effect)
2. Between the two major sculptural processes which is more useful? Support
your claim. Limit your answer to 3-5 sentences only.
3. Compare and contrast carving from constructing/assembling. Limit your

answer to 3-5 sentences only.
98
APPENDICES
RUBRIC 1: CRAFTS
CRITERIA ADVANCED PROFICIENT MODERATE BASIC POIN

TS
UNDERSTANDING The artwork is The artwork is The artwork The artwork 5

planned planned shows little shows no
carefully; adequately; evidence of understanding
understanding understanding understanding of the
of most of some the concepts and concepts
concepts and concepts and instructions. and
instructions is instructions instructions.
shown. shown.
CRAFTMANSHIP/ The artwork The artwork The artwork shows The artwork 10
SKILL shows good shows average below average shows poor
craftmanship, craftmanship craftmanship and craftmanship
with some and attention to little attention to and no
attention to detail. detail. attention to
detail. detail.
CREATIVITY The artwork The artwork The artwork The artwork 10

demonstrates demonstrates demonstrates little lacks
some personal an average personal evidence of
expression and amount of expression and personal
logical problem- personal problem-solving expression.
solving skills. expression. skills.
EFFORT The student put The student put The student put The student 5
forth the effort forth the effort forth the effort put forth the
required to required to required to finish effort required
complete the finish the the project; used to finish the
project well; project; used class time project; used
used class time class time adequately. class time
well. adequately. adequately.
TOTAL 30
99
RUBRIC 2: WEAVING
CRITERIA ADVANCED PROFICIENT MODERATE BASIC POINTS

WARP Student wrapped Student did Student Student did 5
(UP & DOWN the warp yarns not wrap the incorrectly not prepare
LINES) correctly around yarn the wrapped the the warp on
the loom and correct warp yarns. the loom.
through the number of Assignment is
notches at each times or did incomplete.
end. Student not wrap the
wrapped the yarn warp tightly
an odd number of on the loom.
times. Warp is
wrapped tightly on
the loom.
WEFT Student correctly Weft yarns Weft yarn has Student did 5
(LEFT & RIGHT wove the weft are mostly many errors not weave
LINES) yarns without woven and/or weft any weft
errors. correctly with yarns are very yarns/weaving
(over/under) Yarn a few errors. loose. Student is incomplete.
is woven tightly did not
though the warp understand the
so warp does not weaving
show and shape technique.
remains
rectangular- does
not pull inward.
COLORS AND Weaving has 4 or Weaving has Weaving uses 3 Weaving is 10
PATTERNS more colors. 4 colors or less colors incomplete.
clearly shows a but it does and/or does not Fills half or
pattern and fills not use a pattern less of the
the entire loom demonstrate Fills slightly less loom.
a pattern. than 3/4 of the
Or loom.
Weaving
uses 3 or
less colors
but does
show a
pattern.
CRAFTMANSHIP Student carefully Weaving is Weaving Weaving is 10
completed the mostly neat appears messy. incomplete.
weaving with no with a few Student needs
errors. Yarn ends areas that to work on
are tucked into the could be craftsmanship
weaving. improved when
upon. completing
assignments.
TOTAL 30
100
RUBRIC 3: PHYSICAL ORNAMENT
CRITERIA ADVANCED PROFICIENT MODERATE BASIC POINTS

CREATIVITY The student The student The student The student 10
explored tried a few tried an idea fulfilled the
several ideas before but it lacked requirements
choices selecting one originality, of the
before or based might have assignment,
Selecting his/her work copied work, but gave no
one, on someone substituted evidence of
generated else’s idea, “symbols” for trying anything
many ideas, made personal unusual
tried unusual decision after expression.
combinations referring to
or changes, one source.
used
problem-
solving skill
CRAFTMANSHIP The artwork With a little The student The student 10
was beautiful more effort, showed showed
and patiently the work average average
done; it was could have craftsmanship; craftsmanship,
as good as been adequate, but lack of pride in
hard work outstanding; not as good finished work
could make lacks the as it could
it. finishing have been, a
touches. bit careless.
TIME & EFFORT The project The student The student The project 5
was worked hard finished the was
continued and project, but it completed
until it was completed could have with minimum
complete as the project, been effort
the student but with a bit improved with
could make more effort it more effort,
it; gave it might have chose an easy
effort far been project and
beyond that outstanding did it
required. indifferently.
TOTAL 25
101
RUBRIC 4: POTTERY
CRITERIA EXCELLENT GOOD AVERAGE NEEDS POINT

IMPROVEMENT S
CONSTRUCTION Pot is stable, Pot is stable, Pot is close to Pot is not stable. 10
Pot is level. Pot is very stable. Pot is not level.
The walls are close to Pot is getting Pot walls are
of a uniform level, Walls closer to level. uneven. The
thickness and are mostly The walls are form is random.
pot is of good even. Pot is uneven, but The pot is too
weigh and a good making progress. heavy to fire.
volume. weight and Pot is slightly too
volume. heavy - may not
fire
FORM & FINISH The lip is even The lip is The lip is mostly The lip is uneven 5
and perfectly even and even and has and has rough.
smoothed. and purposely been cleaned up the walls are too
the form is smoothed. with only a few thick or uneven.
purposeful, The walls of blemishes on the Lip and walls are
balanced and the pot have lip or walls. The sloppy. There is
pleasing. The a nice form, form is not no trimmed foot
foot is smooth and are free purposeful. The on the pot.
and finished. of most foot is poorly
There is an unwanted trimmed.
interesting blemishes
alteration of and
the form. interesting
alterations.
The foot is
trimmed
well.
CRAFTMANSHIP The pot is With a little The student The student 10
beautiful and more effort, showed average showed average
patiently done; the work craftsmanship; craftsmanship,
it was as good could have adequate, but lack of pride in
as hard work been not as good as it finished work
could make it. outstanding; could have been,
lacks the a bit careless.
finishing
touches.
CREATIVITY The student The student The student The student 10
explored tried a few fulfilled the fulfilled the
several ideas before requirements of requirements of
choices before selecting the assignment, the assignment,
making and one or based but gave no but gave no
creating a his/her work evidence of evidence of
pot/jar. on someone trying anything trying anything
else’s idea. unusual unusual
TOTAL 35
102
RUBRIC 5: SCULPTURE
CRITERIA EXCELLENT GOOD AVERAGE NEEDS POINTS

IMPROVEMENT
NEATNESS / Sculpting is Sculpting Sculpting Sculpting is 5
CLEANLINESS neatly done, has a few has several uneven, messy
smooth, and uneven, uneven, and rough.
even. messy and messy and
rough areas. rough areas.
ROUGH Exceptional Good effort; Some effort; Little effort; did 5
MODEL effort. Used used a foil model not complete a
a detailed foil completed looks foil model of the
model to foil model to incomplete symbol chosen
complete the complete or did not for the
sculpture. the follow sculpture.
sculpture. guidelines.
FINISHED Added Added Only put Did not add 10
SCULPTURE initials and initials and initials on initials and year
year to year to the bottom to bottom of
bottom of bottom of of sculpture sculpture or fill
sculpture sculpture, or only filled out rubric or did
and filled out completed out the not write a
rubric. rubric, and rubric, or caption for
Effectively included a only wrote sculpture
wrote a caption for the caption.
caption the
about the sculpture.
sculpture.
DESIGN The design The design Forms are The design is 10
is well is thought an not well thought
thought out. out. Forms appropriate out. It appears
Forms are are an size and little attention
an appropriate shape, but was given to
appropriate size and are the designing the
size and are arranged arrangement sculpture
arranged well. The of them is
very well. sculpture not very
Care has however attractive. It
been taken does not appears
to balance appear there was
the piece. balanced. not a lot of
planning of
the
placement.
TOTAL 30
103
REFERENCES
Abola, K. (2020). British Council. Crafting Futures: Sustaining Handloom Weaving in

the Philippines. Retrieved from https://www.britishcouncil.ph/sites/default/
files/british_council_-_crafting_futures_-_full_report.pdf
Art gallery NSW, 2000, Western art. Retrieved from https://www.artgallery.nsw.gov.

au/discover-art/learn-more/western-art/
Artnet. Vicente Silva Manansala. Retrieved from http://www.artnet.com/artists/vicente

silva-manansala/
Bueno, A. (2017). A beginner’s guide to Mindanao’s weaving traditions. Retrieved from

https://cnnphilippines.com/life/culture/2017/06/27/mindanao-weaves.html
Canete, R. (2013). Ukit at hulma: A brief history of Philippine sculpture. Retrieved from
file:///C:/Users/Private/Downloads/Dialnet-UkitAtHulma-6251103.pdf
Caparas, K. (2014). Indigenous Arts and Crafts, Retrieved from

https://www.vigattintourism.com/tourism/articles/Indigenous-Arts-and-Crafts
Carver, J. (2014). History of weaving. Retrieved from https://www.slideshare.

net/jcarver85/history-ofweaving
Castro, R. (2020). British Council. Crafting Futures: Sustaining Handloom Weaving in the
Philippines. Retrieved from https://www.britishcouncil.ph/sites/default/
files/british_council_-_crafting_futures_-_full_report.pdf
Cordeta, D. (2017). M. I# 4 Museum Visit 1. Retrieved from https://medium.com/@

deniseviktoriacordeta/ia-4-museum-visit-1e017e658d673#:~:text=It.Department
of Education. 1998. “Secondary Schools Learning Competencies.” Pasig City:
De Guzman, D. (2017). The beautiful history and symbolism of Philippine tattoo

culture. Retrieved from https://www.aswangproject.com/beautiful-history
104
symbolismphilippine-tattoo-culture/
Dejeto, M. (2018), Retrieved from https://www.rappler.com/life-and-style/travel/ph

travel/209798-photos-davao-city-culture-kadayawan-village
Dobbs, Stephen Mark. 1998. Learning in and through Art: A Guide to Discipline-Based
Art Education. Los Angeles: The Getty Education Institute for the Arts.
Dumaraos, G. (2017). Culture trip. Meet Apo Whang-Od, the Last Kalinga Tattoo Artist
in the Philippines. Retrieved from https://theculturetrip.com/asia/Philippines
/articles/meet-apo-whang-od-the-last hand-poke-tattoo-artist-in-the-philippines/
Encyclopedia Britannica, (n.d.). Ainu people. Retrieved from

https://www.britannica.com/topic/Bari-people
Esri, (n.d.). The Miao and Hmong of southern China, Laos and Thailand. Retrieved from
https://www.arcgis.com/apps/Cascade/index.html?appid=897330b1c8a04541b2
344a335edbcfa
Ethnic Groups of the Philippines, (n.d.). Indigenous People. Retrieved from

http://www.ethnicgroupsphilippines.com/people/ethnic-groups-in-the
philippines/manobo-obo/
Fiar-od, (2014). Igorot Cordillera BIMAAK Europe. Ethnic Dances in Mountain Province.
Retrieved from https://www.icbe.eu/mprovince-articles/677-ethnic-dances-in mountain-
province
Fibers and Design, (2019). How to Weave? Weaving for Beginners in 5 Steps.
Retrieved from https://fibersanddesign.com/howtoweave/
Fibers and Design, (2019). How to Weave? Weaving for Beginners in 5 Steps.
Retrieved from https://fibersanddesign.com/makecardboardloom/
105
Flores, D. 1998. Painting history. Quezon City: UP Office of

ResearchCoordination and National Commission for Culture and the Arts. 2001.
“Make/shift.” In Crafting Economies. Manila: The Japan Foundation.
Fox, R. (1970). The Tabon caves: Archaeological explorations and excavations on

Palawan Island, Philippines. Manila: National Museum.
Francisco, N. (2017). 10 must-see masterpiece at the National Museum of

the Philippines. Retrieved from https://www.spot.ph/arts-culture/the-latest-arts
culture/71542/national-museum-of-fine-arts-a1818-20170926-lfrm
Freeman, (2016). Cebu Lifestyle. Indigenous Philippine arts and crafts. Retrieved from
https://www.philstar.com/the-freeman/cebulifestyle/2016/06/30/
1598122/indigenousphilippine-arts-and-crafts
Gacias, C. (2011). Philippine art: Physical ornaments. Retrieved from

https://prezi.com/ezoasxbbhos7/philippine-art-physical-ornaments/
Grimm, A. (2015). Pottery. Pottery: What and how it is made. Retrieved from
https://www.quora.com/What-is-pottery-and-how-is-it-made
Hamam, J. (2013). Jennifer’s Hamam. What is Weaving?. Retrieved from

https://www.jennifershamam.com/post/healthy-cooking-is-a-must-for-families
Harper, Douglas. 2001. “Craft.” Online Etymology Dictionary. Accessed March 11, 2009.
Retrieved from http://www.etymonline.com/index.php?term=craft.
HSN, (2020). Discover wireworking. Retrieved from https://www.hsn.com/article/wire

working-how-to-manipulate-wire-to-create-art/449
Icasiano, C. (2009). Philippine Traditional Crafts in Discipline-Based Art Education: A

New Prospect. Retrieved from https://www.asj.upd.edu.ph/mediabox/
archive/ASJ-45-1and2-2009/icasiano.pdf
106
Indigenous Peoples of the World (n.d.). Retrieved from https://www.edu.gov.

mb.ca/k12/cur/socstud/foundation_gr8/blms/8-5-2b.pdf
Intellectual Reserve, (2020), Retrieved from https://www.familysearch.org/wiki/en/

Davao_del_Sur_Province,_Philippines_Genealogy
Jarus, O. (2016). Live Science. Who are the Assyrians? Retrieved from
https://www.livescience.com/56659-assyrians-history.html
Junker, Laura Lee. 2000. Raiding, Trading, and Feasting. Quezon City: Ateneo de
Manila University Press.
Lewis, K. (2018). Unearth Women. Apo Whang-Od, the 101-year old tattoo woman of
the Philippines. Retrieved from https://www.unearthwomen.com/2018/08/08/apo-whang-od/
Leyuzon, L. (2017). What is physical ornaments? Retrieved from https://brainly.ph/

question/781494#:~:text=In%20the%20human%20body%2C%20the,ph%2Fquestion%2F26
9 18).
Limcango, T. (2010). Indigenous Philippine Art. Retrieved from

https://en /Indigenous_Philippine_Art
Lo, B. (2017). CGTN Live. 'Boy Tsinelas' re-purposes flip-flops into action figures.
Retrieved from https://news.cgtn.com/news/3459444f33597a6333566d54/
share_p.html
Mangilog, P. (2018). War Dances in the Cordilleras. Pinay Traveller. Retrieved from
https://pinaytraveller.com/archives/3008
Mendoza, H. (2017). Ceramic artist. Retrieved from http://www.hadrianmendozapottery

.com/philippines
Miksic, J. (2013). Earthenware in Southeast Asia: Proceedings of the Singapore

symposium on premodern Southeast Asian earthenwares. 1st ed. NUS Press.
107
A manual of visual arts workshops for the environment. Baguio: Cordillera Green
Network. De Leon, F. M. (2011) In focus: The cultural matrix of traditional arts.
Accessed through: http://ncca.gov.ph/aboutculture-and-arts/in-focus/the-cultural
matrix-of-philippinetraditional-arts/
Metcalf, Bruce. 1999. “Contemporary Craft.” Accessed February 17, 2009. Retrieved
from http://www.brucemetcalf.com/pages/essays/contemporary_craft.html.
National Economic and Development Authority, (n.d.). Davao del Sur. Retrieved from
http://nro11.neda.gov.ph/davao-region/davao-delsur/#:~:text=
Davao%20City%20was%20founded%20by,city%20on%20October
2016%2C%201936.&text=The%20majority%20of%20the%20population%20ar%20Visayan
%20migrants.
NCCA, (n.d.) Philippines traditional artifacts and cultural crafts. Retrieved from
https://steemit.com/traditional/@lapilipinas/philippines-traditional-artifacts-and-cultural-crafts
NCCA, (n.d.). Sculpture. Retrieved from http://www.philserv.com/ncca
Nom living, (n.d.). Pottery and ceramics – A brief explanation. Retrieved from https://
nomliving.com/blogs/thingswedo/pottery-and-ceramics-a-brief-explanation#
:~:text=It%20is%20soft%2C%20malleable%20and,are%20earthenware%2C%20stoneware
%20and%20porcelain.
Ortiz, M.A., Erestain, T. E., Guillermo, A.G., Montano, M.C. and Pilar, S.A. (1976). Art:
Perception and appreciation. Makati: Goodwill Trading Co., Inc.
Oxford Dictionaries. 2009. “Craft.” Accessed March 11, 2009. Retrieved from
http://www.askoxford.com/ concise_oed/craft?view=uk.
Panizo, A. and Rustia, E.F. (2003). Art appreciation and aesthetics: An approach to the
humanities. Manila: Rex Book Store.
108
Rodel, Kevin P., and Jonathan Binzen. 2003. Arts & Crafts Furniture from Classic to
Contemporary.Connecticut: The Taunton Press
Romero F. (2013). Philippine indigenous arts.
Romero, J. (2018). Indigenous Pinoy Arts and Crafts.
Silent Gardens, (2020). Philippine culture. The soul of the Philippines. Retrieved from
https://www.silent-gardens.com/culture.php
Skubikowski, K., Wright, C., Graf, R. (2009) Social justice education: Inviting faculty to
transform their institutions. Virginia: Stylus Publishing, LLC.
Smith, J. (2018). Chapter 3- The benefits of indigenous art. Retrieved from

https://www.aph.gov.au/Parliamentary_Business/Committees/Senate/Environm
nt_and_Communications/Completed_nquiries/2004-07/indigenousarts/report/c03
Sobritchea, Carolyn I. 1996. “American Colonial Education and Its Impact on the Status
of Filipina Women.” In Women’s Role in Philippine History. Quezon City: University Center
for Women’s Studies University of the Philippines.
Stranan, J. (2018). Recycled Mats. What is Indigenous Arts? Retrieved from

https://www.recycledmats.com.au/What-is-Indigenous-Art
Tribalartasia, (n.d.). Ifugao tribe lingling-o pendants and matching earrings. Retrieved
from http://tribalartasia.com/Tribal%20Art%20Antique%20Jewelery/BRACELETS
update/LINGLINGO.html
Tripadvisor, (2020). Davao City Traveler Article: Davao City History. Retrieved from
https://www.tripadvisor.com/Travel-g298459-s203/Davao
City:Mindanao:History.html
United Nations Permanent Forum on Indigenous Issues, (n.d.). Indigenous Peoples,

Indigenous Voices. Retrieved from https://www.un.org/esa/socdev/
109
unpfii/documents/5session_factsheet1.pdf
Valdeavilla, R. (2018). Culture Trip. The Aeta: the first Philippine people. Retrieved from
https://theculturetrip.com/asia/philippines/articles/the-aeta-the-first-philippine
people/
Vezina, B. (2014). Indigenous community-based handicraft initiatives. Retrieved from

https://www.wipo.int/edocs/mdocs/tk/en/wipo_iptk_ge_14/wipo_iptk_ge_14_wipo_presentati
on_11.pdf
Vicente, P. (2012). Retrieved from https://www.slideshare.net/Amoytotso/fa-28weavingreport
Wapano, R. (2007). Ethnic Groups of the Philippines. A Close Encounter with the
B’laans: a primer. Passionist. Retrieved from
http://www.ethnicgroupsphilippines.com/people/ethnic-groups-in-the
philippines/blaan-davao/

Arts 1 Indigenous Creative Crafts Coursepack

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Arts 1 Indigenous Creative Crafts Coursepack

Uploaded by

Copyright:

Available Formats

1

HOLY CROSS COLLEGE OF CALINAN, INC.

SECOND SEMESTER, FIRST TERM

CHRISTIAN JOY J. LEROG, LPT

also develops your competency in researching and curating art as well as

your genuine understanding appreciation for Philippine arts by providing opportunities to

explore the diversity and richness and rootedness of Filipino culture.

Number of Hours Content

10 Philippine Indigenous Art: Weaving

10 Philippine Indigenous Art: Physical Ornament

9 Philippine Indigenous Art: Pottery

9 Philippine Indigenous Art: Sculpture

Total Number of Hours: 54

UNIT 2. PHILIPPINE INDIGENOUS ART: WEAVING

UNIT 3. PHILIPPINE INDIGENOUS ART: PHYSICAL ORNAMENT

UNIT 4: PHILIPPINE INDIGENOUS ART: POTTERY

UNIT 5: PHILIPPINE INDIGENOUS ART: SCULPTURE

Rubric #3 Physical Ornament

UNIT Suggested time allotment: 16 hours

• Do a research work presenting a narrative report containing the information of a specific

DESIRED VALUE/S: Creativity, Patience, Perseverance, Open mindedness, and Cooperation

LESSON 1.1: WHAT IS INDIGENOUS ART?

• Create their own definition of indigenous arts. (C)

Philippine Indigenous Arts and Crafts

Benefits of Indigenous Arts

3. Benefits to Indigenous Groups - Within indigenous groups or community mediums of

Read the full text at:

Clarity and Relevance – 3 points

2. Defend how art becomes beneficial to indigenous art.

LESSON 1.2: PHILIPPINE INDIGENOUS ARTS

Indigenous communities can be found in various regions in the Philippines. These

In addition, there is always an impression or misconception that Filipinos were illiterate

Clarity and Relevance – 3 points

LESSON 1.3: BRIEF HISTORY OF DAVAO AND ITS TRIBES

• Conclude how rich Davao is in terms of history and as a city. (EV)

subsequent years has proved difficult (Indigenous People, 2020).

Commerce and Industry

Read the full content of the lesson at:

Clarity and Relevance – 3 points

LESSON 1.4: TOP 6 INDIGENOUS ARTS

• Identify the Philippine top indigenous arts. (R)

• Distinguish the different indigenous arts. (U)

Top 6 Indigenous Arts

Read more about this topic at:

Instruction: Answer the following.

Cloth Weaving Basket Weaving

b. Cite 2 specific products (whether a craft or artwork) of an indigenous group. Then

Indigenous art: Indigenous art:

Components (made of): Components (made of):

• Explain the four different art disciplines. (U)

• Discuss how essential aesthetics is to arts. (U)

• Discuss how beneficial is craft making business. (U)

Iconography, or “the meanings of the objects and symbols in the work”

Provenance, or the “history of the ownership of the work”

4. Aesthetics - Aesthetics is a “branch of philosophy... that examines the nature, meaning,

A SUCCESSFUL JOURNEY IN CRAFT MAKING

Water lily handicraft trade pays off in Las Pinas

Leaps and bounds

Holiday Season Demand

Read more about this topic at: https://newsinfo.inquirer.net/232409/water-lily-handicraft-trade-

Clarity and Relevance – 3 points

1. How essential is aesthetics to arts?

LESSON 1.6: CRAFTS