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? 

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.

• De Castro, Lance Christian 
• Montalbo, Stephanie Marie 
• Tomas, Piolo Miguel 

• 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 

• 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.

• 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.

• 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.

• 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.
    
    

•  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.

• 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.

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
   
   

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)

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)

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

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

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)

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)

Art as construct - Guillermo (1997)

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

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.

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)

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)

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).

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)

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)

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

• 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.

• 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

• 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

• 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.