Week-1-2-HUM-103 indigenous informationss
- 1. HUM 103 Period: 1st sem S.Y. _____ Course: BSBA Topic: Week: 1 UNIVERSITY OF CEBU Maritime Education Program Introduction to Philippine Indigenous Crafts
- 3. Introduction Philippine indigenous crafts are more than just cultural artifacts—they are economic assets with strong potential in both local and global markets. For Business Administration students, understanding these crafts means recognizing niche opportunities where tradition meets entrepreneurship. By learning about their cultural significance, economic value, and regional diversity, students can explore ways to transform these traditional products into marketable goods, fostering both business growth and the preservation of cultural heritage.
- 4. Learning Outcomes • Define indigenous crafts and their significance in Philippine culture and economy. • Identify the role of indigenous craftsmanship in business and entrepreneurship. • Recognize examples from Luzon, Visayas, and Mindanao.
- 5. Grading System Grading system for Course with Lecture and Laboratory I. Class Standing(70%) Written Exam = 20% Oral Exam = 20% Research Works = 20% Outputs such as projects, portfolio and other task related to the course outcome =40 II. Course Periodic Exam(30%) Major Examination
- 6. Name one everyday object you think began as a craft. Why might customers prefer handmade vs. mass-produced versions?”
- 7. T’nalak (close-up of ikat pattern) The T’nalak is a handwoven cloth made from abacá fibers by the T’boli people of Lake Sebu, South Cotabato. Its designs are created through an ikat technique, where threads are resist-dyed before weaving, resulting in geometric and symbolic motifs. The close-up view reveals slightly blurred edges where dye meets undyed fiber — a signature of ikat work. Each pattern is believed to be revealed to the weaver in a dream, giving the cloth a spiritual dimension and elevating it beyond mere textile to a sacred object in T’boli culture. Traditionally, T’nalak is used in significant life events such as weddings, births, and rituals, serving as a symbol of peace and prosperity.
- 8. T’nalak weavers at loom The fibers are then sun-dried, and then dyed using the indigenous dye-resist technique called "ikat." Sections of the abaca thread are coated by the weaver with a wax- resistant substance so that they will resist the dye. The process is repeated several times in order to suit the requirements of the design. T'nalak contains three colours: white symbolises purity, red represents blood and black signifies the soil. In addition to white abacá, the red dye comes from the brownish-red roots of the loko tree, while the black is obtained by boiling the green leaves of the knalum tree for seven days, which turn them dark as ink.
- 9. Bulul (Ifugao carved rice guardian) used in ceremonies associated with rice production and with healing. The creation of a bulul involves alwen bulul ritual by a priest to ensure that the statue gains power. “Bulul — Ifugao carved guardian for rice; spiritual and functional role.”
- 10. Okir carving (Maranao wood panels / panolong) Okir, also spelled okil or ukkil, is the term for rectilinear and curvilinear plant-based designs and folk motifs that can be usually found among the Moro and Lumad people of the Southern Philippines, as well as parts of Sabah. It is particularly associated with the artwork of the Maranao and Sama (Badjao) tribes, although it can also be found to a lesser extent among the Maguindanao, Iranun, Tausug, Yakan, and Lumad groups. The design elements vary among these ethnic groups, with the greatest refinement being found among the Maranao.
- 11. Okir carving (Maranao wood panels / panolong) Okir refers to the flowing, curvilinear designs traditionally carved or painted by the Maranao people of Mindanao. Often inspired by plant forms, Okir motifs appear on wooden panels, furniture, weapon hilts, and architectural features like the panolong (ornamental beams) of the Maranao royal house or torogan. The intricate patterns not only beautify objects but also signify social status, heritage, and Islamic artistic influence. Traditionally carved from hardwoods, the precision and symmetry in Okir design require years of skill development.
- 12. Show, don’t just tell Inabel / Abel Iloko textile (Ilocos) Capiz shells, harvested from windowpane oysters found in coastal areas of the Philippines, are thin, translucent, and pearlescent. Historically used for windows before the introduction of glass, Capiz shells are now crafted into lamps, lanterns, trays, and jewelry. The close-up reveals their natural shimmer, which diffuses light softly, making them popular for ambient lighting products. Processing involves cleaning, flattening, and cutting shells before assembling them into decorative patterns.
- 13. Show, don’t just tell Capiz shell product (lamp or decoration) Inabel, or Abel Iloko, is a traditional woven cloth from the Ilocos region of Northern Luzon, made from cotton and woven on pedal looms. Known for its durability and geometric or floral designs, Inabel is both functional (blankets, table runners, garments) and decorative. The folded cloth close-up shows its tight weave and even pattern repeats, a sign of skilled craftsmanship. Historically, Inabel weaving sustained local economies, with designs often passed down within families.
- 14. Rattan furniture Rattan is a flexible yet sturdy climbing palm native to Southeast Asia, widely used in Philippine furniture- making. Techniques such as steaming or soaking soften the material before shaping, while weaving techniques are used for seats and backrests. The combination of durability and light weight makes rattan furniture a staple in tropical home design. Rattan’s appeal has surged internationally due to sustainability trends and the popularity of natural materials in interior design. Business students can study rattan as a case of scalable craft production, where local artisans can meet both mass and bespoke orders without losing craftsmanship integrity. Branding can focus on eco-friendly living and artisanal quality.
- 15. Coconut shell bowls / polished accessories Coconut shell crafts make use of what is often considered agricultural waste. Once the coconut meat and water are extracted, the shell is cleaned, polished, and sometimes carved into bowls, ladles, buttons, and jewelry. The polished finish highlights the natural grain and texture of the shell, creating a rustic yet elegant look. The process promotes zero-waste principles, as every part of the coconut is utilized.
- 16. Marikina leather shoe close-up Marikina is the country’s shoe capital, known for its high-quality leather footwear. The close-up image of a shoe being hand-stitched emphasizes precision, durability, and material quality. Local shoemakers take pride in crafting footwear that rivals imported brands, often using genuine cowhide or other quality leathers. The Marikina industry blends machine efficiency with manual skill in finishing touches, ensuring comfort and longevity.
- 17. Market/street shot of craft stalls Craft markets in the Philippines are vibrant spaces where artisans sell directly to locals and tourists. Stalls often showcase a mix of indigenous crafts — textiles, carvings, shell products, woven baskets — creating a sensory experience through color, texture, and even scent. These markets are not just points of sale but also cultural touchpoints, where buyers can hear stories directly from the makers.
- 18. Synthesis By clearly understanding what indigenous crafts are and their dual role in culture and economy, Business Administration students can recognize how authenticity and heritage can become market strengths in product branding and development.
- 19. Q&A Session Thank you for listening!
- 20. Lesson Completed