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Weaving is indigenous and traditional.

Weaving is an important part of the Philippine culture as it could create clothing or objects depending on the needs and culture of their respective groups of people.

They use native materials in weaving such as cotton, abaca, and pineapple which fibers are extracted to make threads as well as dyes from vegetable substances. For example: annatto or achuete seeds could produce orange-red dyes, while langka bark could product yellow dyes.

Due to the use of organic materials in mat weaving, it is suitable to the hot tropical climate of the Philippines. Mat weaving became a portable, eco-friendly solution for bedding for many Filipinos.

Textile weaving is significant in portraying the high statues of women in indigenous communities as they were appointed as the leaders, healers, and the people who are tasked to maintain the knowledge of their culture.

Besides the former, textile weaving is used for ritual purposes.

In other areas of the country, weaving was an activity for the community to band together and work in creating cloth.

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(See Canva slides for complete info)

Support from Indigenous Communities

Before its commercialization, only a few, mostly members of indigenous communities, supported and appreciated indigenous art. In recent years, however, there has been a renewed interest and demand for indigenous crafts. This encouraged designers and businesses to use traditional textiles.

Support from Businesses and Consumers

Consumers (which includes traders, retailers, or end-customers) play a major role in the preservation of weaving traditions as they are also a part of the indirect transmission of culture.

Support from Organizations

To support the industry, organizations have extended assistance in the form of financial subsidies, and access to market opportunities that benefit weavers and local cooperatives and enterprises.

Support from the Government

There are several government projects and programs that directly and indirectly support indigenous weaving traditions in the country.

These include the creation of agencies and awards, the establishment of learning centers, and the provision of financial and material subsidies for weaving communities.

Despite all these efforts, support is still lacking. Some weaving traditions still lack economic platforms and financial resources to remain alive. Both government programs and non-government initiatives are also not sufficient to ensure the sustainability of the weaving industry.

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How has the art practice adapted to changing socioeconomic contexts?

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Post War Challenges

1. Importation and industrialization of weaving materials

Machine-made fabrics also rose to prominence due to faster production, which threatened the life of traditional weaving industries.

Though materials are cheaper, some  weavers say the quality, textures, and designs integral to the identity of these weaving traditions are lost. Support for farmers (e.g., abaca, cotton) can help ensure the quality of materials used, and consequently, the quality and identity of the produced fabrics/clothes.

2. Subsequent lack of interest in maintaining strictly traditional weaving practices

Those who stayed traditional faced lack of interest from younger generations, unwilling to continue local weaving traditions because of meager pay, lack of materials and support from the government.

Weavers want to stay loyal/true to and maintain the unique cultural identities in their respective weaving traditions (if we want to preserve their cultures) and regard themselves as agents of their heritage, but are in need of economic stability

3. Industrialization and mass-production of textiles

Locally (traditionally) produced fabrics are challenged by the machineries of industrial fabric companies who can more effectively produce enough supply to meet the demand.

With the decline of the number of local weavers that use traditional means such as handloom weaving, supply cannot meet demand

Some local weavers are also forced to work with unfair compensation and working conditions in bigger textile companies, with no courage/power to demand for better

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Philippine Weaving in changing socioeconomic contexts

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Does the government guarantee the continued life of this art practice? How, if so?

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WHAT HAS THE GOVERNMENT DONE FOR OUR WEAVERS?

1. PRESENT: IPRA 1997 (GOVPH, 1997)

Notably, the IPRA 1997 was enacted two decades ago. But, the external environment of the Indigenous people (IPs) has changed over the years. More competition, both local and international, and the increasing difficulty to access supply and the market are just some of these. Ultimately, the IPRA 1997 falls in taking into account the current pressing issues of the IPs, such as preserving and protecting their art traditions such as weaving, all considered part of their decades-long rich culture. We need to shed light on what exactly this law fails to achieve as the longer we take, the harder it will be for IPs to sustain their life practice, among many other things they hold dear and identify themselves with.

2. State awards for indigenous art by CCP, and NCCA after through the Gawads sa Manlilikha ng Bayan (Baradas and Guillermo 2020)

3. Other interventions by 2020

The long history of weaving proves that art is a living tradition and has survived changing conditions in the physical and social environment. We can see our history in the weaving patterns of our IPs. Animism influenced the designs and motifs in mat weaving. Islam reached Mindanao Sulu in the 13th century, and from thereon, began the integration of the Burraq in boras mat weaving. Early exploration, colonization, and trade with Southeast Asia (SEA) regions explain why our weaving designs have a cultural affinity with SEA. The raw materials for weaving were vulnerable to displacement and damage as seen in the American period and World War II, respectively. Ilocos' weaving tradition changed with industrial cotton and dyes. IPs were displaced multiple times. The market economy led to the conversion of the value of these art forms into commercial products (Baradas and Guillermo 2020).

But…

While these art forms are often used as symbols of national identity and pride, the needs of the traditional communities have not been properly addressed by the government. - Baradas and Guillermo (2020)

The government is not yet guaranteeing the life of weaving because unfortunately, weaving is a dying art. This is ironic and unfortunate as indigenous art is considered a living tradition (Baradas and Guillermo 2020), and always should be. It holds much of our historical and cultural significance.

The weather threatens production, weavers are aging, commercialization and lack of financial resources are among the reasons the chances of a future for weaving is dwindling (Castelo 2020). And the government has the power to transcend NGOs’ and private sectors’ efforts to address these factors and help weavers thrive amidst changes in the external environment. Are they using the power to achieve this? We can see the IPs situation in some aspects as follows.

WHY GOVERNMENT INTERVENTIONS NEED TO IMPROVE…

What is the problem or context?

Poverty and the lack of economic opportunities (e.g. quality education, basic social services) (ILO, 2012) for the T’boli community led them to resort to accepting business proposals to convert their weaving or textile products to tourism products (Candeleria et al. 2017). In the process, the economic value replaces the cultural and social value (T’nalak as worship for their god for abaca). If the IPRA 1997 was indeed working, then the T’boli would have had more economic opportunities in the first place, and thus have better bargaining power when it comes to asserting the maintenance of the significance of their T’nalak.

How is this related to ARTS 1?

Our colonial experience which had laid down the academic canons of art has left a tradition of suppressing sectors of Philippines expression, such as that of the Muslim Filipinos and the animist ethno-linguistic groups. - Guillermo (1997)

Up until now, weavers experience this as they have to conform their products to the trends of tourists and the current market in order to sell them. Tourists get to dictate how they want a local textile product to be in – shirts, bags, table runners, purses, etc. Hence, it is important that the authentic form of these weaving products are preserved, transmitted, and documented so that future generations will still gain this sense of identity and pride for it, and embody the culture and ideology present in the weaving.

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What is the problem or context?

Around January 2021, there were reports of machine-made imitations of Cordillera’s blankets and garments being imported from China and then sold in Baguio (Fernan and Cerilles Jr. 2021). Many of the replicas were made of conventional textiles, which is inferior to the genuine fabrics of Cordillera weavers. Imitations are sold cheaply and have duped multiple customers, which in turn, affected small local businesses (Philippine Daily Inquirer 2021). Hence, native weavers are seeking the protection of their weaving. Virginia Doligas, manager of Easter Weaving Room Inc. in Baguio City, mentioned that failure to protect weavers from fake products will result in “irreversible damage” (Philippine Daily Inquirer 2021). Indeed, this imitation mocks the rich culture of weaving, and the days of hard work weavers dedicate to making their art. While the IPRA 1997 exists, government agencies failed to instantly file cases against the counterfeiters. This was due to factors such as limited financial resources and lack of coordination (Fernan and Cerilles Jr. 2021). Lawyer Atanacio Addog, legal officer of the National Commission on Indigenous Peoples (NCIP) in the Cordillera, asserted that international treaties banned the entry of counterfeit products and that the NCIP is working to the "NCIP is working to amend laws protecting cultural art forms and indigenous knowledge". It prohibited shops from importing and selling these fake products, while it was preparing to sue retailers. The city council was drafting measures to stop companies from pirating crafts by Cordilleras (Philippine Daily Inquirer 2021). Still, while measures were in the process of being implemented, we cannot deny that the Cordillera weavers were being robbed of their deserved revenue and their claim to that weave in general. Unlike the Cordillera weavers, imitators not belonging to the centuries-old culture of Cordillera will just see weaving as a mere commodity, thus producing it just purely for money, and if it fails to do so in the long run, ditches the product. Moreover, the drafting of measures in response to the importation proves that the government agencies and bodies must be more proactive. Not only should the city council of Cordillera do this, but for all Philippine city councils in service of the IP communities to protect the weavers from the likelihood of competing with counterfeit products.

More about the Cordillera weavings can be read in the next slide.

How is this related to ARTS 1?

Art has sensual properties that reckon to us to engage with it bodily  - Flaviano (2020)

Have you ever tried appreciating an artwork by running your fingers through its texture? Similarly, we cannot fully appreciate a weaving piece just by looking at it. Rather, touching the threads that are intricately and carefully laced together enhances the sense of respect for the art, for the skills, the passion, and days of hard work by the weavers. So conventional textiles are considered inferior to genuine fabrics, and may not give the feel of the texture that authentic ones do.

Art as embodied meanings – the material of the work itself forms part of its meaning  – Desmond (2011)

The imitation of the Cordillera weaving may not be considered an art as the material itself. Conventional textiles (Philippine Daily Inquirer 2021) do not carry the meaning of genuine fabrics. Genuine fabrics can represent the dedication of weavers to source materials and produce the weaving.

Some artists in nonWestern societies don’t sign their work like Western artists do because it is thought to be an integral part of the community and not the work of just one person. – Desmond (2012)

Because of this communal nature of Filipinos, ownership of a weaving product cannot pinpoint one person. This may be a limitation for claiming ownership over a weaving product, thus may appear very similar to those imitations when placed beside them.

How is this related to BS Tourism?

Experiences and studies will show that the continuation of traditional industries that we know of has also been apparent or has also taken place because of the presence of people who are still willing to support it – one of those are tourists (Cabigas-Sy 2021).

Tourists who are seeking authentic tourism experiences are likely to pay a premium for the real Cordillera weaving pieces. Knowing that tourists will always support weaving, we have to ensure that tourism products and services available to them are authentic. Hence, national policies must be made to uphold the rights of IPs to ownership of their weaving, and then have these cascaded local communities.

What are the possible solutions?

1. HB 7811 or An Act Safeguarding the Traditional Property Rights

This act will ensure that IPs gain full ownership of their cultural and intellectual property. Royalties are to be granted for collective and individual creative expression. Legal protections and remedies will be given by the government through clear registration for IPs (BusinessWorld 2021).

2. Clear assigning of roles to agencies concerned with the protection of traditional knowledge (e.g. NCCA and NCIP) (Fernan and Cerilles Jr. 2021)

3. Tighter border control measures to ban fake products (Fernan and Cerilles Jr. 2021)

4. More discussions on a protection system for traditional knowledge and traditional culture (Fernan and Cerilles Jr. 2021)

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What is the problem or context?

The Philippines is a very disaster-prone country (Mina 2021) and the marginalized communities including the Indigenous People usually bear the brunt. Not only do weavers lose their homes, but also suffer drastic interruptions in their livelihoods. For instance, Tikog stems in Basey, the Philippines are used for intricate mats, bags, pouches, and more. But the Typhoon Haiyan destroyed all those necessary to create the Tikog. It damaged the native reed in the area, salted the soil, and materials and work areas were lost or damaged. Yet, it is the women associations who responded aptly to this and are helping make the Tikog industry competitive (CARE 2015). Overall, government policies still need to respond better.

What do the ARTS 1 references say?

Art as construct - Guillermo (1997)

As with any other art, weaving has its resources, mediums, and techniques. Policies need to take into account the conditions and problems of weaving production. One of these, of course, is the weather and climate for supplies.

Closely linked with the natural environment, the production of such art is part of everyday life - Baradas and Guillermo (2020)

We cannot sustain weaving without protecting and sustaining the natural environment it sources its materials.  Especially during the American occupation, we have seen how weavers have been suffering from damages to their environment. It is about time we address this. Weavers source their raw materials for their environment. Without them, they could not weave.

How is this related to BS Tourism?

In terms of supply, suppliers of weavers get hit by disasters too. They may struggle to supply the weavers with raw materials. This, coupled with the decline in local manufacturing, makes it harder for weavers to find a consistent supplier for raw materials.

We need to increase their use of the weaving industry to make them more self-sufficient. Sometimes, IPs would sell the amount needed to survive daily. But, they need to earn more than what can sustain them every day. Earning more income daily than what is needed to survive secures survival and resiliency in disasters

What are the possible solutions?

1. Collaborate and fund research for a sustainable weaving industry (MUNI 2020)

Sustaining the weaving industry will include its resilience in the Philippines. Thus, the government needs to fund research and collaborate with the private sector for the weaving industry's sustainability. Research can include "production of raw materials, to trainings and workshops, provision of equipment and materials, product development and promotion program, and a systematic marketing system." (Malasig 2019). Research may unearth ways on how we can find substitute supplies to the local textile products, or how the soil can retain its conduciveness for growing the raw materials. Overall, we need research to help weavers recuperate instantly after disasters, among other important benefits of sustainability.

2. Sufficient government financial aid and/or loans to get them back on their feet.

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What is the problem or context?

Indigenous weavers lack access to the market, particularly regular customers. Also, there is a lack of policies implemented to support the weaving industry in the global market. In fact, the DTI's Garments and Textile Industry does not include the hand-weaving industry. According to the MUNI (2020), there is no clear and unified direction for the growth and sustainability of the industry in the government policies and regulatory framework.

Further, the government agencies supporting the weaving industry need to cooperate more. For instance, looking at weaving using the tourism industry perspective, tourism will accredit the tourism circuits and programs. But developing these, using the economic perspective, will need the engagement of the DTI, which would require different prioritizations in plans and programs for the weaving industry (Cabigas-Sy 2021).

What do the ARTS 1 references say?

The art forms of the ancient past continue to the present as living traditions, adapting to and transforming based on the changing conditions in the physical and social environment
- Baradas and Guillermo (2020)

So many competitors are out there, and worse, IPs cannot fully access their markets. A way to keep the weaving industry alive is to ensure they can access the markets through modern forward linkages (e.g. online platforms).

Any artifact can be a work of art as long as it is “admitted” by the artworld. In other words, art is the consequence of social agreement rather than having intrinsic aesthetic features, or art is what the artworld says it is. – Desmond (2011)

When we adapt to the changes of distribution by strengthening the forward linkages of art, the more these local textile products will spread to the public or the markets. These people who purchase can themselves identify the weavings as art. By recognizing it as art, it becomes art. This identification can even be a motivation for consumers to purchase it through online websites.

How is this related to BS Tourism?

The weaving industry should be led using a macro perspective. The national government should craft the framework then cascade it to the local communities as the latter do not have the necessary forward and backward linkages. The government needs to strengthen both the backward and forward linkages. Backward linkages are of great concern as aforementioned, the weaving industry sources the raw materials from the agricultural sector which is declining (migrating to other countries). Meanwhile, forward linkages refer to promotions online (Cabigas-Sy 2021), in tourism packages, or whatever distribution channels are most accessed by the markets today.

What are the possible solutions?

1. The government agencies should not just fund the weavers to go to urban city trade fairs (MUNI 2020). Rather, government programs should be executed to empower the weavers to establish a better supply chain management system, coupled with laws to protect the IPs’ rights when transacting. This way, they will be less dependent on government funds to go to urban cities as they have access to a growing market.

2. The industry's inclusion in the BOI's Textile-Garment Industry Roadmap to have a clear direction for growth and sustainability (MUNI 2020), especially the contribution to the economic gains of the country.

3. Access to education is necessary as this will help weavers increase not just their social mobility, but their English proficiency which is found by IPs to be necessary to better promote their products, especially to the international market. In fact, weavers value education greatly (MUNI 2020).

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What is the problem or context?

Some weaving groups such as in Lake Sebu expressed that they need additional or expansion of facilities for cultural transmission. Oral transmission may need the documentation of weaving too. CulturAid asserts the "need for communities to document their own cultural heritage and currently teaches cultural mapping to several of the communities they work with." (MUNA 2021)

What do the ARTS 1 references say?

In some non-Western cultures and periods, artists had to study the traditions of art making from family members (like European guilds and master studios) – Desmond (2011)

This is generally true as mentioned earlier, mothers and the elders teach the younger generations to weave.

It is in our human nature to engage with art because we make and do art to connect with our communities and the natural world around us. Aside from their aesthetic value, these [indigenous/ethical/traditional] forms of art also have practical and religious value. They can also usually be locally sourced and are environmentally sustainable. They are participated in by the community as a whole and destined to merge. – Flaviano (2022)

By engaging in art with others, we unconsciously transmit the art informally. Weaving is not just done privately, but with society as well for both social and religious functions (e.g. rituals, ancestral worship). In short, weaving is not just a source of income, but it is a venue for bonding. In terms of nature, the sourcing of raw materials is a manner of communing with nature. IPs learn how to use the natural resources around them for weaving, and in turn, appreciate and make use of these wisely. However, rather than relying on communities to informally transmit this, we must have formal measures such as cultural facilities that will teach the younger generations the meaning of this art and how to sustainably use the resources crucial in producing it.

Our folk/ethnic expressions that grow out of the oral traditions constitute the underlying stratum of our cultural identity. – Flaviano (2022)

As weaving is used to engage with society and the environment, it continues to be transmitted to the next generations. By communing, they preserve the Filipino cultural identity. Attached to these weavings is the cultural identity of our ancestors which has evolved to become ours today.

Weaving is an ethnic expression that has been passed down by the elders through oral tradition. Attached to these weavings are the cultural identity of our ancestors which is present in ours as well. For instance, the Ifugao weave ceremonial textiles as a form of both ancestor worship and Catholicism (Milgram 1996). And even in our present Catholic practices, we practice rituals to bring our dead to heaven (e.g. wake, 40th day). The woven ceremonial textiles of Ifugao, especially about ancestral worship, can be one of the earliest signs of this culture of ours. Overall, documentation is important as it can give us the roots of our cultural identity, especially those found in weaving.

How is this related to BS Tourism?

Not only mothers (Fabro 2022), but elders too are consciously or unconsciously passing on the art of weaving because it is their hobby and they find it therapeutic. Still, there must be a formal framework, which the government can implement, to ensure that there are formal venues used for transmission. An example of these efforts is the School of Living Traditions in the South (Cabigas-Sy 2021).

Documentation is so critical that it is the first step of the four-stage planning process of heritage planning. This step entails the identification of the intrinsic and extrinsic values of the asset, i.e. weaving. With documentation, we can better preserve, highlight, and respect these values associated with weaving (Du Cros and McKercher 2014).

What are the possible solutions?

Support from the government can help add and expand these facilities (e.g. weaving centers) to facilitate the transmission of weaving to the younger generations, thus its preservation. Such facilities will help accommodate the demand of the young to learn the art of weaving. Notably, government agencies have the power to access and acquire documentation tools and expertise (MUNI 2020).

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What is the problem or context?

Despite the provision of IPRA 1997 including consultation (Howells et al. 2008), weaving groups in Lake Sebu expressed the need for government agencies to consult. Without discourse and consultation, the policymakers failed to address what the weavers really needed, and that was security and health (MUNI 2020).

Is there a possible solution? How is this related to BS Tourism?

From a tourism development perspective, we need to always involve the local communities in tourism planning and development, especially when they are those providing the local tourism products and services (in this case, it is weaving). If the goal of tourism is to help the locals, then it is just fair that locals can share how exactly they should benefit from it. Without consultation, the development will just be a “hit and miss”, and thus likely be unsuccessful, let alone unsustainable.

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References: https://docs.google.com/document/d/1VgPrQ8yZBMOUcnroDNmBWBTFX8zX-ssJL6-iW3vctUc/edit?usp=sharing

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The government's support for the continued life of weaving

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T’nalak

Expansion and Commercialization

The arrival of missionaries in Lake Sebu affected the culture and tradition of the T’bolis. They converted locals into their own religion through intermarriages and religious missions. As such, many T’bolis became Catholics, Protestants, or Muslims.

Due to the above, the T’boli adapted some elements of Christianity into their own traditions. An example of this is shown in the Lemlunay Festival. It is a harvest festival that combines the beliefs of the T’boli as well as the symbols and rituals of the Catholics. However, these changes do not replace the traditions T’boli had, but rather, is in co-existence with each other.

Because of the Christian migration, the missionaries established the St. Cruz Mission. It helped the community in developing their own market in producing t’nalak and to have a consistent income with making such art. It proved to be a huge improvement compared to the barter system T’bolis implemented before 1960s, but it also paved the way to the commercialization of the t’nalak industry.

The widespread appeal of t’nalak led to some outsiders to produce their own t’nalaks with their own modern version of the art form. They were easier to weave and provided a competitive price for the market compared to the traditional t’nalaks.

Lang Dulay, a GAMABA awardee for t’nalak weaving, explained the contrast of modern t’nalak designs in the market compared to the traditional ones.

Modern t’nalak has a looser and rougher hemp compared to the smooth and shiny texture of the traditional one.

They are focused with their outward appearance compared to staying faithful to the tradition.

Lang Dulay respects the need of profit for T’bolis and can’t blame their modernization of the craft, but she continued to push for the preservation of their traditional ways.

Examples

Elizabeth Clenci’s dress in Miss Grand International (2017)

Jearson Demavivas created a t’nalak-inspired dress for Elizabeth Clenci in the Miss Grand International beauty pageant. He said that the dress was inspired by the T’boli tribe and is a representation of what a modern T’boli princess would look like in haute couture.

This dress has caused controversy amongst T’boli locals. Some accepted the design as they are used to seeing t’nalak designs in mass-produced products and they would not be selling the products if they are against the innovations presented. Some of them have reservations.

Michael Angelo Yambok, head of the T’boli cluster of the NCCA’s Subcommission on Cultural Communities and Traditional Arts, and Carlo Ebeo, cultural worker and former vice chair of the National Commission for Culture and the Arts’ (NCCA) National Committee on Cultural Education, both assert that it was an admirable effort on Demavivas’s part to make a avant-garde representation of the t’nalak art, and that getting inspiration from the local’s art is a good thing, however, the designer should have asked for approval from the locals before creating such a piece.

Catriona Gray’s dress/dresses in Miss Universe (2018)

In contrast with his last work, Demavivas consulted the locals for assistance in using the T’nalak properly. A representative of T’nalak Tau Sebu said that their team came to them last July and they had a proper talk about the Code of Practice the locals maintain to make sure of their quality is authentic to traditional T’nalak fabrics.

The dresses have the TTS collective mark, which indicates that the product is authentic and fits the standard the group had for those dresses. It also indicates that the product was carefully created by the members of TTS themselves.

Cordillera Weaving

Expansion and Commercialization

Conditions of the Weaving Industry

In the panel, “Habi: Weaving Philippine Textiles’ Future”, Prof. Analyn Salvador-Amores gave a talk about textile weaving in Cordillera. She pointed out that there are reasons for the slow decline of the weaving traditions in the province.

The age of expert weavers ranges from 70s to 80s. Unless they have a generation to pass it through, the knowledge of the craft will steadily decline.

The youth doesn’t have enough interest in continuing the tradition.

Weaving through traditional methods on long periods of time impacts the weaver’s health. They suffer skeletal problems, lower back issues, poor eyesight, and upper respiratory illnesses.

There are programs made to combat the decline such as the Schools of Living Traditions, the Cordillera Textiles Project (Corditex), and the Geographical Indication Product (GI) program, but they either need more funding on these projects or the weaving is not yet recognized for protection.

She added that weavers may have shifted to commercial threads due to decline in cotton yields. It enables them to weave more, however, their production would have focused on catering to tourists and that might make them a target of cultural appropriation by rampant copycats or replicas in the market.

Examples

Art of the Loom

Binakul is one of the many weaving designs in Cordillera. It has geometric patterns that act as optical illusions as a representation of the waves of the sea which was once said to defend them from evil spirits. Binakul is usually done on blankets, however, modern perspectives have transformed the weaving into current-day fashion and other objects.

Art of the Loom is a special exhibit for the different ways artist spun around the concept of binakul as a contemporary form in the Yuchengco Museum.

Some of the works displayed are the binakul and snakeskin clutches designed by Pepito Albert, the binakul flats by Ruby Diaz Roa, and the variety of clothes created by fashion designer Jojie Lloren.

Little Islanders

Little Islanders is a Hong Kong-based kidswear brand the cooperates with weavers in the Philippines to create clothes that showcases the culture of traditional weaving techniques through modern hand-loomed clothing.

Gwen Vetuz created the brand with the intent of reviving dying weaving techniques by utilizing them in modern ways such as creating clothing for kids.

The clothes are said to be long lasting and, as a proof of its durability, is said to be heirloom products that a generation could pass down to another. The fabrics are locally sourced from the Philippines and the company helps in encouraging the use of hand-loomed textiles and the local weaving industry.

Tabungaw/Gourd Hat

Expansion and Commercialization

Teofilo Garcia is one of the only people, if not the only person, who creates Tabungaw Hats. It has been difficult for him in creating the hats due to having to source his materials himself, the amount of upo depends on the weather in his area, having no database for potential plants that could be used as raw materials, and lastly, the tradition depends on his continuous production to thrive.

Despite these problems, he never stopped experimenting to achieve a more resilient hat and he had to adapt on the available supplies that he can acquire.

As support for the endangered craft, the NCCA commissioned Garcia to transfer his knowledge to the next generation by integrating the creation of Tabungaw Hats in the Technology and Livelihood Education subject in the DepEd curriculum. The initial modules were drafted by the training staff of San Quintin National High School before they were sent out nationwide.

Example

There is no current adaptation by other people outside the originating culture currently. Once the tech transfer to San Quintin National High School is successful, it might popularize tabungaw hats and it might spark a modern interpretation of the hat.

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How has the art practice been adapted by artists who are not from the originating culture?

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Check out this Canva presentation if you have time! Thank you!

Group 1:
- Baltazar
- Dela Cruz
- Limpiada
- Tan

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Group 1 - Personal Ornamentation (Question 5)

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Group 1 - Personal Ornamentation (Question 5)

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How has the art practice been adapted by artists who are not from the originating culture?

A lot of the traditional personal ornamentation methods are practiced even by those outside of the originating cultures. However, a lot of the meaning and context behind the practice of personal ornamentation has been lost the more our world becomes more globalized and westernized. For instance, seashells and beads are now common in today's fashion, yet the way that they are incorporated in modern garments and fashion serve a different meaning from the original traditional way that the Kalinga, Tinguian and Maranao use it.

The best example for this would be the tattooing practice in Kalinga. A famous tattooist in that region is Whang-od who is the last living Kalinga tattoo artist. While tattooing used to be an act of marking men when they get their first kill, or marking women when they come of age, now, tattooing has become a tourist attraction. Although she still performs this art on those who are not necessarily part of the Kalinga, the context behind it is now different. Specifically, there have been some western designs that have been added to her menu of designs because of their popularity. Whang-od mentioned that she didn't like it very much, but she was still willing to tattoo those designs on visitors if they wanted to.

The Kalinga tattoo technique is only passed down generationally (since they believe that if it were done by someone outside the tribe, the tattoo would get infected), which means that no one outside of the tribe will be able to perform the technique as it should be done. Still, there are some visitors who go to Kalinga to learn the process of batok by observing Whang-od as she does the tattooing procedure and by trying it themselves. This process of learning allows other artists to practice the art of Kalinga tattooing, although it arguably isn’t entirely the same as learning the technique from Whang-od and the Kalinga tribe themselves.

Question: Do you think that traditional art can truly be practiced in the same way by someone who is not directly a part of that culture?

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Group 1 - Personal Ornamentation (Question 4)

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Group 1 - Personal Ornamentation (Question 4)

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Does the government guarantee the continued life of this art practice? How, if so?

Yes. The art practice of personal ornamentations has received little to no contentions from the public or the government because it mostly relies upon the personal discretion of the individuals whether or not they want to have them on their bodies. More so, the government continuously shows support to indigenous tribes and individuals who continue to practice the ancient style of execution of this art to preserve their culture and tradition. One example of this is the Kalinga tattooist also called “the  last mambabatok”, Apo Whang-Od. She was previously nominated by government officials specifically in the Senate for the Gawad sa Manlilikha ng Bayan (Gamaba) as the National Living Treasure of the country. This acknowledgment and national recognition is a huge leap towards making sure that the art practice lives on and that their heritage won’t be forgotten. Apart from this, numerous government agencies like the Department of Education have always incorporated in their curriculum the cultural heritage that lies underneath the rich tradition of the practice of personal ornamentations. Likewise, museums, festivals, and conventions also became powerful platforms for reviving and introducing this art to the public, especially the younger generation. As long as these exist and as long as the artists remain untouched and protected by the government, we are guaranteed to preserve personal ornamentations in their pristine condition for generations to come.

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Group 1 - Personal Ornamentation (Question 3)

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Group 1 - Personal Ornamentation (Question 3)

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Who supports the art practice? Why?

Personal ornamentation originated in Africa. Until now, African tribes such as the Maasai of Kenya and Tanzania still use different kinds of shells and beads. As for the women, they prefer to use shells to make necklaces. Europe and Asia are also a place of origin for personal ornamentation. In the Philippines, many people still practice it to this day. Places such as Buscalan, Tinglayan, and Kalinga, are very famous for their tattoos. There is even a woman who is famous in the field of tattoos in Kalinga, Buscalan whose name is Apo Whang-od. Whang-od is the last and oldest Kalinga tattooist in the Philippines. She still utilizes the traditional type of tattoo in Kalinga known as batok. The natives of Kalinga and Ifugao are not only famous for different kinds of tattoos but are also famous for their ethnic beads, dimunug, and fikum.

The main reason why personal ornamentation is still supported and practiced is that it had already become part of tribes’ tradition, specifically tribes from Asia, Europe, and Africa. Personal ornamentation also evolved and became a fashion trend that made modern society adopt it. Nowadays, it has become easily accessible to people and it looks like this practice will not be going anywhere anytime soon.

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Group 1 - Personal Ornamentation (Question 2)

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Group 1 - Personal Ornamentation (Question 2)

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How has the art practice adapted to changing socioeconomic contexts?

As time progressed, the practice of personal ornamentations has never been forgotten. In fact, it continuously evolved and sensibly adapted to the ever-changing societal environments. Despite it being actively practiced still, the meaning and purpose behind its origin gradually thinned through time. Jewelry during ancient times was worn as amulets against evil spirits; people back then believed that these give them protection and a special power whenever needed. Among the most popular amulet designs in the Cordilleras was the lingling-o which became a symbol of fertility. Contradictory to what was once perceived as mere lucky charms, pieces of jewelry nowadays are nothing more than accessories to accentuate people’s outfits. Often, they are now the perceivable distinction of someone’s status in society.

Another popular and timeless body ornamentation that lived through the ages was the body tattoo. For the Tboli tribe, a tattoo or hakang is not only designated for stylizing one’s body, it can also indicate someone’s standing or societal hierarchy in the community; moreover, it also serves as a guide in the afterlife. In today’s context, tattoos no longer signify status nor do they have any connections with what will happen after they die. They became a symbol of expression, of art, identity, and remembrance. Unfortunately, in a conservative country like the Philippines, there will always be people who will continue to stigmatize and look down upon those who put permanent tattoos on their bodies.

There are still a lot of personal ornamentations which originated a long time ago and continued to be practiced today. The practice of this art has and will constantly remain to be adaptive to the generation that it's in; which means it would change forms, styles, execution, and meaning over time, but it will not lose its distinction no matter how many modifications it will encounter. Nevertheless, personal ornamentations create their own brand of art, purpose, and expression every time it starts to adapt and blend in the generational fad but its rich history will never be replaced.

Question: What are the common misconceptions of the public when it comes to the practice of doing personal ornamentations as an art?

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Group 1 - Personal Ornamentation (Question 1)

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Group 1 - Personal Ornamentation (Question 1)

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How is the art practice indigenous? How did it become traditional?

Jewelry, tattoos, shells, and beads, are all examples of personal ornamentations. Some of the ornamentations stated were already prevalent even before the Spanish set foot on Philippine land. It should be noted, however, that these ornamentations were only practiced by tribes in certain regions of the Philippines, meaning that not all regions in the Philippines exercised this art practice. Jewelry, for example, was used by the Cordillera groups and T’boli for many reasons such as protection from evil spirits and to signify their social status. The Kalinga, Gaddang, and Ifugao groups, on the other hand,  were known to make use of shells on their skirts and necklaces, and even use them as ear ornaments. Tribes such as the Gaddang, Kalinga, Tinguian, and Maranao were also fond of beads and tended to use them on their clothes, armbands, and silver boxes.

Over time, the art practice spread throughout the whole archipelago and was adopted by many Filipinos. Tattoos, for example, became a common practice to see now, with each tattoo being unique from the others while also having their very own meanings behind them. Jewelry also became a fashion style, including shells and beads. As years continue to go by more and more people begin to acquire personal ornamentations of their own, turning this former indigenous art practice into a traditional one practiced by most Filipinos.

Question: Aside from the ones provided, what are other examples of personal ornamentations?

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How has the art practice been adapted by artists who are not from the originating culture?

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The contemporary adaptation of indigenous pottery can be principally seen in its primary purpose and usage, wherein the focus shifted to practicality and utility. In contrast, traditional indigenous potters concentrated on nature's spiritual and religious motifs and themes. The cultural practice centered on their sacred belief systems and was considered symbolic figures. [1]

Contemporary potters still adhered to the aesthetically decorative purpose of pottery, but they also paid adequate attention to how their art will benefit their daily routines. Examples of the practicality concentration of crafts include palayok for holding food, banga and tapayan for liquid storage, and asinan for salt.

Another variation evident in contemporary pottery is seen in the techniques and designs of the craft. Modern pots lack intricate pressing, incising, and slip decorative methods. [2] It was even said that the Manunggul is not replicable with the means used for the modern adaptation of pottery. [3]

There has also been the advent of contemporary studio pottery in the later 1960s. The cultural practice is further promoted and enriched by organizing workshops that enhance appreciation and regard for pottery. Contemporary artists ground and derive their art on ethnic traditions; they are still heavily inspired by the originating culture of pottery.

Furthermore, what is evident is the difference in the methods employed, such as how notable potters, namely Baidy Mendoza and Aro Soriano, paint their work rather than glazing it. [4] Another interesting variation is how the merging of western and eastern styles is made possible by Lanelle Abueva-Fernando [5]; this produces a diverse and versatile practice of pottery.

These modern adaptations further reiterate the idea that art is not restrictive, limiting, and caged by conventions; the practice encourages innovation and growth. The freedom in the tweaking and exploration of the art practice is further seen in how unconventional materials are also utilized in pottery, such as how Lanelle Abueva-Fernando experimented with Mount Pinatubo ash. [6] The renowned artist Ugu Bigyan also merged local roots and fibers with stoneware to produce their work.[7]  Some of the pottery in Taboc also uses cement to mix with the standard clay material.[8]

Modern potters focus on the combination and utilization of aesthetics and practicality. These artists produce sophisticated pieces that cater to usefulness and the showcasing of pottery's beauty. It is also important to note that though there is freedom in how one practices pottery, contemporary artist-potters continue to derive their inspiration from the indigenous culture that originated this practice, such as the case of  Hadrian Mendoza’s works.[9] There is continued respect and regard for the indigenous art practice of pottery even if contemporary artists employ modern variations. They consider their works to be tied with the cultural traditions of those that preceded them.

Notably, a change in cultural practices is also apparent. Due to the changing times, it is undeniable that the current tide promotes human dependency on technology and machinery that brings ease but reaps the lack of human interaction and intimacy with the environment. Pottery is not excluded from this modern narrative as some pot makers prefer the usage of advanced technology that makes tasks easier and more uniform in mass production.[10]

There are also scientific discoveries incorporated in the art practice that leads to the mixing of various crafting methods.[11] These changes are not necessarily a bad thing as it adapts to the changing landscape of the world. Still, the problem rests on how this tends to disconnect contemporary artists from traditional customs as there is a drastic change in the methodology of the art practice.[12] This potential disconnect is what modern artist-potters should be conscious and wary of.

What can be concluded from the modern potters today is that their objective rests on ensuring that pottery continues to prosper despite the changing times. Their efforts in keeping the practice alive while continuing to honor the traditional form of pottery do not go unnoticed. Contemporary artists must uphold this high regard for the indigenous and traditional approach even if they utilize innovative methods and techniques.

References

[1] Baradas, David and Alice Guillermo. 2020. “Indigenous Traditions and Transformations in Philippine Visual Arts (Earliest Beginnings and Onward).” In Cultural Center of the Philippines Encyclopedia of Philippine Art. URL: https://epa.culturalcenter.gov.ph/3/14/2086/.

[2] [3] [4] [5 [6] [7] Javelosa, Jeannie, Monica Felicia Consing, Rene B. Javellana, Alice G. Guillermo, and Imelda Cajipe-Endaya. “Pottery.” In Cultural Center of the Philippines Encyclopedia of Philippine Art, November 18, 2020.

[8] [9] Martin, Jaylord, Vince Paolo Obille, Alexea Apigo, Andrea Concepcion, Roselyn Joyce, Maria Elizajhen, and Fernando. “Historical Background of the Pottery Industry in Taboc, San Juan, La Union.” Historical Background of the Pottery Industry in Taboc, San Juan, La Union, 2016. https://www.dlsu.edu.ph/wp-content/uploads/pdf/conferences/research-congress-proceedings/2016/LCS/LCCS-I-01.pdf.

[10] “Contemporary Filipino Pottery At Yuchengco Museum.” Yuchengco Museum, October 20, 2007. https://yuchengcomuseum.org/contemporary-filipino-pottery-yuchengco-museum/.

[11] [12] Galinggan, Raymar, and Lalin Abbacan-Tuguic. “Earthenware: The Art of Traditional Pottery of Pasil Kalinga.” International Journal of Advanced Research in Management and Social Sciences 5, no. 6 (June 2016): 3–4.

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Does the government guarantee the continued life of this art practice? How, if so?

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Regarding the government's support in preserving and promoting the cultural art practice of pottery, there is no definite and consistent guarantee that the government offers its utmost assistance and genuine efforts.

However, this is not to say that the state did not generate any measures to promote the practice of pottery. It is still essential to consider some of the implemented policies and programs that encourage and celebrate pottery as an art practice that is a vital cultural heritage that reflects the Filipino identity.

These programs include the local government’s establishment of annual festivals that honor and celebrate the revered practice of pottery. Such as in the municipality of Lezo, which is considered the pottery capital of Aklan, wherein the Bayangan festival is celebrated to commemorate the cultural craft that mirrors the culture of the Lezeños; regarding the practice as their leading livelihood around the area.[1]

Another effort employed by the local government to give tribute to pottery is seen in the existence of the Gini-Akan Festival of the town Baroy in Lanao del Norte.[2] This celebration highlights the potters' creativity, talent, and innovation around the area.

On a national level, the steps taken by the government can be seen in the formation of the National Commission for Culture and the Arts (NCCA) and the Cultural Center of the Philippines (CCP) that awards artists with titles such as the Gawad sa Manlilikha ng Bayan (National Living Treasure Award) and Order of National Artist (ONA) that both aim to recognize the talent of Filipino artists that uphold culture and tradition.[3] The scope of the potential nominees for these awards include potters such as Fidel Go, who is considered a national folk artist and was nominated for GAMABA.[4]

Notably, one of the most substantial efforts in enriching the cultural art practice of pottery is through the nationwide establishment of the School of Living Traditions.[5] This project further preserves and promotes cultural heritage as it aims to teach traditional crafts to later generations. This then expands the bearers of the culture of traditional and indigenous pottery as seen in the launched schools: [6]

Camalian, Jose Abad Santos, Davao del Sur School of Living Traditions on Sangir Pottery-Making (Preparatory Phase)

San Nicolas, Ilocos Norte School of Living Traditions on Ilocano Pottery

Camalian, Jose Abad Santos, Davao del Sur School of Living Tradition on Sangir Pottery (Phase I)

San Nicolas, Ilocos Norte School of Living Traditions on Ilocano Pottery

Camalian, Jose Abad Santos, Davao del Sur  School of Living Traditions on Sangir Pottery – Phase II

However, all of the attempts at revitalization and preservation will be deemed insufficient and inadequate when placed in the context of the government's management of the concerns of the indigenous people (IP). All the awards, festivities, and traditional schools will essentially be meaningless and will not serve their essential purposes if the government does not first address the needs of the IP, particularly the issues of displacement and plundering of their ancestral lands. There must be urgent and deliberate action in protecting the IP and the lands that are crucial to their culture, including the practice of their craft.

The government must implement policies and programs that guarantee the safeguarding of the IP and their lands - for these have been plundered by multinational corporations that resulted in the displacement of the indigenous people. Consequently,  this disconnects the IP from their ancestral lands as they are forced to leave their homes which also has been the principal motivation and derivation of their art.[7]

Moreover, there are still consistent pleas for further improvement of state aid and call for attention in pottery-centered towns. This includes the village of Lambunao in Iloilo that requests for the immediate address of poverty that they experience. For pottery is the main source of their livelihood, they urge the government to respond and address their concern of the reality they face with the low-income generation. Potters also encounter issues with their techniques that lead to the poor quality of their craft. These issues then call on the need to enhance market and pottery training programs tasked to preserve cultural practices.

Another similar issue of the need to enhance pottery revitalization efforts is seen in the case of the Madweng - unique earthenware potters of Kalinga. Based on a conducted study, it was found that local government intervention is promptly recommended to take place in Santa Maria, Isabela, to address the limited capital and marketing of pottery-based products.[8] In addition to that, there are also calls for the improvement of pottery equipment and workshops to further revitalize, ease, and promote this cultural art practice. These concerns are also raised by the

Pasil, Kalinga’s potters called manfafanga. [9]

References

[1] Tourism, Province of Aklan (n.d.). https://aklan.gov.ph/tourism/lezo/#:~:text=BAYANGAN%20FESTIVAL%20%E2%80%93%20Bayangan%20is%20a,true%20Leze%C3%B1o%20values%2C%20traditions%20and.

[2] GOVPH. Accessed March 17, 2022. https://lanaodelnorte.gov.ph/gini-akan-festival-of-baroy/.

[3] Baradas, David and Alice Guillermo. 2020. “Indigenous Traditions and Transformations in Philippine Visual Arts (Earliest Beginnings and Onward).” In Cultural Center of the Philippines Encyclopedia of Philippine Art. URL: https://epa.culturalcenter.gov.ph/3/14/2086/.

[4] Espejo, Jasper A. “National Artist Pottery.” Tawid News, November 18, 2014. https://tawidnewsmag.com/national-artist-pottery/.

[5] GOVPH. Accessed March 16, 2022. https://ncca.gov.ph/school-of-living-traditions/list-of-schools-of-living-tradition/.

[6] GOVPH. Accessed March 16, 2022. https://ncca.gov.ph/school-of-living-traditions/list-of-schools-of-living-tradition/.

[7] Baradas, David and Alice Guillermo. 2020. “Indigenous Traditions and Transformations in Philippine Visual Arts (Earliest Beginnings and Onward).” In Cultural Center of the Philippines Encyclopedia of Philippine Art. URL: https://epa.culturalcenter.gov.ph/3/14/2086/.

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Most constituents who support the art practice of pottery in the modern day are those with a significant stake in its contemporary relevance. A research was conducted by communication students in LPU Laguna that tackles Vigan City’s heritage tourism and how the city’s residents participate in keeping this industry alive. Local tour guides would often conduct tours for visitors around Fidel Go’s workshop, a famous potter residing in Vigan, and would also take on caretaking jobs in the city’s famous museums housing some of Go’s best pieces of pottery. These tour guides recognize the significance of Go’s work as it not only embodies their city’s rich history and heritage, but it also brings about some economical advantages that may significantly help the City of Vigan in their other sectors such as their cuisine. [1]

References

[1] Bacuyag, Angelic, Katrina Amor Manalo, Marlon Micua, and Ms Gerby R. Muya. "PARTICIPATION OF THE RESIDENTS OF VIGAN CITY IN PROMOTING HERITAGE TOURISM." Communication Research 2, no. 1 (2015).

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How has the art practice adapted to changing socioeconomic contexts?

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In the urban-dominated landscape of modern living, traditional pottery in the Philippines now serves to be more of a cultural staple of indigenous societies of our country’s history rather than the preferred objects of utility for everyday use. Despite the practical obsolescence of this art practice, both local and foreign institutions recognize its cultural significance on our country’s history, and therefore have been determined to propagate their own preservation efforts. The local government of the Sarangani province, for instance, mandated for the Maitum Municipal Hall to house and display the Maitum burial jars discovered there during the '60s. In an interview, Mayor Elsie Perrett of the town of Maitum highlights the significance of this effort by their local government to remind their citizens of their history and cultural heritage.[1]

Aside from preserving discovered pieces of pottery, contemporary Filipino artists have been utilizing this medium to portray Philippine culture and pay homage to the indigenous origins of this practice as well as carry on its tradition. Fidel Go, declared as a National Folk Artist by the National Commission for Culture and Arts, is one of the few local artists left who still uses the lathe and kiln. Based in Pagburnayan, Vigan, Go’s pieces are often commissioned by hotels and other establishments to serve as decor. The art practice of pottery has been a family tradition passed down to him, and now he serves to be the living embodiment of his past generations, perhaps even the general practice of Philippine pottery itself. [2]

References

[1] GMA 7. “Philippines Treasure Part III (GMA 7) feat. Maitum Burial Jars Artifacts discovered!” YouTube video. 8:12. Uploaded by Ron Ocmer, November 11, 2012. https://youtu.be/i5qpHQS57UE

[2] Rodriguez-Tatel, Mary Jane B. "Panagburnay: Imaging the Iloko-Filipino in a Philippine Ceramic Tradition٭."‎ Academia. Accessed March 21, 2022.

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How is the art practice indigenous? How did it become traditional?

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Ceramics have long been a part of Philippine history. The National Museum of the Philippines dates their earthenware collection to as far back as 2250 BCE, showing that pottery has been practiced in some form by the early settlers of the Philippine lands.[3] However, it was not until the so-called “Metal Age of the Philippines” when pottery started to take on a new meaning for the native Filipinos.[2]

Philippine ceramics can be classified into two main categories based on the purpose they fulfill: those that assist people in practical tasks, and those that honor the deceased.

Ceramics have been, and are still being used for everyday tasks, especially those concerning food preparation. From cooking pots to water jars, most practical ceramics could be found in the kitchen and aided a cook as they prepared food for the family to enjoy.[3] Such pots can still be seen in use today; Ilocanos, for instance, customarily ferment bagoong and their local sukang Iloko in giant burnay jars.[5] It has even been said that basi, a local sugar cane drink, would not achieve its potency if it is not fermented in these jars.[5]

Practical pottery was not exclusively used in the kitchen, however. The traditional Banga Dance from the Cordillera region features not only the workmanship of women but also the grace and strength they exude.[1] Traditional Philippine pots from the region called banga (literally “pot”), whose name it lends to the dance, are made by Kalinga women for practical tasks.[1] Aside from making these pots and using them for their daily tasks, these women would also show pride for their work by performing traditional dances as they stack as many as eight of these pots on their heads.[1] A variation on this dance even features multiple women balancing one pot at a time and stacking them afterward, with the final stack being danced with by a bride.[1]

Although multitudes of different cultures have coexisted in the Philippines, they all believed in the afterlife, and that those who have died must be given a proper send-off to aid them in their journey. For this reason, burial jars were created, which are adorned with traditional patterns and even sculptures that represent either the likeness of the person being remembered (e.g. the Maitum burial jars) or their trip to the next world (e.g. the Manunggul burial jars).[2] These vessels were initially made to hold an entire person’s body. Though in later years, these have been shrunk down for easier handling for what may be called a “secondary burial”.[2] The designs featured on these burial jars are also a reflection of the native art practices of these peoples as well as the cultures they are a part of. The Manunggul burial jars, for instance, were painted red as the natives believed red to be a sacred color.[4]

Not all pieces of pottery were made to hold the remains of the dead, however. Some were instead buried with a person to signify the status they held in their lifetime and possibly even help them carry their riches to the other world. Such ceramics have been found in various burials in Batangas.[3]

In spite of their seemingly vast physical appearances, the many historic ceramic wares discovered in the Philippines show us that our early ancestors, though culturally distinct and geographically distant, seem to share many things in common, pottery being one of them. Whether they serve to help prepare a hearty meal for the family or to remember the souls of their beloved dead, there is no denying that pottery has shaped Filipino culture into what it is now.

References

[1] “Banga: A Balancing Act.” MAAARI. Accessed March 21, 2022. https://maaari.co/blogs/news/banga-a-balancing-act.

[2] “Burial Jars.” National Museum of the Philippines. Accessed March 21, 2022. https://www.nationalmuseum.gov.ph/our-collections/archaeology/burial-jars/.

[3] “Earthenware.” National Museum of the Philippines. Accessed March 21, 2022. https://www.nationalmuseum.gov.ph/our-collections/archaeology/earthenware/.

[4] Guillermo, Alice G. “Manunggul Jar.” Encyclopedia of Philippine Art. Cultural Center of the Philippines. Accessed March 21, 2022. https://epa-culturalcenter-gov-ph.eu1.proxy.openathens.net/3/82/2227/.

[5] Martinez, Glenn. “Antique Filipino Jars.” Traveler on Foot, June 17, 2012. https://traveleronfoot.wordpress.com/tag/antique-filipino-jars/.

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Please zoom out a bit (50%) or click "View Full Post" for a better viewing experience.

1. How is the art practice indigenous? How did it become traditional?
- Carving has become indigenous and traditional in Paete as it persisted and evolved in the city throughout the years.
- An object is said to be indigenous if it originates from or occurs in a particular place. Wood carving arose  when the native Filipinos used carving to create tools  using stones, shells, tusk, or animal teeth to shape  wood. This eventually evolved into a method of decorating belongings.

2. How has the art practice adapted to changing socioeconomic contexts?
- The Art Practice adapted via 3 principles, income generation, sustainability and alternatives. Overtime, Paete Woodcarving found multiple alternative niches like ice, vegetable and stone carving (including alongside woodcarving to expand the artistic niche of the Paete community). The additional niche also provides income-generating activities for people of all ages and gender. Digitalization and sustainability also changed the landscape for the art practice, as it led to the opening of online stores selling stores and raising awareness.

3. Who supports the art practice? Why?
- Aside from the artists and locals themselves, various other individuals and/or organizations show their support of the local industry, ranging from news outlets and art exhibitions to academic and educational programs and/or institutions. Their primary backer, however, is the church, whose clergy are the major buyers of religious carved goods.
- Besides the products themselves, Paete serves as great cultural and tourist destination, as well as provides a good deal of art pieces for galleries and exhibitions.

4. Does the government guarantee the continued life of this art practice? How, if so?
- The government, local and national, has multiple policies that ensure the continuity of the traditional art of carving in the “Carving Capital of the Philippines”. This includes providing the proper proclamations, publicity, and programs required to support it through the necessary resources, funding, and exposure, even in these more modern times.

5. How has the art practice been adapted by artists not from the originating culture?
- When the Spanish arrived, sculptures of saints and  other Catholic figures became more popular than sculptures of Filipino deities. These sculptures included retablos (altarpieces), carrozas (displays used in processions), and relleves (relief paintings). This also became a way to spread Catholicism throughout the country.

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Pottery is considered an art practice with cultural roots, for the pieces crafted narrate fragments of history vital to understanding Filipino heritage and culture. Through this craft, one can learn more about the customs and traditions that inhabit places. Art pieces created through pottery can be a medium in telling stories. The pot designs are essential details as they most often depict the lives of people who practice such art, hence, the art is a thorough and central reflection of cultures and traditions.

Group 4 Members:

De Castro, Lance Christian

Montalbo, Stephanie Marie

Tomas, Piolo Miguel

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Hello class! Please use this Padlet for your posts on your assigned traditional art practice. You can either provide a synoptic overview of your assigned practice (e.g. all pottery practices in the Philippines), or focus on a specific locality/culture (e.g. pottery in the Ilocos Region).

The posts should reflect your group's responses to the following prompts:

1. How is the art practice indigenous? How did it become traditional?

2. How has the art practice adapted to changing socioeconomic contexts?

3. Who supports the art practice? Why?

4. Does the government guarantee the continued life of this art practice? How, if so?

5. How has the art practice been adapted by artists who are not from the originating culture?

You can also post questions that can serve as openings for further discussion for the rest of the class. Your work will be graded as a group, not based on who made a specific post.

Lastly, feel free to comment on everyone’s posts in the Module 2 Padlet. Engaging substantively with posts that are not by you and your group members can get you additional points for participation.

Looking forward to everyone's contributions!