Prepared by: Document Code: Module Reference

MISAMIS UNIVERSITY Juby H. Vallejo MU-CAS-LMO- No.

Ozamiz City Faculty GEEL3 03
Office of the Vice President Checked by: Revision Date: Units:
for Academic Affairs
Juby H. Vallejo June 8, 2020 3.0
Program Chairman
COLLEGE OF ARTS &
SCIENCES Reviewed by: Revision No.: Subject Code:
Atty. Anthony L. Awa 0 GEEL3
Dean
Approved by: Prerequisite: Co-requisite:
LEARNING
Ariel R. Clarin None None
MODULE VPAA/Director for Instruction
Descriptive Title: Indigenous Creative Crafts

Module 1.2
DESCRIBING INDIGENOUS CRAFTS, THE DIFFERENT INDIGENOUS
MATERIALS, AND TOOLS USED IN MAKING INDIGENOUS CRAFTS

I. Course Outcome : CO1 Develop critical thinking in understanding the

indigenous communities, materials, and crafts

II. Learning Outcome/s : LO1.2 Describing the different indigenous materials and
tools used in making indigenous crafts

III. Time Frame : Home-based (6 hrs.)

IV. Introduction

In this session, you will be introduced to the different indigenous

materials and tools used in making indigenous crafts.
Indigenous Crafts in the Philippines
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 labours of love and
patience. These are evident in the products of their skilful 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.
Arts and Crafts in the Philippines 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. The traditional arts in the Philippines encompass folk
architecture, maritime transport, weaving, carving, folk performing arts, folk (oral)
literature, folk graphic and plastic arts, ornament, textile, or fiber art, pottery, and
other artistic expressions of traditional culture.

PROPERTY OF MISAMIS UNIVERSITY

Page 1 of 8
 Prepared by: Document Code: Module Reference
MISAMIS UNIVERSITY Juby H. Vallejo MU-CAS-LMO- No.
Ozamiz City Faculty GEEL3 03
Office of the Vice President Checked by: Revision Date: Units:
for Academic Affairs
Juby H. Vallejo June 8, 2020 3.0
Program Chairman
COLLEGE OF ARTS &
SCIENCES Reviewed by: Revision No.: Subject Code:
Atty. Anthony L. Awa 0 GEEL3
Dean
Approved by: Prerequisite: Co-requisite:
LEARNING
Ariel R. Clarin None None
MODULE VPAA/Director for Instruction
Descriptive Title: Indigenous Creative Crafts

Folk architecture in the Philippines differ significantly per ethnic group, where the
structures can be made of bamboo, wood, rock, coral, rattan, grass, and other
materials. These abodes can range from the hut-style bahay kubo which utilizes
vernacular mediums in construction, the highland houses called bale that may have
four to eight sides, depending on the ethnic association. Examples are Daru
Jambangan (Palace of Flowers), the royal residence of the ruler of the Tausug and
Dakay house, the oldest surviving coral houses in the Philippines still used today (c.
1887)
Maritime transport in the Philippines includes boat houses, boat-making, and
maritime traditions. These structures, traditionally made of wood chosen by elders
and crafts folks, were used as the main vehicles of the people, connecting one island
to another, where the seas and rivers became the people's roads. Although boats are
believed to have been used in the archipelago for thousands of years since the arrival
of humans through water, the earliest evidence of boat-making and the usage of boats
in the country continues to be dated as 320 AD through the carbon-dating of the
Butuan boats that are identified as remains of a gigantic balangay. Examples are a
large karakoa outrigger warship, 1711, a balangay reconstruction, a paraw in
Palawan, and an owong at Lake Sebu.
Weaving is an ancient art form that continue in the Philippines today, with each
ethnic group having their distinct weaving techniques. The weaving arts are
composed of basket weaving, back-strap loom weaving, headgear weaving, fishnet
weaving, and other forms of weaving. Expensive textiles are made through the
intricate and difficult process called back-strap looming. Fibers such as Cotton, abaca,
banana fiber, grass, and palm fiber are used in the Filipino weaving arts. Examples
are T'nalak, Binakol, and a double ikat mat from Sulu.
Basketry. The fine art of basket weaving in the Philippines has developed intricate
designs and forms directed for specific purposes such as harvesting, rice storage,
travel package, sword case, and so on. The art is believed to have arrived in the
archipelago due to human migration, where those at the north were the first to learn
the art form. Examples are various rice baskets, and Filipino tobacco basket.
Carving. The art of carving in the Philippines focuses on woodcarving and folk non-
clay sculptures. Indigenous woodcarving is one of the most notable traditional arts
in the Philippines, with some crafts in various ethnic groups date back prior to
Hispanic arrival with perhaps the oldest surviving today are fragments of a wooden
boat dating to 320 AD. Examples are Kulintang from Mindanao Bulul gods.
Stone, ivory, and other carvings. Stone carving is a priced art form in the
Philippines, even prior to the arrival of Western colonizers, as seen in the stone likha
PROPERTY OF MISAMIS UNIVERSITY
Page 2 of 8
 Prepared by: Document Code: Module Reference
MISAMIS UNIVERSITY Juby H. Vallejo MU-CAS-LMO- No.
Ozamiz City Faculty GEEL3 03
Office of the Vice President Checked by: Revision Date: Units:
for Academic Affairs
Juby H. Vallejo June 8, 2020 3.0
Program Chairman
COLLEGE OF ARTS &
SCIENCES Reviewed by: Revision No.: Subject Code:
Atty. Anthony L. Awa 0 GEEL3
Dean
Approved by: Prerequisite: Co-requisite:
LEARNING
Ariel R. Clarin None None
MODULE VPAA/Director for Instruction
Descriptive Title: Indigenous Creative Crafts

and larauan or tao-tao crafts of the natives. These items usually represents either an
ancestor or a deity who aids the spirit of a loved one to go into the afterlife properly.
Examples are carved marbles from Romblon, stone carvings at the facade of Miagao
Church, world heritage site and a National Cultural Treasure
Folk graphic and plastic arts. The fields under folk graphic and plastic arts are
tattooing, folk writing, and folk drawing and painting.
Folk writing (calligraphy). The Philippines has numerous indigenous scripts
collectively called as suyat, each of which has their own forms and styles of
calligraphy. Various ethno-linguistic groups in the Philippines prior to Spanish
colonization in the 16th century up to the independence era in the 21st century have
used the scripts with various mediums. By the end of colonialism, only four of the
suyat scripts survived and continue to be used by certain communities in everyday
life.
Folk paintings. Folk paintings, like folk drawings, are works of art that usually
include depictions of folk culture. Evidences suggest that the people of the
archipelago have been painting and glazing their potteries for thousands of years.
Pigments used in paintings range from gold, yellow, reddish purple, green, white,
blue-green, to blue.
Ornament, textile, or fiber art. Ornament, textile, or fiber art includes a variety of
fields, ranging from hatmaking, mask-making, accessory-making, to ornamental
metal crafts, and many others.
Hat-making, mask-making, and related arts. Hat-making is a fine art in many
communities throughout the country, with the gourd-based tabungaw of Abra and
Ilocos being one of the most prized. Indigenous Filipino hats were widely used in the
daily lives of the people until the 20th century when they were replaced by Western-
style hats. They are currently worn during certain occasions, such as festivals, rituals,
or in theatre. The art of mask creation is both an indigenous and imported tradition, as
certain communities have mask-making practices prior to colonization, while some
mask-making traditions were introduced through trade from parts of Asia and the
West. Today, these masks are worn mostly during festivals, Moriones Festival, and
MassKara Festival.
Accessory-making. Accessories in the Philippines are almost always worn with their
respective combination of garments, with some being used as accessories for houses,
altars, and other objects.
Pottery. The art of pottery, categorized into ceramic making, clay pot-making, and
folk clay sculpture, has long been a part of various cultures in the Philippines, with
evidence pointing to a pottery culture dating around 3,500 years ago. Important

PROPERTY OF MISAMIS UNIVERSITY

Page 3 of 8
 Prepared by: Document Code: Module Reference
MISAMIS UNIVERSITY Juby H. Vallejo MU-CAS-LMO- No.
Ozamiz City Faculty GEEL3 03
Office of the Vice President Checked by: Revision Date: Units:
for Academic Affairs
Juby H. Vallejo June 8, 2020 3.0
Program Chairman
COLLEGE OF ARTS &
SCIENCES Reviewed by: Revision No.: Subject Code:
Atty. Anthony L. Awa 0 GEEL3
Dean
Approved by: Prerequisite: Co-requisite:
LEARNING
Ariel R. Clarin None None
MODULE VPAA/Director for Instruction
Descriptive Title: Indigenous Creative Crafts

pottery artifacts from the Philippines include the Manunggul Jar (890-710 BCE) and
the Maitum anthropomorphic pottery (5 BC-225 AD).

Handicraft Tools
The tools commonly used in handicraft are of two types – the hand tools
and the power tools. Hand tools are the tools for processing the article which are used
manually or by hands. Power tools are tools for processing materials that are operated
by machine. The tools commonly used in handicrafts are the following:
a. Mallet
b. Screwdriver
c. Pliers
d. coping saw
e. chisel
f. hand drill
g. wrench
h. clamp
i. knife
j. smoothing plane
k. auger
l. hacksaw
m. paintbrush
n. folding rule, zigzag rule, steel rule
o. pencil
p. compass
q. hammer
r. blowtorch
s. soldering iron

Indigenous Materials in the Philippines

In order to create new handicraft products which can be sold locally or

exported abroad, different raw materials which are available in the market, are
needed. Handicraft makers fashion them into baskets, bags, accessories, cabinets,
lamp shades, wall decor, bamboo sofa sets, cabinets, clothes, and others.

Here are the materials commonly needed in making handicrafts:

PROPERTY OF MISAMIS UNIVERSITY

Page 4 of 8
 Prepared by: Document Code: Module Reference
MISAMIS UNIVERSITY Juby H. Vallejo MU-CAS-LMO- No.
Ozamiz City Faculty GEEL3 03
Office of the Vice President Checked by: Revision Date: Units:
for Academic Affairs
Juby H. Vallejo June 8, 2020 3.0
Program Chairman
COLLEGE OF ARTS &
SCIENCES Reviewed by: Revision No.: Subject Code:
Atty. Anthony L. Awa 0 GEEL3
Dean
Approved by: Prerequisite: Co-requisite:
LEARNING
Ariel R. Clarin None None
MODULE VPAA/Director for Instruction
Descriptive Title: Indigenous Creative Crafts

Abaca – known worldwide as Manila hemp. Abaca fiber is obtained from the leaf
sheaths of the abaca (Musa textilis Nee) and is considered as the strongest among
natural fibers. The length of the fiber varies from 3 to 9 ft or more, depending on the
height of the plant and the age of the leafsheath. The color of the fiber ranges from
ivory white to light and dark brown.

Rattan – is superficially similar to bamboo, but distinct in that the stems are solid,
rather than hollow, and also in their need for some sort of support. While bamboo can
grow on its own, rattan cannot. Some genera (example Metroxylon, Pigafetta,
Raphia) are however more like typical palms, with stouter, erect trunks. Many rattans
are also spiny, the spines acting as hooks to aid climbing over other plants, and also to
deter herbivores. Rattans have been known to grow up to hundreds of meters long.

Bamboo – Stems of bamboo plants are stronger and flexible. Bamboo grows in all
parts of the country – in plains, forests, hills and mountains. Among the varieties of
bamboo are the spiny bamboo, kawayan China, kawayan kiling, bikal and buho.
Coconut Shells – Coconut trees are abundant in the Philippines. Coconut shells vary
in thickness and color depending on the age of the nut. They are used for fuel and for
manufacturing articles such as buttons, pins, coin banks, lamp shades, and flower
vases.
Fibers – They come from plants where fibers or threadlike substances are extracted.
Fibers from coconut husks, buri, maguey, pineapple, abaca, and banana are used in
making mattresses, carpet, and seat pads.
Buri – It is a palm from which three kinds of fibers, namely buri, raffia, and buntal,
are obtained. The buri palm has large fan-shaped leaves with stout petioles ranging
from 2 to 3 m in length. The palm reaches a height of 20 to 40 m and its trunk attains
a diameter of 1 to 1.5 m. Of the buri fiber, buntal is the one with the most impact in
the market.
Leather – is a material created through the tanning of hides, skins and kips of
animals. Hides are skins from large animals like horses and carabaos. Skins come
from such animals like alligators and goats. Kips are obtained from undersized
animals like lizards. The tanning process converts the putrescible skin into a durable,
long-lasting, and versatile natural material for various uses.

V. Learning Materials : Websites

 Introduction to Indigenous Creative Crafts

PROPERTY OF MISAMIS UNIVERSITY

Page 5 of 8
 Prepared by: Document Code: Module Reference
MISAMIS UNIVERSITY Juby H. Vallejo MU-CAS-LMO- No.
Ozamiz City Faculty GEEL3 03
Office of the Vice President Checked by: Revision Date: Units:
for Academic Affairs
Juby H. Vallejo June 8, 2020 3.0
Program Chairman
COLLEGE OF ARTS &
SCIENCES Reviewed by: Revision No.: Subject Code:
Atty. Anthony L. Awa 0 GEEL3
Dean
Approved by: Prerequisite: Co-requisite:
LEARNING
Ariel R. Clarin None None
MODULE VPAA/Director for Instruction
Descriptive Title: Indigenous Creative Crafts

https://pdfcoffee.com/i-introduction-to-
indigenous-creative-craftsdocx-pdf-
free.html
 Philippine Indigenous Art
https://www.slideshare.net/babaylan1111/
philippine-indigenous-art
 Philippine Handicraft Industry: Their
Benefits and Importance
https://colosushandicraft.wordpress.com/
2013/04/25/philippine-handicraft-
industrytheir-benefits-and-importance/

VI. Supplementary
Learning Resources : Video
 Philippine Indigenous Crafts: Luzon (Part 1)
https://www.youtube.com/watch?
v=z3gagTw6H84
 Philippine Indigenous Crafts: Visayas (Part 2)
https://www.youtube.com/watch?
v=JMWM1ozx6b4

VII. Learning Activities : Home-based

1. Read the following lessons on:
 Indigenous Crafts in the Philippines
 Handicraft Tools
 Indigenous Materials in the Philippines
2. Discuss your readings with your seatmate. Share
to the class your understanding of the concepts
presented. Teacher will help explain concepts
that are difficult to understand.
3. Describe the different sample crafts made in the
Philippines.
4. Enumerate the different indigenous materials
and
tools used in handicraft making in the
Philippines.
5. Research some examples of indigenous
materials and tools used in making indigenous
crafts in your area.
PROPERTY OF MISAMIS UNIVERSITY
Page 6 of 8
 Prepared by: Document Code: Module Reference
MISAMIS UNIVERSITY Juby H. Vallejo MU-CAS-LMO- No.
Ozamiz City Faculty GEEL3 03
Office of the Vice President Checked by: Revision Date: Units:
for Academic Affairs
Juby H. Vallejo June 8, 2020 3.0
Program Chairman
COLLEGE OF ARTS &
SCIENCES Reviewed by: Revision No.: Subject Code:
Atty. Anthony L. Awa 0 GEEL3
Dean
Approved by: Prerequisite: Co-requisite:
LEARNING
Ariel R. Clarin None None
MODULE VPAA/Director for Instruction
Descriptive Title: Indigenous Creative Crafts

6. Create a 2-minute video introducing these

indigenous materials and tools used in
handicraft making in your area. (Vlog)

VIII. Equipment : Laptop

LCD Projector

IX. Student Feedback : Your feedback is important. Please don’t leave this blank.
This portion will allow us to evaluate how this module is
going. Your feedback will help improve this module for
future revision. (Please refer to the box in the next page).

1. Which part of this module you found interesting? Why?

2. Which part of this module you considered challenging? Why?

PROPERTY OF MISAMIS UNIVERSITY

Page 7 of 8
 Prepared by: Document Code: Module Reference
MISAMIS UNIVERSITY Juby H. Vallejo MU-CAS-LMO- No.
Ozamiz City Faculty GEEL3 03
Office of the Vice President Checked by: Revision Date: Units:
for Academic Affairs
Juby H. Vallejo June 8, 2020 3.0
Program Chairman
COLLEGE OF ARTS &
SCIENCES Reviewed by: Revision No.: Subject Code:
Atty. Anthony L. Awa 0 GEEL3
Dean
Approved by: Prerequisite: Co-requisite:
LEARNING
Ariel R. Clarin None None
MODULE VPAA/Director for Instruction
Descriptive Title: Indigenous Creative Crafts

PROPERTY OF MISAMIS UNIVERSITY

Page 8 of 8