INDIGENOUS CREATIVE CRAFTS

Course Description: Indigenous Creative Crafts

This course is on the study of indigenous materials in the country and the processes in
converting it into various kinds of creative crafts. It includes the classification of the woods,
kinds of rattan, fibers, origin and size of leather, bamboo craft, seashell, coconut shells and
metal crafts. This course emphasizes the common hand tools and procedure in making the
creative crafts. It also provides the information’s of the different products and projects that
can be made from these raw materials.

Chapter 1: INTRODUCTION: INDIGENOUS CREATIVE CRAFTS

Throughout Philippine history, craftsmanship and its different forms have always been
prevalent. The Filipinos have an innate inclination to create, exemplifying the state of
being engaged in their craft and taking a sense of joy and pride in their work. The
Filipino craftsman dedicates himself to his art and telling the story of the Philippines,
bearing its truest essence-its soul for the world to see.
Blessed with natural resources, Filipino craftsmen are able to come-up with a
magnificent product that tells a million story not just about their lives but the culture of
their place. Clearly, this reflects Filipino crafts that magnify labors of love and patience.
These are evident in the products of their skillful hands and imaginative minds.
Creative crafts in the Philippines do not only satisfy our senses, but each artwork
speaks of the passion and active involvement of the artists in visualizing, connecting,
and appreciating the culture and the creative manipulation of the objects around.
Do you have what it takes to become a craftsman? In this chapter you will learn the
brief overview of Philippine Arts and Crafts and its significance and relationship to the
Engineering Course. It is then expected that you will be able to find yourself become
an agent of this culture-filled journey. As you will come to know more of these arts and
crafts, be ready to become your most creative self for you will be creating your own
handicraft. This journey transcends beyond “knowing” history or “applying” discussed
topics, rather, it is an “awakening” of your soul in taking responsibility to promote,
conserve, and develop Philippine indigenous creative crafts.
LESSON 1. WHAT ARE INDIGENOUS ARTS
I. LEARNING OUTCOMES:
• Explain when to consider a person or group as true indigenous people.
• Conclude how indigenous arts and crafts survived through the signs of times.
• Conclude how indigenous arts became beneficial to the wellness and economic
aspect of the indigenous people.
• Create their own definition of indigenous arts.
II. INPUT
Who are the 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 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 and 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).
Indigenous Philippine 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 pina 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 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:
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).
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).
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).
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).
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).
 LESSON 2. PHILIPPINE INDIGENOUS ART
I. LEARNING OUTCOMES:
• Infer concepts that differentiate the Philippine indigenous art from western arts.
• Argue that Philippines is not illiterate before the arrival of the Spanish.
• Conclude where did indigenous people gather inspirations in making their various
indigenous arts.
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).
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 Cordillerans 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 (Fiarod, 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 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).
 LESSON 3. TOP 6 INDIGENOUS ARTS
I. LEARNING OUTCOMES:
• Identify the Philippine top indigenous arts.
• Distinguish the different indigenous arts.
• Examine the different pieces of art or outputs from the different indigenous art.
II. INPUT
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.
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.
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 are engaged for production:
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.
Another production in the jewelry industry are the pearls, precious stones, and semiprecious
stones. These are unworked or worked pearls. Colored gemstones like emerald, rubies, and
sapphires are also in this group.
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.
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.
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 (Visayas 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).
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).