Republic of the Philippines

NUEVA VIZCAYA STATE UNIVERSITY

Bayombong, Nueva Vizcaya
INSTRUCTIONAL MODULE
IM No.: GEELEC 3 1SEM-2021-2022

BSIT COURSE NO.

College: ARTS AND SCIENCES
Campus :Bambang

DEGREE
PROGRAM
SPECIALIZATION ELC/COMT/MT/ COURSE INDIGENOUS CREATIVE CRAFTS
AUTO/CVT/DFT TITLE
YEAR LEVEL 2ND YEAR TIME FRAME 3 hours WK NO. 2 IM NO. 1

I. UNIT TITLE
History of Arts In the Philippines

II.LESSON TITLE
1. Introduction
2. definition
3. History of craft education
4. The Four Art Disciplines and the Study of Crafts
III. LESSON OVERVIEW
This lesson provides the students an overview of crafts, weaving and woodworks . It also provides
an avenue for the learners to unlock concepts relating to the study of Philippine Indigenous Crafts as a
subject. Opportunities will be given to the students to share their insights on the importance of
traditional knowledge on crafts, weaving and woodworks.
IV. DESIRED LEARNING OUTCOMES
At the end of the discussions, the students are expected to:
1. explain the meaning of history as an academic discipline and to be familiar with the underlying
philosophy and methodology
2. apply the knowledge in historical methodology and philosophy in assessing and analyzing existing
historical narratives
3. examine and assess critically the value of historical evidences and sources
4. cite the importance of history in the social and national life of the Philippines
5. discuss the interconnection of textile weaving, basket weaving and woodworks through a reflective
writing.

V. COURSE CONTENT

1. Introduction
Arts 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. These arts are divided into two distinct
branches, namely, traditional arts and non-traditional arts. Each branch is further divided into various
categories with subcategories.
2. Definition
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

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 Republic of the Philippines
NUEVA VIZCAYA STATE UNIVERSITY
Bayombong, Nueva Vizcaya
INSTRUCTIONAL MODULE
IM No.: GEELEC 3 1SEM-2021-2022

body), “trade and folkways,” and “long traditions of pre-industrial production of handmade objects” (Metcalf
1999).
The United Nations Educational, Scientific, and Cultural Organization (UNESCO) defines “crafts” as
follows:
Those produced by artisans, either completely by hand, or with the help of hand tools or even
mechanical means, as long as the direct manual contribution of the artisan remains the most substantial
component of the finished product. These are produced without restriction in the terms of quantity and using
raw materials from sustainable resources. The special nature of artisanal products derives from their
distinctive features, which can be utilitarian, aesthetic, artistic, creative, culturally attached, decorative,
functional, traditional, religiously and socially symbolic and significant (Vencatachellum 2004, 51–52).
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. There are numerous Filipino specialists or
experts on the various fields of traditional arts, with those garnering the highest distinctions declared
as Gawad Manlilikha ng Bayan (GAMABA), equal to National Artist.
3. History of craft education

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 and 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 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.
The National Commission for Culture and the Arts launched the Gawad Manlilikha ng Bay an
(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 artness (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 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 (11).

4. The Four Art Disciplines and the Study of Crafts

4.1 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. Students can also learn “traditions of craftsmanship,” including
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 Republic of the Philippines
NUEVA VIZCAYA STATE UNIVERSITY
Bayombong, Nueva Vizcaya
INSTRUCTIONAL MODULE
IM No.: GEELEC 3 1SEM-2021-2022

“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.

4.2 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). The roles of “language, thoughtful writing and talk about art” come to the fore. Art criticism help
students carefully observe works of art, comparing and contrasting 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” (38).
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 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.
4.3.1 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 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 has the
ability to 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 (39).
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, 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.”

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 Republic of the Philippines
NUEVA VIZCAYA STATE UNIVERSITY
Bayombong, Nueva Vizcaya
INSTRUCTIONAL MODULE
IM No.: GEELEC 3 1SEM-2021-2022

Applying art history to the study of crafts, students get an idea of the long tradition of craft
making in the country. 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. 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.
4.4 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” (46). Concretely, classes
can inquire into whether crafts can possess aesthetic qualities, that is, whether crafts can hold qualities
that make them art or render them “beautiful.” Discussion may revolve around the aesthetic qualities of,
say, the inabel of 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.
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. 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.
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
general public.
VI.LEARNING ACTIVITIES
1. Word to know. Give your own definition of the word below.
Word Meaning
Craft
Art making
Art criticism
Art history
aesthetics

Rubrics

3 The concept was clearly defined using own words. No spelling, punctuation, and
grammatical errors.

2 The concept was defined but some of it were copied from the book or from a seatmate.
Few spelling, punctuation, and grammatical errors.

1 The concept was not defined clearly. It doesn’t show originality. Most of it shows spelling,
punctuation, and grammatical errors.

2. Table Matrix. Complete the table below.

Disciplines of art Importance
Art making
Art criticism
Art history
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 Republic of the Philippines
NUEVA VIZCAYA STATE UNIVERSITY
Bayombong, Nueva Vizcaya
INSTRUCTIONAL MODULE
IM No.: GEELEC 3 1SEM-2021-2022

aesthetics

Rubric

Rubrics
3 The concept was clearly explained using own words. No spelling, punctuation, and
grammatical errors.
2 The concept was explained but some of it were copied from the book or from a seatmate.
Few spelling, punctuation, and grammatical errors.
1 The concept was not explained clearly. It doesn’t show originality. Most of it shows
spelling, punctuation, and grammatical errors.

B. Reflective Writing.
State and discuss the interconnection of the disciplines of art in textile weaving, basket weaving and
woodworks. Justify your answers by citing specific examples.

RUBRICS

CRITERIA EXCELLENT FAIR POOR

(5) (3) (1)

CONTENT Interesting content and Some interesting content; Gives the impression of
presentation; ideas well- points not sustainable or writing just to complete for
conceived and developed not fully developed. compliance.
with sufficient examples.

ORGANIZATION Logical progression of Logical progression but Disorganized presentation

ideas with well executed lacks transitions. of ideas.
transition of ideas.

GRAMMAR Essay is free of distracting Essay has few spelling, Most spelling, punctuation
AND spelling, punctuation and punctuation, and and grammar create
MECHANICS grammatical errors. grammatical errors. reading difficult to
understand the concept.

ORIGINALITY The ideas were presented Some ideas were copied The entire idea was copied
using the students’ own from books/ internet or from books/ internet or
words. from fellow students. from fellow students.

VII.EVALUATION
1. Essay. Directions: Discuss fully. Refer to the rubric below. Look at any creative craft you have at home.
Describe the creative craft by looking into the materials and design and its significance. Ask your parents
about the social and economic significance of the craft.

Rubrics
Criteria Excellent Fair Poor
(3) (2) (1)
Content Interesting content and Some interesting content; Gives the impression of
presentation; ideas well- points not sustainable or not writing just to complete for
conceived and developed fully developed. compliance.
with sufficient examples.
Organization Logical progression of ideas Logical progression but Disorganized presentation
with well executed transition lacks transitions. of ideas.
of ideas.
Grammar and Essay is free of distracting Essay has few spelling, Most spelling, punctuation
mechanics spelling, punctuation and punctuation, and and grammar create

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 Republic of the Philippines
NUEVA VIZCAYA STATE UNIVERSITY
Bayombong, Nueva Vizcaya
INSTRUCTIONAL MODULE
IM No.: GEELEC 3 1SEM-2021-2022

grammatical errors. grammatical errors. reading difficult to

understand the concept.
Examples cited Cited example is very Cited example is not so Cited example is not
visible visible visible

Date of Submitted on time Submitted 2 days after the Submitted 5 days after the
submission deadline deadline

VIII.ASSIGNMENT
Give the meaning of the following.
Word Meaning
Weaving
Loom
Ikat
Textile

IX. REFERENCES

Icasiano, C. ( 2009). Philippine Traditional Crafts in Discipline-Based Art Education: A New Prospect.
Volume 45 Number 1& 2.
https://en.wikipedia.org/wiki/Arts_in_the_Philippines . Retrieved September, 2020.

Prepared: Alicia D. Sapao

Faculty

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 Republic of the Philippines
NUEVA VIZCAYA STATE UNIVERSITY
Bayombong, Nueva Vizcaya
INSTRUCTIONAL MODULE
IM No.: GEELEC 3 1SEM-2021-2022

College of Arts and Sciences

Bambang Campus

DEGREE BSIT-2A/2B COURSE NO. GEELECT 3

PROGRAM
SPECIALIZATION ELC/COMT/MT/ COURSE Indigenous Creative Crafts
AUTO/CVT/DFT TITLE
YEAR LEVEL 2ND YEAR TIME FRAME 6 hours WK 3-4 IM 2
NO. NO.

I. UNIT TITLE/CHAPTER TITLE

Philippine Textile Weaving

II. LESSON TITLE

1. Introduction
2. Weaving Communities in the Philippines
3. Weaving Techniques

III. LESSON OVERVIEW

This lesson provides the students an overview in art of Philippine weaving. It also provides an
avenue for the learners to unlock concepts relating to textile-weaving. Opportunities will be given to the
students to share their insights on the importance of Philippine textile-weaving.

IV. DESIRED LEARNING OUTCOMES

At the end of the lesson, the students should be able to:
1. manifest interest in the history of Philippine weaving
2. identify weaving communities in the Philippines
3. explain textile weaving techniques
4. describe through reflective writing what is textile weaving and how it was weave

V. LESSON CONTENT

1. Introduction

Philippine woven textiles offer a glimpse into the rich cultural heritage of the Filipino people.
From the northernmost parts of Luzon to the southern edges of the Sulu archipelago, the extensive
range and quality of Philippine textiles are beyond question. Geography and history have influenced the
evolution of textile arts among the indigenous communities. In northern Luzon, the Cordillera people,
protected in part by their terrain, resisted the Spanish conquerors. Consequently, there has been more
persistence of traditional arts, values and cultural identities in these areas than in the lowlands. The
traditional blankets produced by the Tinguians and the Bontocs from the Cordillera region in northern
Luzon and the inabel cotton weaves of the Ilocanos in the northern region of the Philippines offer
evidence of the strong weaving tradition in these areas.
In the south, the rivalry between the Spanish and the Muslims was important in the preservation
of indigenous culture. The Muslims resisted the colonization of Mindanao and were able to prevent the
destruction of native arts and crafts, in contrast to what occurred in lowland Luzon and the Visayas.
Their textiles include the malong or ‘tubular garment’ of the Maranaos, the pisyabit or ‘head cover’ of
the Tausugs, and the saputangan or ‘head cloth’ of the Yakans. Mindanao is also home to indigenous
non-Muslim communities with their own weaving traditions; their textiles include the t’nalak or tiedyed
fabric of the T’bolis, as well as the woven cloths of the Bagobos.

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 Republic of the Philippines
NUEVA VIZCAYA STATE UNIVERSITY
Bayombong, Nueva Vizcaya
INSTRUCTIONAL MODULE
IM No.: GEELEC 3 1SEM-2021-2022

2. Weaving Communities in the Philippines

Figure 1

Weaving communities in the Philippines. The island groups of Luzon, Visayas and Mindanao
are the white, light yellow and light orange colored regions, respectively. Red, blue and green dots are
used to denote decorative dyeing, decorative weaving and supplementary thread weaving techniques,
respectively

3. Weaving techniques

Weaving is done on a loom. The warp threads run vertically from the warp beam towards the
weaver while the weft threads run perpendicular to the warp threads, that is, from left to right or vice
versa, in relation to the weaver. Philippine weaving techniques may be classified into three broad
categories (a) decorative dyeing, (b) decorative weaving and (c) supplementary thread techniques.

a. Ikat is a term for describing the decorative dyeing technique. The process involves binding or
knotting several threads together at certain intervals and then submerging the entire mass of threads in
a dye. The knotted portions will resist the dye, from which the pattern may be seen. Some knotted
threads may be unraveled and the whole mass soaked once again in a different dye to produce a more
complex pattern. This process may be repeated several times. The ikat used in the Philippines is
primarily warp ikat. This means that it is the warp rather than the weft threads that are soaked in dye,
so that a pattern emerges when weft threads are interwoven through the dyed warp threads. The
T’bolis from Lake Sebu, Cotabato, in southern Mindanao, use wild abaca thread to produce ikat
patterns, usually colored black, red and natural beige, the original color of the abaca leaves (Fig. 2).
The warp threads are secured on a frame and portions are knotted to resist the dye. These threads are
submerged in black dye and dried. Next, the areas that are to be colored red are untied and the threads
boiled in red liquid. The rest of the knotted portions are then untied, and these become the areas that
appear in the natural color of the abaca leaves. Weft threads are then interwoven perpendicular to the
patterned warp threads to produce the cloth (Fig. 3a). The ikat cloth is referred to by the T’bolis as the
t’nalak. The T’bolis weave the t’nalak relying on a mental image of the patterns, which are passed on
from mother to daughter, or bestowed upon the weaver by Fu Dalu, the spirit of the abaca, through
dreams (Paterno et al., 2001). As such, the t’nalak is a prized possession used by the T’bolis on special
occasions such as births, weddings or funerals. The Bagobos, indigenous people from the Davao
region in southern Mindanao, and the Ifugaos and Kankana-eys from the Cordillera region in northern
Luzon also employ the warp ikat. Fig. 4 shows a blanket woven by the Bagobos, displaying crocodile
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motifs. The crocodile or ‘big lizard’ is a powerful motif used by the weaving communities among the
Bagobos and Ifugaos in their tie-dyed fabrics; amphibious forms are regarded as vehicles of spirits
traveling the world and beyond (Respicio, 2003). The Maranaos from southwestern Mindanao, on the
other hand, employ the weft ikat technique in their weaving, where the weft threads are soaked in dye.
An example of the Maranao art is the malong .
b. In decorative weaving techniques, the patterns are created not through dyeing but through
the weaving process itself. The simplest among these is the plain weave, where the weft passes over
and under every other warp thread (one-over-one under). This basic weave is common among all
weaving communities. Plaids or stripes are the more familiar forms of decorative weaving, and the
hablon of the Hiligaynons, in Iloilo, western Visayas, demonstrates this kind of weave. It is usually used
for the patadyong, the Visayan wrap-around skirt. The result of a one-over-one-under weave is a fabric
whose back pattern is the ‘negative’ (with respect to color) of the front pattern. As such, it is sometimes
called a ‘face-to-face weave’. More variety can be achieved by setting differently colored warp threads
on the loom in irregular intervals or by changing the color of the weft threads. One notable example is
the binakul pattern from northern Luzon; the yarns are arranged in such a way that, when the weft
yarns interlock with the warp yarns, squares and rectangles of varying sizes are formed. Two hues of
yarn are used (positive white and negative black, blue or deep red), and the result is an optical pattern
giving an illusion of swirling circles or ripples, intended to cause dizziness to evil spirits. This kind of
decorative weave technique is achieved using a pedal frame loom and is common among the weaving
communities in the Ilocos region and Abra in northern Luzon. Insert picture
c. Supplementary warp or weft techniques involve the insertion of additional extra warps or
wefts to create designs. These threads are supplementary or extra in the sense that if they were
removed the woven cloth would still be complete, though without the original pattern. In the
supplementary weft technique, the additional weft threads are made to float over warp threads in a
planned sequence to create the design or pattern. If the supplementary threads extend from edge to
edge, they are ‘continuous’, but if they only go back and forth in small areas where they are needed,
they are ‘discontinuous’. Continuous supplementary weft. For the Tinguians and Bontocs in northern
Luzon, the most common weaving technique is the continuous supplementary weft, which is evident in
their blankets . Most of the Tinguian blankets are woven using the pinilian or dinapat styles. These
depict flora, leaves, human figures or animals; a common motif is the rider and horse These motifs are
highly valued, and the blankets are often used for funeral ceremonies. Pinilian means ‘separated’ or
‘divided’, referring to the checkerboard-like grid style of laying out the motifs. Meanwhile, dinapat
denotes ‘full’ or ‘total’, referring to the repeated pattern that occupies the whole blanket. The dinapat
blanket in Fig. 10(b) shows that, even without varying the breadth of the warp and weft yarns, patterns
other than checkered or plaid can be produced, i.e. the manner in which the weft yarns are inserted
produces red and white isosceles right-angled triangles. Pinagpagan, a typical funerary blanket of the
Bontocs also woven using the continuous supplementary weft technique. Three black stripes run
through the central panel of the blanket, indicating its use for the deceased of high rank in society. In
Bontoc funerary textiles, is referred to as the matmata, which means ‘eyes of the ancestors’, serving as
a guide as one travels to the afterlife (De Las Pen˜ as & Salvador-Amores, 2016). Discontinuous
supplementary weft. A related technique is the discontinuous supplementary weft, very prominent
among the Yakan weavers in southwestern Philippines. In this weave, the additional weft yarns are not
woven across the entire length of the warp; they may be cut and be limited to a few warp yarns. Weft
yarns are discontinuous, so it is possible to produce designs or patterns that change colors from left to
right across the warp yarns. The Yakans employ this weaving technique to create colorful clothing with
intricately woven designs. Their traditional clothing includes narrow cut pants resembling breeches,
usually with rainbows (palipattang) , and cloth wrapped around the waist by women as a tubular skirt or
used by men as a waistcloth where a weapon can be inserted . Traditional motifs include diamond
motifs , the bunga sama inspired by the skin patterns of a python and the dawen-dawen, meaning leaf
of a vine. The head cloth used by men is called saputangan and often shows geometric motifs . The
Aklanon from Panay, western Visayas, also use the discontinuous supplementary weave in creating
patterns in their pin˜a textiles, made from the fibers of the leaves of the red Visayan pineapple.
Tapestry. A special kind of woven textile produced using the discontinuous supplementary weft
technique is the tapestry weave, where the principal weft itself is discontinuous, as opposed to the
supplementary weft. In this weave, the weaver counts warp threads to be lifted so that the principal weft
threads can be inserted to create the design or pattern (Gustilo, 2014). To hold the fabric together, weft
yarns are dovetailed or locked with those adjacent (Rubinstein, 1989). This weaving technique is
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employed by the Tausugs from southwestern Mindanao; the Tausug men have their own version of the
waistcloth called the kandit and a head cloth called the pisyabit in tapestry weaves. The kandit shown
is skillfully woven with a variety of geometric motifs of contrasting colors which combine friezes, plane
patterns and finite designs that are characteristic of traditional Tausug textiles. Some weaves of the
Bontocs and Yakans also incorporate the tapestry technique
.

Detail of a Detail of a
Bontoc woven Gaddang woven
textile from the textile from the
highlands of highlands of
Northern Northern Luzon,
Luzon, Philippines
Philippines

A gilamat textil A detail of a

e originally Tinguian white
from Lubuagan skirt, highlands
but popular all of Northern
over Kalinga, Luzon,
highlands of Philippines
Northern
Luzon,
Philippines

Detail of a A detail of
Gaddang a pinilian blanke
woven textile t found from
from the Ilocos to
highlands of Kalinga,
Northern highlands of
Luzon, Northern Luzon,
Philippines Philippines

VI. LEARNING ACTIVITIES

A. Word to Know/learn. Give the own definition of the word found in the first column.

Word Meaning
Weaving
Weaver
loom
Warp thread
Weft thread

Rubrics
3 The concept was clearly defined using own words. No spelling, punctuation, and
grammatical errors.
2 The concept was defined but some of it were copied from the book or from a seatmate.
Few spelling, punctuation, and grammatical errors.

1 The concept was not defined clearly. It doesn’t show originality. Most of it shows spelling,
punctuation, and grammatical errors.

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B. Metacognitive Activity

1. Weaving Communities Directions. Give examples of weaving communities in each column.

Luzon Visayas Mindanao

Answer key
2. Identification. Directions. Give the word/s in the first column
________________
________________ 1. Weaving is done on a _________.
________________ 2. A decorative dyeing technique.
________________ 3. A prized possession used by the T’bolis.
________________ 4. Spirit of the abaca.
________________ 5. Powerful motif used by the weaving communities among Bagobos and
Ifugaos.
________________ 6. Familiar forms of decorative weaving by Hiligaynon, and western
Visayas
________________ 7. Visayan wrap –around skirt.
________________ 8. Pinilian means _____.
________________ 9. dinapat denotes “full or total “.
________________ 10. a typical funerary blanket of the Bontocs.
________________ 11. Common Bontoc funerary textiles.
________________ 12. meaning leaf od a vine.
________________ 13. a special kind of woven textile produced using the discontinuous
supplementary weft.
________________ 14. Tausug men waistcloth.
________________ 15. Tausug men head cloth.

Answer key

B. Reflective Writing.
What is textile weaving? How was textile weaving done among the Indigenous Filipino
communities? Include also the motifs used by the weavers? Justify your answers by citing specific
examples.

CRITERIA Score
CONTENT 5
ORGANIZATION 5
GRAMMAR AND MECHANICS 5
ORIGINALITY 5
Total 20

VII. ASSIGNMENT:
Direction: Interview your parents about the meaning of colors and design of your traditional
dress.

Color Meaning

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Rubrics

Criteria Score
Introduction 5
Questions 5
Listening Skills 5
Summary 5
Conclusion 5
Writing Mechanics 5
Total 30
VIII. EVALUATION
1. Essay. Directions: Discuss fully. Refer to the rubric below. What is weaving? Describe the beauty that is
embedded in textile weaving and its cultural representation and significance. Justify your answer by
citing examples.

Rubrics
Criteria Excellent Fair Poor
(3) (2) (1)
Content Interesting content and Some interesting content; Gives the impression of
presentation; ideas well- points not sustainable or not writing just to complete for
conceived and developed fully developed. compliance.
with sufficient examples.
Organization Logical progression of ideas Logical progression but Disorganized presentation
with well executed transition lacks transitions. of ideas.
of ideas.
Grammar and Essay is free of distracting Essay has few spelling, Most spelling, punctuation
mechanics spelling, punctuation and punctuation, and and grammar create
grammatical errors. grammatical errors. reading difficult to
understand the concept.
Examples cited Cited example is very Cited example is not so Cited example is not
visible visible visible

Date of Submitted on time Submitted 2 days after the Submitted 5 days after the
submission deadline deadline

2. REFERENCES

De Las Penas, Ma. L.(2017). Crystallographic petterns in Philippine indigenous textile. Journal of
Applied Crystallography

Anderson, A. ( 2012). Northen Luzon Highland Textiles. Pamela A Cross February 20, 2012.

Prepare by: Alicia D. Sapao

Faculty
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 Republic of the Philippines
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College of Arts and Sciences

Bambang Campus

DEGREE BSIT-2A/2B COURSE NO. GEELECT 3

PROGRAM
SPECIALIZATION ELC/COMT/MT/ COURSE Indigenous Creative Crafts
AUTO/CVT/DFT TITLE
YEAR LEVEL 2ND YEAR TIME FRAME 6 hours WK 5-6 IM 3
NO. NO.

I. UNIT TITLE/CHAPTER TITLE

Philippine Basket Weaving

II. LESSON TITLE

1. Introduction
2. Development of Basket Weaving
3. The Indigenous Baskets in the Philippines
4. Materials Used for Baskets
5. Weaving Patterns of Baskets

III. LESSON OVERVIEW

This lesson provides the students an overview of Philippine basket weaving. It also provides an
avenue for the learners to unlock concepts relating to basket-weaving. Opportunities will be given to the
students to share their insights on the importance of Philippine Basket weaving.

IV. DESIRED LEARNING OUTCOMES

At the end of the lesson, the students should be able to:
1. discuss important points the history of Philippine basket weaving
2. identify the purposes Philippine baskets
3. explain techniques in basket weaving
4. explain through reflective writing how you as a student can help in the promotion of basket weaving
in the community in preparation for the new normal life of the people

V. LESSON CONTENT

1. Introduction

Each indigenous group around the globe has a story to tell. The different creative crafts among
indigenous groups provide rich culture carried through generations. The deeply rooted tradition in the
Philippines can be accounted with the arts and culture of the country. One of which is the craftsmanship
of which creates a tangible memoir in the history of times. In several instances where various craft
forms are ingrained in the rich culture, and the art of the craftsman is passed on from generation to
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generation (The Arts of Craftsman, 2012). One of the significant indicators of Indigenous Filipinos’
craftsmanship is the basketry. Basketry as a handicraft provides a wide array of essential descriptions
of the indigenous group and its social relevance as it becomes parts of the aspects of daily life of the
community (UCLA Targeted News Service, 2013). Baskets create and define a social significance of a
certain indigenous groups. The Collins Dictionary defines baskets as a stiff container that is used for
carrying or storing materials, usually the agricultural products. Baskets serves as an artifact that
weaves significant ethnographic descriptions which can be systematically analyzed based on the raw
material sources, methods of handicraft making, forms and styles of making the baskets and the
functions of baskets that can serve both cultural – historical purposes (Barber, 1991).
The different baskets made by different indigenous groups in the Philippines are based on
diverse plant raw materials. Novellino and Ertug (2006) linked the utilization of the different plants to the
significant ecological ramification, plant abundance or distribution on the specified area, and on the
diffusion and transmission of basketry technologies and techniques passed through generations.

2. Development of Basket Weaving

It is speculated that the Proto – Austronesians settled in Taiwan moved to Philippines by 3000
B.C. as suggested by Bellwood (1985). Novellino (2006), correlated that along with the migration, it is
plausible that the early inhabitants of Northern part of the country brought them along the early weaved
baskets. In Cordillera Mountains, basket ranges in different forms and sizes according to its functions.
The raw materials used in terms of the strength, basket functions, and techniques in weaving may be
considered “unscientific” and primitive but entailed creative artistry and provide significant details of the
indigenous group (De Vera, 2007). Based on several documents available and the literature, there are
vast selections of plant materials including vines which were used as a basket. Most of the plant
materials used were rattan, bamboo and pandan in the Northern part of the country. Rattan are semi –
woody climbers on which the fibers for basketry were obtained from the outer shiny layer of rattan
canes (Novellino, 2006).
The Palawan produces some of the finest baskets in the country which varies in different sizes,
shapes and types of weave which is mostly used as rice baskets (The Arts of the Craftsman, 2012).
The big baskets in Palawan used for In Bulacan, egg baskets were made from split bamboo in which a
curving base secures the eggs firmly in place (Basketry, 2015). The different materials used may have
constituted to be based on its function and locality or specific manipulatory techniques which is
culturally prescribed (Mowat, 1992). In some indigenous groups, these baskets were finely made since
it is featured in the different rituals especially those with significance in agricultural harvests.
In some parts of the country, baskets were very significant indicator of a sense of identity of
women. Negritos for example, weaving of baskets is largely the work of women. Amongst the Batak,
believed to be the descend from the first wave of Australoid populations which crossed the land bridges
connecting the Philippine Archipelago with the main land of Asia; if there were interethnic marriage,
there is a matrilocality rules of common line of transmission of basket weaving knowledge. It is more
evident that women have assumed the responsibility of transmitting the basket weaving knowledge to
the women children both biological and the daughter in laws after interethnic marriages. Important
transfer of information occurs such as the local folk – biological vocabulary and the use of rattan and
bamboo as the main plant materials for making the Negrito baskets.
In Basey, Samar such as the tribes of Mamanwa, the plant material which is mainly used to
weaves baskets and mats were both buri and tikog. The weavers use these to make intricate mats,
bags, pouches, storage boxes, baskets and other crafts with the use of tikog. But, primarily due the
strength of the tikog as a material, is widely used for baskets. Tikog stems are gathered and bleached
under the sun for several days to dry out. Interestingly again, these handicrafts are done by women
(The Women Weavers of Basey, 2015). The weavers’ husbands take part in activities that require
physical strength such as plowing and land preparation for tikog farming. For them, processing the
tikog which requires bundling, counting the strands, drying, segregating the tikog by colors and size,
weaving, mat embroidering, and marketing are too tedious, time consuming, and requires more dainty
hands. Hence, men prefer to leave these activities to the women. They do, however, help in dyeing the
tikog because it requires a lot of strength to mix the tikog with the boiling dye solution and,
consequently, lift the tikog from the boiling dye solution and hang them to dry. Women are mostly in
tikog processing, mat weaving, and marketing. The women’s work time is much longer, from 10 to 14
hours a day on the average. The responsibility and labor of producing tikog mats and related products
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rests on the women. Further, Novellino (2006) pointed out that cultural preferences in the choice of
material used for weaving a basket dictates rather than the ecological factors.
Baskets as its primary function as a container (Tarnai, 2017), he studied the different
morphological problems of it. Consequently, when the sophistication of its morphology is being studied
we deal with the different patterns of weaving and the materials used in weaving the basket. Further
Tarnai (2017), cannot deny that the structural morphology differs from ethic groups. The Manila Times
(2018), recounted that the indigenous groups from all over the country were making its best to preserve
the cultural tradition of weaving. According to UNESCO, there are two ways through which cultural
heritages are preserved. First is through recording and archiving of cultural materials and second is to
preserve it in living from ensuring it is transmitted through generations. style, usage and economic
relevance of the different indigenous baskets. The functions of the basket are clustered according to
the similarities of its usage among indigenous groups.

3. The Indigenous Baskets in the Philippines

The different baskets from different indigenous groups echoed different information on
agricultural, biological or ecological and traditional diversity depending to the site.

The photograph of the painting indicates

that women generally use baskets as a
container for transporting agricultural
products and other food for the workers in
the field. Baskets
become the traditional icon for carrying
harvests from the field.

The photograph was painted by Isabelo

Quiles in 1991 where he depicted Bagobo
basket weavers. In the painting, the rich
tradition of basket weaving which was
primarily performed
by women is shown.

Begias. This basket is mainly used for

agricultural crops, rice and edible non –
timber forest products as well as snails
and other aquatic organisms such as
shells. (Image Credit
from Novellino, 2006)

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The photograph on the side is another

type of basket which serves as sea salt
containers. This type of basket is made up
of buri and Abaca. These are used by the
Negritos in Botolan, Zambales.

Throughout the history, women were empowered with this handicraft. In fact, the Batak or the
Negritos women usually weave the Begias which are diagonally weaved baskets used for agricultural
crops and rice. Significantly, when a young woman completes her fist woven basket, it can be an
indicator that she has achieved the status of the other groups of women (Novellino, 2006).
a. Cradle – Itawes, Cagayan
specialized basket used as sleeping basket for
babies or a crib for infants. In photograph a,
the materials used here were bamboo and
wood, originated from the Itawes of
Cagayan.

In photograph b, it is made up of
bamboo from Mamanwa of Basey, Samar.

4. Materials Used for Baskets

Baskets were made from a single or combinations of different indigenous materials common to
the place of origin. Some examples of the indigenous materials being used were rattan, bamboo, nito,
pandan, wood, abaca and buri. Rattan belongs to the Palm family (Palmae or Arecaceae) and
characterized as climbing, spiny palm. It is typically found in tropics and subtropics regions of South
and Southeast Asia including the Philippines (Dransfield, 2002). On the other hand, bamboo is the
tallest perennial grass that belongs to thefamily Poaceae and subfamily Bambusoideae. It is used as
material for handicraft such as basket due to its strength, lightness, flexibility, hardness and
versatility(Nirala, Ambasta, & Kumari, 2017).Nito, a type of climbing fern that grows in parts of the
Philippines is the name used for different species of Lygodium. It is also used in the production of
baskets and bags. Pandan leaves as well as the wood of some species are made into splints which are
used for making coarse and fine baskets and bags. Buri is another plant material for baskets, the
largest palm species in the Philippines, with trunks that can grow a diameter of 1 meter and a height of
20 meter. It is widely distributed in the Philippines specifically in places at low elevation. The immature
leaves, mature leaves and even midribs of mature leaves are used in the manufacture of baskets and
other handicrafts (Durst, Ulrich, & Kashio, 1994). Raw materials used in basket weaving are collected
or gathered at specific time of the year to ensure that they are suitable for weaving and will last longer.
For Buri, there are three species of this plant material which are commonly used for basketry,
these are buri palm: buri, raffia, and buntal fibers. Buri is the matured leaf of the plant while raffia is the
young shoot or leaf and buntal fiber is the long light-colored strand extracted from the petioles of buri
palms. They are woven into different products including baskets (Calapis, Daracan, Castillo,
Carandang, & Abasolo, 2011). Bamboo is a naturally occurring raw material which grows abundantly in
most tropical countries. It consists of cellulose fibers aligned along its length which provide maximum
tensile strength and rigidity (Li, 2004). Bamboo strips are commonly used in basket weaving because of
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its light yet rigid and flexible structure. Tikog is a sedge plant which is abundant in marshland areas of
the Philippines particularly in Leyte, Samar, Bohol and Mindanao. The weavers are using the stems
which are bleached and sun dried to make baskets, pouches, storage boxes, bags and tobacco cases
Tikog is considered as a weed so it grows naturally and abundantly in low altitude and swampy areas
(Dichoso, 2010). It is preferred by weavers because of its grass-like structure which makes it easier to
weave into certain products. The use of materials in baskets differs depending on the materials
available in the area, the type of basket being made, the preference of the weaver and the intended
purpose or usage (Koros, ND). For example, if a basket is intended to carry heavy loads, materials that
would be used should be stiff and sturdy such as rattan and bamboo. Flexible materials such as
pandan and buri leaves are used if a basket is intended to be folded flat. Rattan is most often regarded
as the preferred raw material for basket weaving and binding due to its durability. The stem or cane of
rattan is solid, strong and uniform as well as highly flexible for basket weaving. Wood is also utilized for
some basket particularly to provide a solid bottom and for andles(Dransfield, 2002). It is noteworthy that
the different materials used in making baskets undergo several processes such as drying, curing, and
even dyeing. The several processes were to make sure that the raw materials that its strength will be
rigid when loads are introduced to these baskets.

5. Purpose/ Function of Philippine Indigenous Baskets

Philippine Indigenous baskets can be classified according to the following cluster of purposes or
function: (1) storage, (2) carrying, (3) container, (4) ritual use and (5) auxiliary household use. These
baskets vary in size depending on the items being stored, carried or depending to the specific function.
Baskets are primarily used for storing agricultural products, crops including fruits and vegetables, beans
and rice grains as well as cooked rice and other foods. They are also used for storing clothes, fire-
making devices, spinning materials and personal effects. In terms of their carrying function, baskets are
used to carry crops and agricultural products including fruits and vegetables from the field going to the
house, caught salt water and freshwater fishes and the food brought to the field for lunch. Baskets are
also used for carrying tools including knife, bolo and other blade forms. Back pack and suit case are
baskets which are being used for carrying clothes and personal items. Some baskets are designed as
containers of liquids such as water, wine and other liquor while others are used as containers of food
such as salt cured meat, fish, shellfish, snail and other preserved foods. Baskets are also utilized in
carrying food for rituals and other ceremonial paraphernalia. Uses of baskets also extend to kitchen
utensil such as plates, strainer, steamer, food tray and winnowing tray. Some baskets are designed for
other utilities such as in poultry and fishing equipment.

The photograph above is a called

Panirnian or the strainer made up of bamboo
and
rattan from the Ivatans of the Itbayat,
Batanes.

6. Weaving Patterns of Baskets

Basket weaving depicts traditions of the ethnic groups, coupled with their artistic creativity and
their architectural applications (Tarnai, 2017). Studying the basic structural morphology of the different
baskets can be associated mainly on the structural significance attributed by the raw materials used,
heritage significance and the function of the basket.

a. Closed Crossed – Over Under Weave

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b. Closed Bamboo Double Twill Weave

c. Spaced Rattan Pentagon Pattern

d. Closed Tetrahedron Buri Basket

Indigenous Baskets and Economic Relevance

Name: jar
Function: liquid container
Materials: earthenware and rattan
Location: Bontoc

Name: Tupil
Function: lunch box
Materials: bamboo and rattan
Location: Antadao, Sagada

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Name: bukug
Function: basket
Materials: rattan, bamboo, beeswax, abaca
Location: Talomo river, Davao

Name: Kabil
Function: carrying basket
Materials: pandan, wood, rattan, beeswax
Location: Kalagan

Name: basket tray

Function: for spinning materials
Materials: bamboo, rattan, nito, wood
Location: Ifugao

Name: Uppig
Function: lunch basket
Materials: rattan
Location: Bay’yu, Mt. Province

Name: Tagga-i
Function: rice basket
Materials: bamboo and rattan
Location: Ifugao

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Name: bamboo suitcase

Function: storage and carrying clothes
Materials: bamboo
Location: Singnapan, Ransang,Palawan

Name: bay’ung
Function: basket and pouch
Materials: buri, rattan, nito, bamboo, bark
Location: Mindoro island

Name: lig-o
Function: winnowing tray
Materials: bamboo and rattan
Location: Bontoc, Mt. Province

Name: Binga
Function: bags
Materials: bamboo, rattan, abaca, beeswax

Baskets with wide range and forms are produced from plaiting and twining. They are utilized for
different purposes such as transporting products, food service, storage of food and clothes and as fish
trap for fishing. Storage Tampipi is a type of baskets being used for storage of household items such as
clothes and blankets. Food gathering and Preparation Winnowing tray, serving trays and fish traps are
examples of baskets used in food gathering and preparation. Winnowing trays are used to separate
rice from its hull while serving trays are utilized as container of rice and other foods for consumption.
Fish trap are used for fishing along flowing streams. Personal baskets Men in Bontoc are using small
bags which are fitted beneath the arms to carry tobacco and other personal belongings. Topil, is a
tightly woven basket which serves as lunchbox carry meals. Other important items such as jewelry are
kept in small, covered baskets with subtle design.

VI. LEARNING ACTIVITIES

1. Identification.
Directions: provide the information needed in each column.

Kinds of Basket Material used Purpose

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1.
2.
3.
4.
5.

Answer Key

2. Reflective Writing. Directions: How would you as a student help promote basket weaving in your
community? What is the importance of basket weaving in terms of the economic aspect of your
community? As we are readying ourselves for the new normal life brought about by the COVID 19
pandemic? Justify your answer by citing specific examples.

CRITERIA SCORE
CONTENT 5
ORGANIZATION 5
GRAMMAR AND MECHANICS 5
ORIGINALITY 5
TOTAL 20

VII. ASSIGNMENT:
1. List at least five possible products you can promote in your community using the available
materials needed in your community that would help alleviate the standard of living of your
community.

Answer key

VIII. EVALUATION
Directions: Fill in the columns with the correct answer. Refer to your module.

Materials Used for Baskets Purposes of Functions of Weaving Patterns of Baskest

Baskets

Answer key

IX. REFERENCES

De Las Penas, Ma. L.(2017) crystallographic petterns in Philippine indigenous textile. Journal of
Applied Crystallography

Hebbar, S. ( 2015 ) exploring basket weaving techniques for space making elements through
computation tools. Cept University Ahmedabad, Gujarat

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Bayombong, Nueva Vizcaya
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IM No.: GEELEC 3 1SEM-2021-2022

Prepared by: Alicia D. Sapao

Faculty

College of Arts and Sciences

Bambang Campus

DEGREE BSIT-2A/2B COURSE NO. GEELECT 3

PROGRAM
SPECIALIZATION ELC/COMT/MT/ COURSE Indigenous Creative Crafts
AUTO/CVT/DFT TITLE
YEAR LEVEL 2ND YEAR TIME FRAME 6 hours WK NO. 7-8 IM NO. 4

I. UNIT TITLE/CHAPTER TITLE

Philippine Woodworks

II. LESSON TITLE

1. Introduction
2. woodcarving in Luzon
A. Ifugao B. Laguna
3. Western Visayas “ Nonoy Patircion and His Wood Carving ( by Gian Carlo Arcenal)
4. Okir of Mindanao
III. LESSON OVERVIEW
This lesson provides the students an overview of Philippine basket weaving. It also provides an
avenue for the learners to unlock concepts relating to basket-weaving. Opportunities will be given to the
students to share their insights on the importance of Philippine Basket weaving.

IV. DESIRED LEARNING OUTCOMES

At the end of the lesson, the students should be able to:
1. explain the importance Philippine woodworks
2. identify salient woodworks in Luzon, Visayas and Mindanao
3. explain the meaning of furniture design and the nature of its marketability by organizing data
gathered though an interview

V. LESSON CONTENT

1. Introduction

Wood has been used and adapted by humans since the earliest recognition that they
could make use of the materials they found around them. As they used it to meet a varying
array of human needs, in peace and in war, in farming and in industry, people gradually came
to understand something of the unique nature of wood. Its properties were first understood by
experience, more recently by systematic research and refined observation. Wood is still
essential to human life, but has evolved over the ages from a simple, readily available natural
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material to a modern industrial and engineering material, with a unique ability to contribute to
human life both as a material for use and as a key element in the natural world of the forest.
The tree and its wood have played a prominent role in human life throughout history.
Wood has been one of our most important building materials from early Paleolithictimes, both
for building and for the manufacture of tools, weapons, and furniture. From the earliest times,
the use of wood involved consideration of quality, cost and availability, as well as the intended
use of the product.
2. Luzon : A. Wooden Ifugao Figures from Anthropology's Philippines Collection

In the mountains of northern Luzon in the Philippines, the Ifugao people cultivate rice on
elaborate terraces with intricate irrigation systems, a landscaping effort grand enough to have earned
designation as a UNESCO World Heritage Site. For the local population, rice is the primary
subsistence crop and the cornerstone of daily life. Some households keep carved
wooden bulul figures representing mythological deities to ensure good harvests and to protect the
fields and granaries. These figures are venerated and passed down for generations. Striking
examples of the genre, they are about 12 inches high. These include wooden paddle spades for
moving the soil to construct and repair pond fields where rice is cultivated as well as woven rattan trays
for winnowing and baskets for storing the rice.

B. O f S a i n t s a n d C a r s : W o o d c a r v i n g l i v e s o n i n P a e t e

A typical day in the Municipality of Paete, a quaint town in the 4th District of Laguna
province, usually involves the scent of wood and the sound of pounding chisels. Wood carving
or panlililok/paglililok is so ingrained in town's identity that it was named as the country's wood
carving capital in 2005. Even the the origin of the Paete's name, as recounted by locals, is a
centuries-old story of a manlililok asked by a young friar for place's name. The carver, holding
a wood chisel or paet, misunderstands his question answers that what he is holding is a paet.
The art started in the area even before the Spanish influence led to local artists to carve
religious figures. To this day, Paete and its local craftsmen & artists keep the art and tradition
alive. Renowned Paeteño manlililok, Justino "Amang Paloy" Cagayat Jr. continues this
tradition by creating various wooden masterpieces. Majority of these are religious figures due
to the large demand from the country's Roman Catholic population. But aside from the
Philippines, Amang Paloy's works also reach overseas most notably an image of San Pedro
Calungsod brought to Rome for his canonization. Some of his commercially-known works
include both wooden statues of the iconic "Machete" in both the 1990 & 1993 movies featuring
actors Cesar Montano & Gardo Versoza respectively. When asked which of his works are his
favorites Amang Paloy answers, "My favorite kind of works are images of the crucified Christ
and the largest one I've made is in Ateneo de Davao University."

The Process
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The wood carving process begins with drying wood for at least a week to prevent any
damages such as cracks which may happen during the carving process. Amang Paloy adds
that one of the crucial skills which a wood carver must have is sketching since details are
drawn on the piece of wood first before the carving process begins. In creating wooden
images, the head of a sculpture is usually done separately. Upon completion, the wooden
sculpture is coated with a primer to protect its interior and to serve as a surface to paint on.
Amang Paloy adds that if available, he prefers using Batikuling, a certain variety of wood found
in the Sierra Madre mountain ranges near the town which is not too hard to chisel and has
properties which repel termites. Batikuling is also currently the focus of cloning projects of the
Southern Luzon State University and in partnership with select LGUs while woodcarvers also
frequently plant the said tree. Kamagong and Narra wood, however, are also usually used by
carvers for their sculptures. Despite the time-consuming process involved, Amang Paloy and
Paeteño wood carvers' passion for the craft make it look easy.

3. Western Visayas “ Nonoy Patircion and His Wood Carving ( by Gian Carlo Arcenal)
April 4, 1970 couple Mamerto Quitibano and Coronacion Aguelar were the happiest and most
blessed. Brgy. Nalundan, Guimbal became a hotspot of the booming rattan and bamboo crafting
business.

Example of rattan chair in western Visayas

3. Okir of Mindanao
Okir or okil is the term for geometric and flowing plant-based designs and folk motifs that can be
usually found among the Moro and Lumad peoples of the Southern Philippines, as well as parts of Sabah. It
is particularly associated with the artwork of the Maranao and Sama (Badjao) people, although it can also be
found to a lesser extent among neighboring Maguindanao, Iranun, Tausug, Yakan, and Lumad groups. The
design elements vary among these ethnic groups, with the greatest refinement being found among the
Maranao.[1]

The origins of okir are pre-Islamic. They are believed to have originated from the much
earlier okil or okil-okil decorative carving traditions of the Sama (Badjao) people, which are often highly
individualistic and geometric. The Sama are master carvers, and they made lavish decorations on
ritual animistic objects, grave markers (both in wood and stone), and their houseboats. These precursor
forms of the okir designs can still be found in the art traditions of the Maranao in the basak (lowland) regions
of Lake Lanao, and they contrast markedly from the later flowing okir designs.[1

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Detail of a panokong with a A Maranao kubing jaw harp Sama sunduk grave markers
Naga motif handle made from horn and
brass with an S- shaped Naga
designed and a fish

A sama lepa with okil carvings A sama lepa houseboat with okil A Maranao spinning
design on the stem wheel(ganobong – shaped
projection)

A sarimanok

VI. LEARNING ACTIVITIES

1. Identification.
Directions: provide the information needed in each column.

Wood works Significance Materials Used

1. Luzon
1.
2.
2. Visayas
1.
3. Minadanao
1.
2.
3.
4.
5.
Answer Key

2. Interview.

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1. Interview an owner of a furniture shop in your community. If there is no furniture shop available,
interview a relative who works in a furniture shop or a carpenter who makes furniture products.
Please follow proper protocol wear face mask, face shield and follow social distancing while
conducting the interview.
Ask them about the materials used in making furniture, design and meaning, cost of the furniture,
cost of labor, and how it was market to the customers. Organize your interview following the rubric
below. Please use any available paper you have at home.

Rubrics

Criteria Score
Introduction 5
Questions 5
Listening Skills 5
Summary 5
Conclusion 5
Writing Mechanics 5
Total 30

VII. ASSIGNMENT:
Please continue doing your report on the interview.
3. EVALUATION: Directions: Discuss fully. Refer to the rubric below. What are the main furniture products
in your community? How would you as a student help in the promotion of its cultural significance? Justify
your answer.

Rubrics
Criteria Excellent Fair Poor
(3) (2) (1)
Content Interesting content and Some interesting content; Gives the impression of
presentation; ideas well- points not sustainable or not writing just to complete for
conceived and developed fully developed. compliance.
with sufficient examples.
Organization Logical progression of ideas Logical progression but Disorganized presentation
with well executed transition lacks transitions. of ideas.
of ideas.
Grammar and Essay is free of distracting Essay has few spelling, Most spelling, punctuation
mechanics spelling, punctuation and punctuation, and and grammar create
grammatical errors. grammatical errors. reading difficult to
understand the concept.
Examples cited Cited example is very Cited example is not so Cited example is not
visible visible visible

Date of Submitted on time Submitted 2 days after the Submitted 5 days after the
submission deadline deadline

VIII. REFERENCES

https://www.google.com/search?q=Western+Visayas+
%E2%80%9C+Nonoy+Patricion+and+his+woodcarving. Retrieved December 5,2016. Arsenal,
Gian N.

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Developed by:

Alicia D. Sapao
Faculty

College of Arts and Sciences

Bambang Campus

DEGREE PROGRAM Bachelor of Science in COURSE NO. GEELECT 3

Industrial Technology

SPECIALIZATION COURSE Indigenous Creative Crafts

TITLE

YEAR LEVEL 2 TIME FRAME 3 hours WK NO. 5 IM NO. 5

I. UNIT TITLE/CHAPTER TITLE

The Philippine Manufacturing

II. LESSON TITLE

1. Introduction
2. Importance of the Manufacturing Industry
3. Role of the Government in Promoting Industry
4. Woodcarving And Its Exporting Potential
5. Trends Influencing The Future Of Weaving
III. LESSON OVERVIEW
This lesson provides the students an overview of Philippine manufacturing . It also provides an
avenue for the learners to unlock concepts relating to Philippine manufacturing. Opportunities will be
given to the students to share their insights on the importance of Philippine manufacturing industry..

IV. DESIRED LEARNING OUTCOMES

At the end of the lesson, the students should be able to:
1. define manufacturing
2. discuss the importance of manufacturing industry on textile crafts and woodcrafts
3. explain the role of the government in promoting industry
4. explain the meaning of furniture design and the nature of its marketability and organize data
gathered through an interview
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V. LESSON CONTENT

1. Introduction
The Philippines has a long and rich tradition of producing handicrafts made from natural
materials. Many items now sold as handicrafts have traditionally been an important part of the culture
for some communities and tribes. As such, the Philippines is one of the world’s major producers of
handicrafts. Nevertheless, only two percent of all handicrafts imported by the European Union from
developing countries come from the Philippines. This presents an interesting marketing opportunity,
and with it, some challenge. Erminote ( 2019)

1. Long-term productive employment, value-added generation, and innovation. It has the

highest multiplier effect to the economy1 compared to other sectors. Manufacturing is called the engine
of the economy. Many services exist because of manufacturing.
2. Manufacturing creates more quality and gainful employment, as it has extensive linkages not
only among its sub-sectors, but also with other industries, not to mention that it can further make the
services and logistics sectors more active.
3. Increasing manufacturing activities also induced additional demand from the agriculture and
resource-based industries.
4. Manufacturing can contribute to sustainable economic development because it can provide
employment to a wider pool of the labor force. (industrialization- promotes manufacturing).
5. Manufacturing can generate employment opportunities to vocational graduates apart from the
university graduates.
6. Manufacturing also brings in newer technologies, which can introduce quality jobs, skills and expertise
in the country.

3. Role of the Government Support Programs . Erminote ( 2019)

1. Special Projects/Policies – innovation, technical specifications and capability, pilot mapping of

possible products to be manufactured.
2. Capacity building – series of trainings for designs, and quality of the products to be par
globally.
3. Support facilities – fund and technology DOST) to be used
4. Research study – help in the quality and marketability of the product
5. Ease of doing the business – seminar workshops

4. Woodcarving and its potential in the manufacturing industry.

Dela Cruz, J. (N.D.) stated that wood carving has fascinated a lot of people and Filipinos have
been influenced by different cultures that make our woodcraft unique. Different styles and different
tastes from our native heritage and culture that make us who we are today. The Philippines has been
known for a lot of things, but woodcraft is something we are naturally good at. From the northern part
of the country down to the south, there is always a wood carving or sculpting province that will amaze
us.
Wood carving capital of the Philippines, Paete, Laguna is really proud about their wood
carvings. Paete, whose name was derived after a chisel or paet, is a small town on the northeastern
part of Laguna. It is famous for its sweet lanzones and its finely made woodcraft that it was declared the
Carving Capital of the Philippines on March 15, 2005. They are simply amazing at it. From making
statues, sculptures, furniture to other things that you can name of that can be made of wood. As if they
treat this skill as they’re hobby or past time by creating different images and statues out of wood. Most

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of the woodcarvers in Paete are third generation woodworking folks, this skill is still being passed on to
the next generation of woodcarvers.

5. Exporting State And Its Potential

Dela Cruz, J. (N.D.) stipulated that while most of these woodcarvings will be distributed locally,
some of these handmade products are being exported internationally. Paete’s local economy relies
mainly on its handicrafts and sculptures, they had also suffered from foreign interventions that brought
in new technologies and mass produced their people’s works. An example was when Paete’s expertise
in papier-mache was adopted by the Chinese, which eventually made their country the top supplier of
papier-mache crafts in the world. Although, Paete artistry and tradition can never be commercially
produced for a mass market, artistry and uniqueness will also be the edge of their products that can
create high-value pieces.

(image source - Nestor Santiago - http://www.imagesphilippines.com/viewimage.php?id=551)

In other places in the country, some use a more Filipino trait of design by using sawali and bamboo.
Although some designs show a European influence, you can still tell that it is a Filipino made product
because of the bamboo material used. It is also seen as the savior of the wood carving industry in the
Philippines not just because of the low cost of the raw material but also the curiosity and interest of
foreign buyers.

6. Trends Influencing The Future Of Weaving

Globalization - UNESCO characterizes the current era of globalization as “unprecedented acceleration
and intensification in the global flows of capital, labor, and information.”44 It brought about rapid automation
and trade liberalization, which led to the production of low priced and diversified products through mass
production, as well as introduction of foreign products in the local market. This provided easier access to
international trade, but negatively affected handwoven textiles due to the availability of low-priced, low-
quality alternatives.
Digital technology and the Fourth Industrial Revolution The fourth wave of industrialization is
characterized by the automation of production, communication, and logistics processes, bringing changing
customer expectations, as well as opportunities that can be harnessed by the handloom weaving industry.
New technologies and the Internet are significantly transforming the way people access, create, produce,

and disseminate cultural content and ideas. The digital age has allowed for innovative financing methods,
such as crowdfunding.
(1) it helps raise money easier and faster;
(2) it allows an entrepreneur to gain market validation and proof of concept, through a community of
like-minded people that are part of the online platform; and
(3) it also acts as a marketing tool to reach unique users and potential funders. Any market player,
including weavers, can leverage on this new funding approach.
Design through technology exponentially gives added value to the product. New
technologies like embroidery machines, large format printers, and 3D scanners have become
useful in adding value to products and increasing product lines. Digitization aims to ease skills
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and knowledge transfer, and improves the homogeneity of output. Digital loom technology has
become a useful tool for documentation and replication.
Circular economy According to McKinsey’s report, The State of Fashion 2019, consumers and
companies now pay attention to the alleviation of personal impact on the environment, with consumers
showing “an appetite to deviate away from traditional ownership to new ways. in which to access
product,”45 reflected in more companies shifting value chains, and keeping resources in the economy
instead of disposing. The circular economy has started to move beyond proof of concept and has made
inroads into consumer preferences and business models. This presents an opportunity for traditional
handwoven textiles, as many of them are produced through sustainable methods that were inherited
from past generations
Role of culture in development There has also been a growing acknowledgement of the impact
of culture on sustainable development, so much so that UNESCO has developed a framework to
measure and monitor how culture contributes to the national and local implementation of the Goals and
Targets of the 2030 Agenda for Sustainable Development (SDG).47 UNESCO asserts that while
cultural preservation is an end goal in itself, culture contributes transversely across many of the SDGs.
UNESCO also cites other frameworks implemented globally that recognize the role of culture in
sustainable development

VI. LEARNING ACTIVITIES

C. Identification. (Synchronous Assessment through MS Teams Platform)
1. Word to know. Directions: provide the information needed in each column.

Words Meaning
1. industry
2. manufacturing
3. innovation
4. technology
5. quality

Rubrics
3 The word was clearly defined using own words. No spelling, punctuation, and
grammatical errors.
2 The word was defined but some of it were copied from the book or from a seatmate.
Few spelling, punctuation, and grammatical errors.
1 The word was not defined clearly. It doesn’t show originality. Most of it shows
spelling, punctuation, and grammatical errors.

2. Enumeration. Fill in the column with the correct answer.

Importance of Manufacturing Industry Role of the Government in manufacturing

industry

Answer key

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D. Interview.
1. Interview an owner of a furniture shop in your community. If there is no furniture shop available,
interview a relative who works in a furniture shop or a carpenter or an elder who makes furniture
products. Please follow proper protocol wear face mask, face shield and follow social distancing
while conducting the interview.
Ask them about the problem they encounter in their furniture shop. In particular, raw materials use,
production and market of the furniture product. Please use any available paper you have at home.

Rubrics
Criteria Exceptional 4 Acceptable 3 Marginal 2 Unacceptable 1 Score
or 0
Introduction You describe You describe You describe You describe
the interview the interview the interview little about the
event in event and event but say interview
detail and introduce the little about event or
skillfully person you the person person you
introduce the interviewed. you interviewed.
person you interviewed.
interviewed.
Questions Prepares and Prepares and Prepares and Questions
asks relevant asks largely asks question and their
questions relevant that delivery
that are aptly questions that demonstrate indicate little
informed by demonstrate a minimal preparation
the an understanding and attention
context and understanding of the to context,
the subject’s , if not context, and and the
initial query mastery, of the subjects’ subjects’
the initial query. initial query.
context and
the subject’s
initial query.
Listening Skills Demonstrate Demonstrates Gives little Gives little or
s careful attentiveness evidence of no evidence
listening by by interjecting careful of listening;
interjecting follow-up listening by marches
effective questions to largely through
follow up responses ignoring prepared
questions to that may have potentially questions
significant greater relevant without
responses. significance, if responses regard to
Effectively pursued. May and moving responses.
elicits elicit some on to the next Does not elicit
relevant relevant prepared elaborated
elaboration elaboration of question. responses.
of answers. answers. Elicits little
elaboration.
Summary You provide You provide a You provide You provide a
a detailed summary of a cursory perfunctory
summary of the interview summary of summary of
the interview with indication the interview the interview.
with a clear of the with little
indication of questions indication of
the questions asked and the questions
asked and answers asked and
answers received. answers
received. received.
Conclusion You identify You identify at You convey You convey
at least three least two main little sense of little, if any,
main points points you what you sense of what
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you learned learned from learned from you learned

from the the interview the interview from the
interview and and convey a or how you interview.
convey a sense of what might apply it
clear sense you learned in the future.
of what you and how you
learned and might apply it
how you in the future.
might apply it
in the future.
Writing Your writing Your writing is Your writing Your writing is
Mechanics demonstrate accomplished lacks clarity unfocused,
sa in terms of or rambling, or
sophisticated clarity and conciseness contains
clarity, conciseness and contains serious
conciseness, and contains numerous errors; your
and only a few errors; your report is
correctness; errors; your report lacks poorly
your report is report is well - organization. organized.
extremely organized.
well -organized.

VII. ASSIGNMENT:
Please continue on your report on the interview.

VIII. EVALUATION
As a student, what suggestions can you extend to our furniture producers, textile weavers and
basket weavers particularly the issue on the quality of the products so that it can compete globally?
Justify your answers by citing specific examples during your interview.

RUBRICS

CRITERIA EXCELLENT FAIR POOR

IX. (5) (3) (1)

CONTENT Interesting content and Some interesting content; Gives the impression of
presentation; ideas well- points not sustainable or writing just to complete for
conceived and developed not fully developed. compliance.
with sufficient examples.

ORGANIZATION Logical progression of Logical progression but Disorganized presentation of

ideas with well executed lacks transitions. ideas.
transition of ideas.

GRAMMAR AND Essay is free of distracting Essay has few spelling, Most spelling, punctuation
MECHANICS spelling, punctuation and punctuation, and and grammar create reading
grammatical errors. grammatical errors. difficult to understand the
concept.

ORIGINALITY The ideas were presented Some ideas were copied The entire idea was copied
using the students’ own from books/ internet or from from books/ internet or from
words. fellow students. fellow students.

REFERENCES

Erminote, D. ( 2019) . Importance of the Manufacturing Industry. Retrieved.

www.topperlearning.com › answer › what-is-importanc... Junu 16, 2018.
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Dela Cruz, J. (N.D.) Philippine Wood Carving And Its Exporting Potential. Retrieved. www.manilatrade.com ›
philippine-wood-carving-and-

College of Arts and Sciences

Bambang Campus

DEGREE PROGRAM Bachelor of Science in COURSE NO. GEELECT 3

Industrial Technology

SPECIALIZATION ELC /AUT COURSE Indigenous Creative Crafts

TITLE

YEAR LEVEL 2 TIME FRAME 18 hours WK NO. IM NO. 6

12-17

I. UNIT TITLE/CHAPTER TITLE

Applying Crafts and Weaving

II. LESSON TITLE

1. Outcome – based project

III. LESSON OVERVIEW

This lesson provides the students an overview of the application of indigenous creative crafts
subject through an exploratory and actual activity. It also provides an avenue for the learners to come
up and design their own creative craft. Opportunities will be given to the students to share their insights
on the importance of actual application of creative craft.

IV. DESIRED LEARNING OUTCOMES

At the end of the lesson, the students should be able to:
1. demonstrate actual making and designing of craft
2. document through video presentation the actual making of craft
3. present and submit the actual product
4. demonstrate how to create a craft with the use of indigenous materials available at home or in the
community by documenting work through video or photo

V. LESSON CONTENT

1. Plan your craft to be made by using available materials you have at home or in the community. There
is no need for you to spend money in as much as possible.
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2. If rattan raw material is not available at home, you may use other alternative such as bamboo and
others.
3. or you may use any available materials you have at home and come up with a product even if it is
not on basket weaving. You may weave other crafts with the use of bamboo or any available raw
materials you have at home.
4. you are given the whole duration of the final term to finish your product.
5. A rubric will be given for your guide in making the craft.
6. half of your points will be taken from your finish product.

Rubrics

Criteria Score
Creativity/originality 15
Perseverance 15
Craftmanship 15
Skill 15
attitude 10
Total 70

VI. LEARNING ACTIVITIES

.
VII. ASSIGNMENT:
Please continue working on your finish product.

VIII. EVALUATION

Your points may be evaluated when you submit the finish product of your craft.

IX. REFERENCES

De Las Penas, Ma. L.(2017) crystallographic patterns in Philippine indigenous textile. Journal of
Applied Crystallography

Hebbar, S. ( 2015 ) exploring basket weaving techniques for space making elements through
computation tools. Cept University Ahmedabad, Gujarat

Arts, M. ( 2008). Filipino Handicrafts provide income and protect the forest.

The Philippine Manufacturing Industry Profile

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