Republic of the Philippines

UNIVERSITY OF EASTERN PHILIPPINES

University Town, Northern Samar

GEE 3: Indigenous Creative Crafts

SECOND SEMESTER, S.Y. 2021-2022

Prepared and Compiled by:

RALFH LAUREN C. REYES, LPT
CAC, Part-Time Lecturer

NAME OF STUDENT: ____________________________________________

COURSE & YEAR: ______________________________________________
PROFESSOR: __________________________________________________
TABLE OF CONTENTS

Module 1 PRINCIPLES OF INDIGENOUS CREATIVE CRAFTS

Module 2 DIFFERENT TOOLS AND KINDS OF INDIGENOUS MATERIALS IN
CREATIVE CRAFTS
Module 3 PRINCIPLES OF INDIGENOUS CRAFTS DESIGN
Module 4 INDIGENOUS CRAFTS OUT OF WOOD
Module 5 INDIGENOUS CRAFTS OUT OF RATTAN
Module 6 INDIGENOUS CRAFTS OUT OF COCONUT SHELL
Module 7 INDIGENOUS CRAFTS OUT OF BAMBOO
Module 8 INDIGENOUS CRAFTS OUT OF LEATHER

Introduction
Throughout Philippine history, craftsmanship and its different forms have always been prevalent.
The Filipinos have an innate inclination to create, exemplifying the state of being engaged in their
craft and taking a sense of joy and pride in their work. The Filipino craftsman dedicates himself to
his art and telling the story of the Philippines, bearing its truest essence-its soul for the world to
see. Blessed with natural resources, Filipino craftsmen are able to come-up with a magnificent
product that tells a million story not just about their lives but the culture of their place. Clearly, this
reflects Filipino crafts that magnify labors of love and patience. These are evident in the products
of their skillful hands and imaginative minds. Creative crafts in the Philippines do not only satisfy
our senses, but each artwork speaks of the passion and active involvement of the artists in
visualizing, connecting, and appreciating the culture and the creative manipulation of the objects
around. Do you have what it takes to become a craftsman? In this suject you will learn the brief
overview of Philippine Arts and Crafts and its significance and relationship to the modern world. It
is then expected that you will be able to find yourself become an agent of this culture-filled journey.
As you will come to know more of these arts and crafts, be ready to become your most creative self
for you will be creating your own handicraft. This journey transcends beyond “knowing” history or
“applying” discussed topics, rather, it is an “awakening” of your soul in taking responsibility to
promote, conserve, and develop Philippine indigenous creative crafts. Are you ready to take these
responsibilities

Module 1: PRINCIPLES OF INDIGENOUS CREATIVE CRAFTS

LEARNING CONTENT

IN THE VIEW OF FILIPINO PEOPLE

Creative Crafts and its Art was embedded in our culture since the beginning of time up to the present. It is
one thing that can never be lost in a culture no matter what it goes through. The Philippines, having a rich
culture, also has its own share of art that is discovered and practiced, and applied in the day to day living.
 PRINCIPLES OF INDIGENOUS CRAFTS

THE Philippines has a rich natural resource. Its fertile land produces a variety of crops such as coconut,
copra, banana, pineapples, sugar, bamboo, gum, resins and fiber among others of which turn into delicate
fabrics of clothing, garments, housewares, etc that are of national and international business interest.

Filipinos are by nature creative, talented and intelligent. With this vast resource that can be a good means
for livelihood, many have found value in creating handicrafts.
Almost every family in the Philippines owns one or more handicraft products like baskets, brooms, feather
dusters, bamboo sofa set, cabinets. Traditional arts and crafts from villages have found new life as esoteric
art forms and decor accessories. One of the booming industries in the Philippines is the handicraft i ndustry
which provides a livelihood for some Filipinos.
The technology and livelihood education ( TLE) program has incorporated in its subject the handicraft
making lessons. A better way to understand and appreciate handicraft is to keep in mind some statements
of truths. They are better regarded as the basic principles in handicraft that
luz, Bangon-Bangon, Sigma, Capiz also serve as guide as to how people should practice the art of
handicraft.

The basic principles (Arribas, 2009), with brief discussions that follow each principle, are listed as follows:
(1) Handicraft always serves a purpose or a need. Given the assumption that handicraft could have evolved
from a felt need, knowing the function of the object is one of the requirements for its creation; (2) Knowledge
of handicraft always requires the understanding of its essential or basic elements which are materials,
techniques and design (product); (3) Economy of materials and techniques must be practiced. Violation of
this principle affects the aesthetic quality of the handicraft product; (4) Handicraft should be learned from
simple to complex; ( 5) Handicraft activity requires attention in mind. A craftsman needs a conducive
workplace, relatively free from distraction, while working on a handicraft project; (6) Good craftsmanship is
influenced by the materials, techniques, tools, equipment, the working environment, and the skill of the
craftsman; (7) The art principle “form follows function” is the key to good design. This simply means that
the form such as the shape of a jar, including other features like a cover or handle, must be related to the
function of the jar itself.
The advantages of using indigenous materials: Renewable and abundant, coming from diverse natural
sources and whose production has low impact on the environment Naturally nonpolluting, emitting no
harmful vapors, particles or toxins into the environment Energy efficient, using low energy in production,
transport, and use, and generally coming from local regions Produced and or harvested under good working
conditions and fair means. Low waste and capable of being reused and recycled (Pearson)

The disadvantages in using indigenous materials: Durability is good but still not as or failsafe as in
processed materials like steel and plastics. Is vulnerable to weathering and deterioration due to moisture.
Lower resistance to impact (compared to processed metals) Craft skills are much slower in processing than
engineering and technology. Those produced with craft skills in effect are more expensive than
factory/machine made alternatives that are lower in buying cost and are more advertised and readily
available.

What Was the Arts or Crafts Movement?

During the second half of the 19th century, industrial processes and goods were replacing objects
traditionally made by craftsmen. Many of these objects were showcased during the Great Exhibition, hosted
in London in 1851. William Morris was a textile designer who attended the exhibition. He noted, along with
a few others, the poorly made, excessively decorated, and artificial quality of the exhibits.

Morris associated the decline in the quality of design and materials used in every-day objects with
industrialization and mass production. His thinking was highly influenced by the ideas of John Ruskin.
Ruskin was a writer, artist, art critic, and philanthropist—among other pursuits— who wrote about social
issues. He argued that the principal role of the artist was to remain true to nature, and to depict the natural
world as truthfully as possible. His writings also influenced the Pre-Raphaelites, who began producing art
that sought to capture the world as it was, not in its idealized version.

Ruskin disliked mass-production, as did Morris. Believing that society was headed toward an impersonal,
mechanized future, Morris and the early advocates of Arts and Crafts entered a quest to return to a simpler,
more fulfilling way of life.

William Morris’ Solution: Arts and Crafts

Morris and his fellow-artists believed that the key to producing human contentment, as well as beautiful items,
was the connection forged between an artisan and his work. However, Arts and Crafts designers were looking
for more than just the production of pretty objects. They were looking for design that integrated exteriors and
interiors in a unified whole because they believed that simple, good design improved a person’s character.

This search for unified design meant that one artist could apply his aesthetic concept to many different objects
and arts during a single project. Several of the leading figures of the movement had trained as architects. As
these designers worked on various projects, they could transition through a wide variety of disciplines as different
as woodworking and glassware. This is why Arts and Crafts is best associated with the decorative arts and
architecture, and not with what were considered the finer arts of sculpture and painting.

The Arts and Crafts movement was deeply concerned with notions about the purpose of society and the
treatment of individuals within that society. They were also concerned about the role of industry, architecture,
urban development, and the part that man needed to play within this development.

Arts and Crafts Principles for Today

In 1861, Morris founded the decorative arts firm Morris, Marshall, Faulkner & Co. Here he hoped to model the
principles he espoused. His two most-celebrated phrases, “Form follows function,” and “. . . Have nothing in your
houses that you do not know to be useful or believe to be beautiful,” sum up the essence of Arts and Crafts.

1. Always use high quality materials

You probably have heard some variation of the motto, “Buy the highest quality you can afford.” The proponents
of Arts and Crafts believed the same. This would ensure that rather than having a cluttered space full of objects
that you don’t necessarily love, you would have one or two items that you could rely on to function properly and
to enhance your life.

This beautiful bedspread embroidered by May Morris, William Morris’ daughter, is guaranteed to put a smile on
your face every time you entered your room.
2. Focus on uncomplicated design
“Form follows function.”
The members of the Arts and Crafts movement believed that excess ornamentation was unnecessary, and an
indicator of poor-quality design. Instead, they stated that objects should be designed with their function in mind,
and that function would then determine their characteristics.

Not all the designers believed that everything should be entirely hand-made, however. William Arthur Smith
Benson was a metal worker, and he made this teapot with a machine. However, we can see Arts and Crafts
clearly through the simple lines and very clean design.
3. Do not keep anything you do not believe to be useful or beautiful
Today’s version of this mantra encourages us to only keep things that spark joy, as Marie Kondo would say.
And, it makes perfect sense. When our space is filled with unnecessary items—those that drain our energy or
even spark guilt—we cannot welcome new things or experiences into our lives.

Here is an example of Ruskin Pottery by William Howson Taylor. Like other Arts and Crafts objects, this one is
very minimalistic, relying on the bright color and the effects of the glaze as the only decoration.

4. Form always follows function

This was an important tenet of the Arts and Crafts movement. Abiding by this principle meant that no object
would have unnecessary ornamentation that would actually interfere with its use.
Here is a good example of this principle in action: the Morris Chair, which is one of the most iconic pieces from
the Arts and Crafts movement, and the world’s first recliner!
5. Find inspiration in stylized natural forms
Nature in all its glory was an endless source of inspiration for the Arts and Crafts artists. Stylized depictions of
nature enhanced the graphic appeal of the work, while keeping it beautiful and familiar.

In this book cover, the repetition of a vine motif creates a pleasing and luxurious pattern.

6. Find inspiration in beautiful and stylized art from the past

A quick visit to the online home of William Morris & Co. shows the Arts and Crafts aesthetic ideal of stylized
shapes grounded in natural forms. The Arts and Crafts movement drew inspiration from Medieval, Japanese,
and Islamic art, because of their themes and the striking graphic quality of the works themselves.

7. Use traditional methods of production

The relationship between craftsman and object was an key idea of the Arts and Crafts movement. To this end,
they promoted and celebrated activities such as wood carving, block printing, and even embroidery .
Even though the first wallpaper printing machine was patented in 1839, William Morris continued to have his
wallpaper printed the traditional way. He used carved wood blocks to print on long rolls of paper which were then
hung to dry before the next color could be printed on top.
8. Use natural pigments

The Arts and Crafts aesthetic inspired by nature extended also to their color palette. The interiors of The Red
House are good examples of the sort of warm, rich, earthy tones favored by the craftsmen—colors that would
complement the beauty of natural wood.

The End of Arts and Crafts

Arts and Crafts practitioners sought the return to traditional craftsmanship, with the maker as a figure of
importance and respect. The proponents of the movement believed that machine-made objects were not of high
quality. In many cases they weren’t. With this in mind, they placed their utmost emphasis on beautifully-made
objects, created out of the highest quality materials. Unfortunately, this meant that the prices of these beautiful
objects was also high.

Even though the intent of Morris and his fellow artists was to bring quality design to all people, in practice the
opposite happened. His designs were so beautiful and so exclusive, that only a few people could afford them.
Does any of this sound familiar?
"History is a cyclic poem written by time upon the memories of man."
- Percy Bysshe Shelley.
Arts and Crafts... Today?

The words “minimalism,” “declutter,” “craftsmanship,” are now all part of our every-day conversations. Perhaps
you still remember your mother or grandmother mention their home economics class and what they learned
there. And, perhaps you’ve wondered what happened in the intervening years, that you didn’t learn those arts in
school. Or perhaps you are wondering why your children are not learning them now.

As more of the home processes became mechanized during the 20th century, there was less need to learn—
and rely on—the knowledge of how to do all this traditional work. And, just as William Morris, John Ruskin, Walter
Crane, May Morris, Philip Webb, and all the craftsmen of the Arts and Crafts movement, some of us have felt
the lack of connection. Some authors call this “flow,” which is the state of being one with our purpose and our
work. When we are in a state of flow, hours can go by without our noticing, because we feel such connection
and fulfillment in our work. To remedy this lack, some of us have felt the need to return to our roots, and recover
some of this lost knowledge and arts from the past.

And so, even though it would be unpractical—and in some cases prohibitively expensive—to completely rely on
craftsmanship and homemade goods for all of our needs, we can still take a beautifully handcrafted leaf out of
the Arts and Crafts book. We can use the movement’s principles as inspiration to craft beautiful, expansive, and,
as William Morris dreamed, fulfilling lives for ourselves and for those around us.

REFERENCES
 https://www.pressreader.com/
 https://www.tandfonline.com/doi/abs/10.2752/174967809X12556950209186?journalCode=rf
mc20
 https://www.dailyartmagazine.com/arts-and-crafts-interior-design/

Module 2: DIFFERENT TOOLS AND KINDS OF INDIGENOUS
MATERIALS IN CREATIVE CRAFTS

LEARNING CONTENT

Almost every family in the Philippines owns one or more handicraft products like baskets, brooms, feather
dusters, bamboo sofa set, cabinets, and other furniture. Accessories like earrings, bracelets, necklaces,
and other clothing apparel which young people today are fond of wearing are also made from native
products like beads, shells, seeds, and others. This is a clear indication that our handicraft industry is
enjoying the patronage of Filipinos nationwide.

My country, Philippines is blessed with rich natural resources that are scattered throughout its 7,107 islands.
These God-given natural wonders are the sources of people’s food, shelter, and other basic needs. After
some time, people acquired many skills that enabled them to tinker with nature. They used the raw materials
from trees, plants, and other natural resources that are very abundant and turned them into simple, yet
useful tools or instruments.

Today, many Filipinos are engaged in handicraft businesses. Handicraft-making has become a means of
livelihood for them, especially now that many handicraft owners are exporting their products to Japan,
United states, Canada, Australia, Hong Kong, Singapore, and other countries around the world.

The Philippines is the second largest world producer of handicrafts, mainly baskets out of indigenous
materials. This industry continues to provide a respectable contribution to foreign exchange earning of the
country (US$71.9M in 2000) while many handicraft items are also sold on the local market. All together, the
sector is providing livelihood to more than 1 million Filipinos. Although the industry has experienced some
setbacks over the last ten years, it has kept the respect of the high-end markets in the United States,
European Union, and Japan and has only lost a great part of the low-end market to China, our main
competitor.

Despite this, Filipino craftsmen have indigenously overcome scarcity and increasing prices of raw materials
by constantly producing new designs for their products. Over the years, Philippine handicrafts have evolved
through innovative changes in designs reinforced by exciting choices and combination of indigenous
materials. There is, however still ample room for improvement, particularly in remote upland communities
with little access to market information, brokering services, capital, and technologies for value addition.
Aside from these, the handicraft industry is important because of the following reasons:

 It promotes our cultural heritage through the use of indigenous materials.

 Handicraft products show an individual’s creativity and lofty imagination.
 Producers of raw materials will be encouraged to produce more.
 Employment is generated especially for the undergraduates.
 Values of perseverance and industry are developed.

Handicraft Tools

The tools commonly used in handicraft are of two types – the hand tools and the power tools. Hand tools
are the tools for processing the article which are used manually or by hands. Power tools are tools for
processing materials that are operated by machine. The tools commonly used in handicrafts are the
following:

 mallet
 screwdriver
 pliers
 coping saw
 chisel
 hand drill
 wrench
 clamp
 knife
 smoothing plane
 auger
 hacksaw
 paintbrush
 folding rule, zigzag rule, steel rule
 pencil
  compass
 hammer
 blowtorch
 soldering iron

Handicraft Materials

In order to create new handicraft products which can be sold locally or exported abroad, different raw
materials which are available in the market, are needed. Handicraft makers fashion them into baskets,
bags, accessories, cabinets, lamp shades, wall decor, bamboo sofa sets, cabinets, clothes, and others.

Here are the materials commonly needed in making handicrafts:

abaca fibers

Abaca – known worldwide as Manila hemp. Abaca fiber is obtained from the leaf sheaths of the abaca
(Musa textilis Nee) and is considered as the strongest among natural fibers. The length of the fiber varies
from 3 to 9 ft or more, depending on the height of the plant and the age of the leafsheath. The color of the
fiber ranges from ivory white to light and dark brown.
Rattan – is superficially similar to bamboo, but distinct in that the stems are solid, rather than hollow, and
also in their need for some sort of support. While bamboo can grow on its own, rattan cannot. Some genera
(example Metroxylon, Pigafetta, Raphia) are however more like typical palms, with stouter, erect trunks.
Many rattans are also spiny, the spines acting as hooks to aid climbing over other plants, and also to deter
herbivores. Rattans have been known to grow up to hundreds of meters long.

Bamboo – Stems of bamboo plants are stronger and flexible. Bamboo grows in all parts of the country –
in plains, forests, hills and mountains.
Among the varieties of bamboo are the spiny bamboo, kawayan China, kawayan kiling, bikal and buho.
Coconut Shells – Coconut trees are abundant in the Philippines. Coconut shells vary in thickness and
color depending on the age of the nut. They are used for fuel and for manufacturing articles such as buttons,
pins, coin banks, lamp shades, and flower vases.

maguey plant

Fibers – They come from plants where fibers or threadlike substances are extracted. Fibers from coconut
husks, buri, maguey, pineapple, abaca, and banana are used in making mattresses, carpet, and seat pads.
Buri – It is a palm from which three kinds of fibers, namely buri, raffia, and buntal, are obtained. The buri
palm has large fan-shaped leaves with stout petioles ranging from 2 to 3 m in length. The palm reaches a
height of 20 to 40 m and its trunk attains a diameter of 1 to 1.5 m. Of the buri fiber, buntal is the one with
the most impact in the market.

Leather – is a material created through the tanning of hides, skins and kips of animals. Hides are skins
from large animals like horses and carabaos. Skins come from such animals like alligators and goats. Kips
are obtained from undersized animals like lizards. The tanning process converts the putrescible skin into a
durable, long-lasting, and versatile natural material for various uses.
 REFERENCES
 http://beth811.hubpages.com/hub/Philippine-Handicraft-IndustryTheir-Benefits-and-Importance
 https://colosushandicraft.wordpress.com/2013/04/25/philippine-handicraft-industrytheir-
benefits-and-importance/

Module 3: PRINCIPLES OF INDIGENOUS CRAFTS DESIGN

LEARNING CONTENT

Philippines - Arts & Crafts

The island country of the Philippines located in the Malay Archipelago has a diverse geography and the
small islands are house to many tribes. It is a beautiful country, no doubt with beautiful beaches, lofty
mountains, volcanoes, colorful corals and the blessing of a lush green rainforest. The people here are
friendly and make their livelihood through various occupations among which one deserves special mention.
It is the one which involves the Arts and Crafts in Philippines.

Every country has its own special Arts and Craft. So do Philippines have. Every piece of art or craft
produced bears the identity of the country and makes a fine example of the artistic and creative faculties of
the people. The cultivation of art or craft requires years of dedication and practice and is the outcome of
hard work and, more than that, love for the art on the part of the artisans. Excellence in Arts and Crafts in
a particular country comes from within and requires some technical knowledge along with a sound
knowledge of the country’s history and culture as many a time the replicas of famous events are portrayed
through the medium of arts and crafts.

The concept of Arts and Crafts is related to the making of objects with the artist’s own hands, at times with
the help of some specialized instruments, skillfully blended with his or her sensitivity and artistic sense.
Many villages in Philippines are dedicated to Art and Craft industries which not only earn tourist acclaim
but are also the sources of employment to many Filipinos. Traditional arts like weaving, metal smith, pottery,
woodcarving and gold smith are famous all over the country and are valued both by the locals and tourists.
The valuable ornate carvings are a specialty in the southern Philippine Islands.

There are wood carvers’ villages, metal smiths’ villages and many others specializing in different arts and
crafts. Some villagers make items out of shells, bamboo parts and rattan stems. The Abaca leaves are
used to make braided bowls and bins while buri is extensively used for making hats and novelty items.
Coconuts and coconut leaves also find varied usage like making brooms, baskets and some domestic utility
products. Hand bags, jewellery made of shells, small boxes; bamboo items and other odd things make
great souvenirs and are nice to be gifted too.

Arts

Like any other country in the world, the Philippine way of life and the things surrounding them are in one
way or another shaped by art. And with the existence of art like music and paintings in the Philippines, the
 door to yet another world has been opened to allow visitors to enjoy a truly diversified experience of the
country.

Music

It wasn't until recently that traditional Philippine music began picking up in popularity after being restricted
to ethnic minorities for quite some time. With Western influence in their music, it is definitely not surprising
to find that many Filipino bands all over Southeast Asia are well known for their ability to perform music
having their origin in the West. Nonetheless, more and more local musicians are embarking on the journey
of rediscovering their cultural heritage in the field of music... With the return of the use of traditional
instruments such as bamboo flutes, wooden drums and gongs, the Filipinos are slowly bringing old
melodies back to life. Apart from that, Philippine folk songs in the original Tagalog have also made a
comeback after Freddie Aguilar, the popular social critic, sang Bayan KO (My Country). This song
eventually became an anthem of Marcos' rivals during the revolution of 1986.

Paintings

Visitors to the Philippines will be awed by the works of the country's talented individuals in the art of painting.
The country's two most famous painters of the 19th century are Juan Luna and Felix Hidalgo. The
masterpiece 'Spolarium', which won a gold medal at the 1884 Madrid Exposition, is perhaps, one of Luna's
best works. The mid-20th century gave way to other internationally acclaimed artists like Vicente Dizon,
Fernando Amorsolo and Vicente Manansala.

Those interested in contemporary art should give the Ateneo Art Gallery a visit. This art gallery showcases
the permanent collection of selective contemporary works by contemporary Filipino artists and is located at
Ateneo de Manila University, Loyola Heights, Quezon City.

The Metropolitan Museum of the Philippines at Central Bank Complex, Roxas Boulevard, Manila is a must
see for those with great interest in classical and contemporary paintings and prints from America and
Europe. Besides the exhibitions, visitors will also have the chance to see slide shows and films almost daily
at this art gallery.

Crafts

 Abaca (Musa textiles) is a tree-like herb resembling the banana plant. Its fiber is more widely known in the
export trade as Manila hemp. It is durable and resistant and can be easily dyed in different colors.

It is also used in the handicraft business as pulp material for handmade paper, cordage or as fibers to be
woven into ropes and braids.

 Bamboo (Bambusa spinosa) is mostly used for the furniture industry because of its strength and durability.
It is also a valuable material for basket and hat making. It is a grass species found throughout the
Philippines.Bamboo products that were developed by the CCAP's designers fall under the indoor / outdoor
garden setting. Bamboos are often used in combination with sea grass, a freshwater grass growing along
rice paddies.

 Buri (Corypha elata) is the largest palm found in the Philippines. It is one of the most important palms, next
to the coconut, in terms of economic and industrial importance. The buri leaf is the most versatile material
used in handicraft industry. It is used for making hats, boxes and other novelty items. It can be easily dyed
and woven into many shapes.
 Buri split used in combination with Rattan poles and Tilob fibers is another by-product of the diverse ways
of processing the buri palm into materials for the handicraft industry. It comes from the main stalk of the
palm where fronds of the buri are attached. These stalks are stripped and split into 3mm thickness and
bleached to a creamy finish.

The application of lacquer further enhances the beauty of this material. CCAP considers these products as
classic, generating regular orders for more than a decade since they were first introduced.

 Kalas is a derivative of the buri palm. Locally, the term "kalas" means "to loosen" and refers to the loosened
strands of a buri rope. When woven, kalas creates an interesting, rustic pattern with distinct characteristics
from its original material.

Craft/Crafts

The term “craft” originally came from the Old English word craeft, which means power, strength, or might.
Later on, it came to mean “skill or art” and was associated with an idea of “mental power” (Harper 2001).
Eventually, it was linked to “things made by hand” (Oxford Dictionaries 2009). Other connotations of the
word are decorative arts (handmade luxury goods for use and display inside buildings or on the human
body), “trade and folkways,” and “long traditions of pre-industrial production of handmade objects” (Metcalf
1999).

The term “crafts” came into wide use with the Arts and Crafts movement, which was founded in the late
nineteenth century and drew upon the vision of English theorist and critic John Ruskin (1819–1900). Ruskin
was known for his criticism of classical architecture and for his essay in praise of Gothic cathedrals. He saw
in the Gothic the “democratic spirit” (Rodel and Binzen 2003, 22) and the individual worth and effort of the
craftsman. He shunned the uniformity of symmetrical buildings and saw such work as the “subjugation of
the craftsman” by the architect (22). In Victorian England, Ruskin took issue against industrialization and
the factory system, which for him deprived the worker of individuality (22). He exalted the dignity of human
labor and was known to have said: “No one can teach you anything worth learning but through manual
labor” (6). William Morris (1834–1896), a student at Oxford, took up the vision of Ruskin and translated it
into criteria for action. While Ruskin championed the dignity of labor, Morris practiced it himself, engaging
in work that was previously “reserved for the lower classes” (Metcalf 1999). He spearheaded the Arts and
Crafts Movement, founding in 1861 his manufacturing and decorating firm called Morris, Marshall, Faulkner
& Co. The firm produced furniture, tapestry, stained glass, furnishing fabrics, carpets, printed books, and
much more, all made by hand (Danky and Wiegand 2006, 163). It also was part of a collective reaction
against the “mechanization of labor” and mass-produced goods (Rodel and Binzen 2003, 5-6). The “term
Arts and Crafts was coined after the Arts and Crafts Exhibition of 1888 in London” (9). The movement itself,
which stressed “fine handcraftsmanship, honest design, and local materials began in England and spread
to continental Europe and America” (9). As the Arts and Crafts Movement gained steam, crafts came to be
reckoned for their aesthetic qualities—beauty was no longer the exclusive preserve of fine arts. In the
previous decades, philosophers like Immanuel Kant (1724–1804), argued that the aesthetic experience
must involve a “disinterested attitude” or “disinterested contemplation” (Encyclopaedia Britannica 2005,
13:9; Copleston 1985) and that art, the object of an aesthetic experience, “is a kind of representation which
has its end in itself, but which nonetheless, although it has no purpose external to itself, promotes the
culture of the mental powers with a view to social communication” (in Copleston 1985, 366). On this note,
crafts do not fall under Kant’s idea of art, as they are necessarily imbued with functionality and possess a
purpose “external to itself.” Similarly, Ruskin’s view of aesthetics was tied to social awareness; it moved
away from Kant’s “disinterested contemplation” of an artwork and towards “a broader examination of the
environment from which the work emerges” (Metcalf 1999). Morris, following Ruskin’s lead, opposed the
notion of fine art. For Morris, art is “man’s expression of his joy in labour” (Chilvers and Osborne 1994);
hence, craft for him qualifies as art.
UNESCO Definition

The United Nations Educational, Scientific, and Cultural Organization (UNESCO) defines “crafts” as follows:

Those produced by artisans, either completely by hand, or with the help of hand tools or even mechanical
means, as long as the direct manual contribution of the artisan remains the most substantial component of
the finished product. These are produced without restriction in the terms of quantity and using raw materials
from sustainable resources. The special nature of artisanal products derives from their distinctive features,
which can be utilitarian, aesthetic, artistic, creative, culturally attached, decorative, functional, traditional,
religiously and socially symbolic and significant (Vencatachellum 2004, 51–52).

Such definition consolidates the connotations and implications of the term “crafts.” However, this proposal
refers to traditional crafts or what Metcalf relates to as “folkways” (Metcalf 1999). Even so, the author is
also keen to note the social dimension of every piece of traditional craft; it considers the dignity of human
labor and the cultural and social milieu to which the craftsman belongs.

Crafts on the Margin

The history of crafts education in the Philippines parallels the rise and fall of an empire. It started small,
with the scattered and informal teaching and learning of crafts during the pre-Hispanic period, where crafts
production catered to the needs of a chief, a social elite, or the general population of consumers (Brumfiel
and Earle 1987 in Junker 2000, 262). In Spanish colonial Philippines, convents were turned into schools
and workshops of carpentry, iron works, drawing, painting of images, cutting and sewing of altar cloths,
designing and sewing of altar pieces, textile weaving, and other forms of practical arts (Flores 1998, 143).
Such schools, serving as handmaidens of missionary work, came to an end when the Academia de las
Bellas Artes opened in 1785. At that time, painting and drawing then came to be regarded for its purely
academic worth (Flores 1998). Crafts education in the Philippines reached its peak during the American
period when the educational system was revised and expanded to include industrial work and crafts for
livelihood, like woodwork, clay modeling, basket and mat weaving, and embroidery and lace making
(Sobritchea 1996). Over the decades, crafts subjects offered under the American public school system
would be jettisoned, save for woodwork and clay modeling, which still figure in the present curricula of the
public elementary school system. What have come to take the place of crafts are painting, sculpture,
architecture, photography, printmaking, dance, theater, and cinema (Department of Education 1998). Such
a trend continues into the tertiary level. In three major Philippine universities conferring fine arts degrees,
common areas of specialization include painting, sculpture, advertising arts, and industrial design.1
Although crafts may be part of the curricula, no undergraduate or graduate degrees are offered in the area
of crafts. The Philippine art scene echoes the same preference for painting and sculptural works and also
draws a broad distinction between crafts and fine arts. While the fine arts enjoy the patronage of the higher
centers of learning, crafts—much less, traditional crafts—have not been equally fortunate. The marked
difference between functionality and pure aesthetics assigned to crafts and fine arts, respectively, seems
to have relegated crafts to a position of inferiority. As such, public exhibitions of crafts have not been
common in the local art scene. Galleries are wont to present painting and sculptural works, which are seen
as the sole possessor of commercial and aesthetic value. Even the locally conferred National Artists Award
sees art as distinct from craft and, therefore, is open only to artists who are or were practitioners of Western-
oriented art. To help remedy this, the National Commission for Culture and the Arts launched the Gawad
Manlilikha ng Bayan (literally, National Creators Awards) to honor traditional artisans and culture bearers.
Also, in 2002, the exhibition “Crafting Economies” opened at the Cultural Center of the Philippines. Curated
by Patrick Flores, the exhibition aimed to confront the “marginalization of ‘craft’ in the contemporary art
world; it sought to integrate it with the present-day concerns in aesthetic judgment, and then finally discredit
the distinction of art and the discrimination of craft without ceding the agency of aesthetic critique and
experience” (Flores 2001, 11). Clearly, this exhibition acknowledged the aesthetic properties of craftworks,
to help clear the way for their integration into the art world. Its aim is not to end up calling craft art but to
see craft’s “aesthetic potential.” Flores clarifies:
To reconsider craft is not to invest it with artness (to do so would be to fall into the ‘art’ trap once again),
but to reoperationalize its aesthetic potential. By the same token, to renounce art is not to reduce it to craft,
but to redeploy the mode of its making in society and history. It is this ‘society and history’ that renders
art/craft material to our lives, that allows it to circulate in an economy of exchange and reciprocation.

Seen this way, crafts become de-marginalized and could rightly find a place in mainstream art society and
education in the Philippines. Its aesthetic qualities could be recognized, as well as their production within a
particular social and historical environment, which renders both craft and art significant to ordinary life.

Crafts Studies in Asian Education Systems

Interestingly, the marginalization of crafts does not appear to be a universal phenomenon. In some regions
of East and Southeast Asia, crafts institutes and colleges are well-attended. Craft education in Korean
universities, for instance, falls under the art department, which runs three main programs: the “fine art”
program, which offers painting and sculpture; the “craft” program, which features work on metals, ceramics,
wood, fiber, and glass; and the “design” program, which offers industrial design, graphic design, and fashion
design. Until the 1970s, craft and design were classified as “applied arts” (Jeon 2004, 218). According to a
2004 report delivered by Yong-il Jeon, a professor of Design from Kookmin University, the state of craft
education in Korea is well-attested by impressive figures. Universities with crafts majors total fifty-eight, with
some 2,042 students majoring in the various fields of crafts, like ceramics, metal and jewelry, woodworking,
fiber, and glasswork. The highest number of enrollees is in ceramics, which also happens to be one of the
oldest craft practices in the country. The regions of Seoul and Kyongsang-do are the biggest sites of
universities and, therefore, of crafts colleges. Within a college curriculum, crafts majors complete 130 units
of humanities and take up subjects such as drawing, modeling, and computer-aided design. The humanities
subjects take up the first and second years, while the major classes take up the third and fourth years. In
lieu of a thesis, students create works for a Bachelor Degree Show. Crafts graduates have a wide array of
career opportunities; they may pursue an independent craft practice, work in a team as a studio artist, work
in a company or industry, land a post in the education sector, work in a craft distribution firm, or form part
of a craft research organization or agency, such as a museum or a restoration company. Professor Jeon
notes that a majority of craft practitioners, which he calls “craft artists,” are highly educated. They create
and exhibit works in shows at par with international standards.

In Korea, the high school curriculum prepared by the Korea Institute of Curriculum and Evaluation aims “to
enable students to attain knowledge and skills in diverse fields so that they will be able to carve out a career
in accordance with their aptitudes and interests” and “to encourage students to work to develop our
traditions and culture in a way appropriate for the global setting.” Such skills include crafts-making; hence,
ceramics and textile are offered under the Industry subject area (Korea Institute for Curriculum and
Evaluation: 2006). There are also specialized high schools devoted to the arts, which most likely include
crafts, considering that Korean universities are known to group crafts courses with fine arts programs under
the same faculty of arts. Unfortunately, no detailed information regarding specialized Korean high schools
could be accessed by this author. Reference to it was simply made in a website of the Office of the Prime
Minister of Korea (2006). Japan’s integration of crafts into university education varies little from that of
Korea. Crafts courses are offered in arts and design universities under the Faculty of Arts’ Department of
Crafts. The courses take four years to complete, with specializations in the following fields: ceramics,
metalwork, textile, glass, lacquer, dyeing, and embroidery. Unlike Korean crafts programs, crafts
departments in Japan do not offer woodworking. The most common crafts specialization is in ceramics,
whose practice dates back to the ancient Jomon period (c. 7500–300 BC), followed by metalwork and
textile, then glass, lacquer, weaving, dyeing, and finally embroidery. Crafts specialization programs are
offered not only at the undergraduate level but also at the M.A. and Ph.D. levels. Students are expected to
blend traditional techniques with contemporary aesthetics. Their work must also be informed by a sense of
“functional beauty,” which the Joshibi University of Art and Design (2006) termed as “beautility” (beauty of
utility) or which the Tohoku University of Art and Design (2006) expressed as “the unity of functionality and
beauty.”

In Southeast Asia, crafts education has also established itself in formal learning centers. Keris-making is
offered as a course in the fine arts department of the Indonesia College of the Arts in Surakarta (Guntur
2004). In Malaysia, the state-run Malaysian Handicraft Development Corporation operates the National
Craft Institute, which provides academic and skills training in various fields of Malaysian crafts such as
batik, weaving, ceramic, woodcraft, bamboo and metal-based craft. The institute offers diploma and
certificate programs; diploma programs run for a total of three years, while the certificate programs are
completed in two. A 2004 report on the state of Malaysian crafts noted a total of 436 institute students
(Malaysian Handicraft Development Corporation 2004). Thailand incorporates craft studies in its
secondary-education curriculum, which consists of the “academic stream” and “vocational stream”
(Sedgwick 2005). In the latter, crafts education occurs alongside “Thai and foreign languages, science,
mathematics, social studies, physical education, and art” (Sedgwick 2005). Students under the former are
prepared for university education and graduate with a Certificate of Secondary Education (Mayatom VI),
while vocational stream students receive a Certificate of Vocational Education (Por Wor Chor) upon
graduation and are prepared for employment and further studies (Sedgwick 2005). Under the vocational
stream program, students specialize in one of the five major fields: agriculture, home economics, business
studies (marketing, travel and tourism, public relations), arts and crafts, and technology (mechanical, civil,
electronic, industrial) (Sedgwick 2005).

The foregoing has listed how crafts are incorporated into formal education systems of some East and
Southeast Asian countries. The accommodation of crafts courses within formal education in the Philippines
therefore has precedent and should not therefore be dismissed. Not unlike her neighbors, the Philippines
has a long history of craft production that goes back to pre-Hispanic times. It is about time that crafts
education is elevated to a new level of reckoning, at the very least, in the secondary school system.

REFERENCES
 https://www.asj.upd.edu.ph/mediabox/archive/ASJ-45-1and2-2009/icasiano.pdf
 https://www.indiaasean.org/philippines/resources/arts-and-crafts

Module 5: INDIGENOUS CRAFTS OUT OF WOOD

LEARNING CONTENT

Wood carving in the Philippines is a tradition dating back to pre-colonial times. Native Filipinos carved
boats, plows, arrows, spears, and other essential items, often creating ornamental patterns for the use of
the tribal hierarchy and to celebrate special occasions. In early times, figurines such as the “Tanod” were
carved as totems to protect villages and ward off evil.

Wood

Wood in its raw form is called lumber and is defined as a processed wood material sawn from logs and
produced into different measured sizes in length and width. Logs are what become of the trees after being
cut down. Trees that grow in our forest and mountains have various types and species. They are classified,
selected, and cured.
Philippine Lumber is categorized as follows: First Group This type of lumber is usually hard with fine
grain. Each of this wood has a different color in its sapwood. For furniture and cabinet making, woodcarving,
musical instruments, interior finishing and other woodworks, use these kind of wood.  Acle  Baticulin 
Kamaging  Ebony  Ipil  Yakal Second Group This second type of wood is moderately hard and heavy
with fine grain. Usually, this wood is used for building construction, furniture making, shipbuilding, and
others.  Banuyo  Bolong-eta  Calantas  Guijo  Palomaria  Teak Third Group The Third group of wood
is usually used for floorings, furniture making, and some are for charcoal making.  Amugis  Apitong 
Tangile Fourth Group This group of wood is used for cheap furniture, cabinet making, interior finishing and
others.  Lauan  Almon  Bagtican  Dao

After the logs have been cut, they are transported to a sawmill by trucks or by floating them in rivers or
lakes. The logs are processed, sawn, and cut into boards and lumber of various sizes. Lumber is then dried
by piling it into stacks in the open air by placing it in dry kiln. Drying lumber reduces its weight by as much
as 50 percent. Seasoned lumber often has 50 percent or more moisture by weight. Plywood and ply board
is a by-product of lumber. It is made of large thin layers of wood pressed and glued together to make it
stronger and suited to many needs than plain woods. The thin sheets or layers of wood are called veneers
or plies. Plywood is generally used for furniture making, wall cobering, door panels, divider, and fro cabinet
works. Lumber is available either sun-dried or kiln-dried. The advantage of kiln-dried lumber is that most of
the moisture found on the wood has been eliminated by special drying in kiln or oven. This prevents the
wood from shrinking and bending or warping when in use. A characteristic of wood is that as it dries, it
tends to shrink, bend or warp. Kiln-dried lumber is more expensive than ordinary sun-dried lumber. Lumber
is also available either rough or smooth finished. Rough lumber is lumber straight from the sawmills with
the surfaces, although cut straight, still retains a certain roughness. Some lumber are made with their
surfaces planed and smooth so that this are almost always ready to be used in finishing jobs. When only
two sides of the lumber are made smooth, the lumber is designated as S2S. If all sides are smooth and
even, the lumber is designated S4S.

Wood carving is a form of woodworking by means of a cutting tool (knife) in one hand or a chisel by two
hands or with one hand on a chisel and one hand on a mallet, resulting in a wooden figure or figurine, or in
the sculptural ornamentation of a wooden object. The phrase may also refer to the finished product, from
individual sculptures to hand-worked mouldings composing part of a tracery.
The making of sculpture in wood has been extremely widely practised, but doesn't survive undamaged as
well as the other main materials like stone and bronze, as it is vulnerable to decay, insect damage, and fire.
Therefore, it forms an important hidden element in the art history of many cultures. Outdoor wood
sculptures do not last long in most parts of the world, so it is still unknown how the totem pole tradition
developed. Many of the most important sculptures of China and Japan, in particular, are in wood, and so
are the great majority of African sculpture and that of Oceania and other regions. Wood is light and can
take very fine detail so it is highly suitable for masks and other sculpture intended to be worn or carried. It
is also much easier to work on than stone.
Some of the finest extant examples of early European wood carving are from the Middle
Ages in Germany, Russia, Italy and France, where the typical themes of that era were Christian
iconography. In England, many complete examples remain from the 16th and 17th century, where oak was
the preferred medium.
The oldest wood carved sculpture, the Shigir Idol carved from larch, is around 12,000 years old

WOOD CARVING PROCESS

SELECTION
The nature of the wood being carved limits the scope of the carver in that wood is not equally strong in all
directions: it is an anisotropic material. The direction in which wood is strongest is called "grain" (grain may
be straight, interlocked, wavy or fiddleback, etc.). It is smart to arrange the more delicate parts of a design
along the grain instead of across it. Often, however, a "line of best fit" is instead employed, since a design
may have multiple weak points in different directions, or orientation of these along the grain would
necessitate carving detail on end grain, (which is considerably more difficult). Carving blanks are also
sometimes assembled, as with carousel horses, out of many smaller boards, and in this way, one can orient
different areas of a carving in the most logical way, both for the carving process and for durability. Less
commonly, this same principle is used in solid pieces of wood, where the fork of two branches is utilized for
its divergent grain, or a branch off of a larger log is carved into a beak (this was the technique employed
for traditional Welsh shepherd's crooks, and some Native American adze handles). The failure to appreciate
these primary rules may constantly be seen in damaged work, when it will be noticed that, whereas tendrils,
tips of birds beaks, etc., arranged across the grain have been broken away, similar details designed more
in harmony with the growth of the wood and not too deeply undercut remain intact.
Probably the two most common woods used for carving in North America are basswood (aka tilia or lime)
and tupelo; both are hardwoods that are relatively easy to work with. Chestnut, butternut, oak, American
walnut, mahogany and teak are also very good woods; while for fine work Italian walnut, sycamore
maple, apple, pear, box or plum, are usually chosen. Decoration that is to be painted and of not too delicate
a nature is often carved in pine, which is relatively soft and inexpensive.

SCULPTURE
A wood carver begins a new carving by selecting a chunk of wood the approximate size and shape of the
figure he or she wishes to create or if the carving is to be large, several pieces of wood may
be laminated together to create the required size. The type of wood is important. Hardwoods are more
difficult to shape but have greater luster and longevity. Softer woods may be easier to carve but are more
prone to damage. Any wood can be carved but they all have different qualities and characteristics. The
choice will depend on the requirements of carving being done: for example, a detailed figure would need a
wood with a fine grain and very little figure as a strong figure can interfere with 'reading' fine detail.
Once the sculptor has selected their wood, he or she begins a general shaping process using gouges of
various sizes. The gouge is a curved blade that can remove large portions of wood smoothly. For harder
woods, the sculptor may use gouges sharpened with stronger bevels, about 35 degrees, and a mallet
similar to a stone carver's. The terms gouge and chisel are open to confusion. Correctly, a gouge is a tool
with a curved cross-section and a chisel is a tool with a flat cross-section. However, professional carvers
tend to refer to them all as 'chisels'. Smaller sculptures may require the woodcarver to use a knife, and
larger pieces might require the use of a saw. No matter what wood is selected or tool used, the wood
sculptor must always carve either across or with the grain of the wood, never against the grain.
Once the general shape is made, the carver may use a variety of tools for creating details. For example, a
“veiner” or “fluter” can be used to make deep gouges into the surface, or a “v-tool” for making fine lines or
decorative cuts. Once the finer details have been added, the woodcarver finishes the surface. The method
chosen depends on the required quality of the surface finish. The texture left by shallow gouges gives 'life'
to the carving's surface and many carvers prefer this 'tooled' finish. If a completely smooth surface is
required general smoothing can be done with tools such as “rasps,” which are flat-bladed tools with a
surface of pointed teeth. “Rifflers” are similar to rasps, but smaller, usually double-ended, and of various
shapes for working in folds or crevasses. The finer polishing is done with abrasive paper. Large grained
paper with a rougher surface is used first, with the sculptor then using finer grained paper that can make
the surface of the sculpture slick to the touch.
After the carving and finishing is completed, the artist may seal & colour the wood with a variety of natural
oils, such as walnut or linseed oil which protects the wood from dirt and moisture. Oil also imparts a sheen
to the wood which, by reflecting light, helps the observer 'read' the form. Carvers seldom use
gloss varnish as it creates too shiny a surface, which reflects so much light it can confuse the form; carvers
refer to this as 'the toffee apple effect'. Objects made of wood are frequently finished with a layer of wax,
which protects the wood and gives a soft lustrous sheen. A wax finish (e.g. shoe polish) is comparatively
fragile though and only suitable for indoor carvings.
Cultural Implications of the Use of Wood in Art
Besides being used in Western cultures, wood was also the primary material of many creatives coming
from Africa, Oceania, Americas, and Australia. Aboriginal art, for example, relies on wood as one of its
primary mediums for expression, while Middle East also has a great tradition of woodworking. Decorative
purposes, religious or ritual reasons are some of the aspects that draw artists to use this material, but its
use was in the colonial context also misinterpreted as the expression of folkloristic and
generally primitive cultural levels of those who used it.

While the Imperial Europe slowly relegated wood to the domain of decorative design, woodworking in other
cultures was interpreted through narratives of folklore and tradition. Masks from Africa which later
inspired Picasso and movements such as Fauvism and Expressionism were seen as ritual objects with little
or no artistic value.

Today, following the geopolitical and cultural changes from the second half of the 20th century and beyond,
negative cultural implications of wood use in art are part of the history, and woodcarving and woodworking
are equally respected, valued and practiced artistic techniques as any other. The fascination with wood
and its quality seems to remain high, while artists continue to carve it into amazing art objects.

Ifugao Woodcarvers

The Ifugaos of Northern Luzon are famous for the way they carved the mountain slopes that form the
legendary Banaue rice terraces. They are also well known for their mastery of wood carving. Ifugao
woodcarvings are usually of their deities, the most famous of which are the various interpretations of the
granary deity known as the bul-ul. This granary deity occupies a significant role in the lives of the Ifugaos
and the bul-ul is ever present in the rice granaries, usually accompanied by a female idol to assure an
abundant harvest.
 Bul-ul

With the current ban on hardwoods, Filipino woodcarvers now use ipil or acacia. Ifugaos also use the
reddish wood called gutmu. The wood is roughly shaped with a bolo — a one-edged knife about 12 to 18
inches long. In working out the details, an improvised thin gouge 2 to 6 inches long is used and then the
carving is polished with the leaves of the aplah plant. After this, the images are blackened with soot.
Through time, the wood acquires a fine, hard gloss.

Tagbanua Woodcarvers

South of the Phjlippines, one finds the Tagbanwa woodcarvers. Whereas the Ifugaos engage in
woodcarving primarily because it is an essential part of their beliefs and customs, the Tagbanwas of
Palawan carve for the sheer fun of it. And this is probably why the Tagabanwa woodcarvings stand out as
one of the most exciting of indigenous Philippine woodcarvings. These wooden works of art are highly
stylized and reflect sophisticated aesthetics, leading one art critic to say that they have “close affinities to
near-abstract art.”
Tagbanwa wood carving is unique because it incorporates a technique of completely blackening the surface
of the wood and then bringing out white portions while etching the design. Only a few of the Tagbanwa
woodcarvings are intended for use in rituals. Most of them serve as toys for the children, décor for the
house, or as a means of self-expression.

The Tagbanwa’s favorite wood comes from the alimutyugani tree. After the bark is removed, the wood is
shaped. Then the wood is rubbed with the leaves of the cassava plant until it turns green. Lumps of resin
called salung are placed on the ground and ignited and the wood is passed over the smoke until it becomes
black with soot. The process of rubbing cassava leaves all over the wood and blackening the carving by
passing it over the burning resin is repeated until the black coloring does not rub off. Then the designs are
etched out using a very small knive called pisaw. These designs are usually polka dots, v-marks and white
triangles which, when carved on the blackened wood, come out was white incisions.

Maranao Woodcarvers

Further down south of the Philippine Islands, are the Maranoa Muslim woodcarvers. Figural representations
in their craft are taboo to the Maranao woodcarvers. Natural forms are allowed only on the condition that
they are “de-natured.” Because of this limitation, the Maranao woodcarvers use the okkil motif in most of
their works. The okkil motif is rich in Sassanian character — the flowing floral forms and S movements. The
Filipino Muslim adaptation of the okkil has a strong indigenous character, deriving inspiration from local
plants, sea corals and native objects.
The okkil is carved into musical instruments and everyday objects such as kitchen wares and bamboo
tubes. The design can also be seen in the wooden handles of swords and knives. Aside from the okkil, the
sarimanok — a stylized representation of a bird or rooster is also one of the more popular Maranao
woodcarving designs.
Woodcarvers of Paete

Paete is known to be the “Carving Capital of the Philippines.” The tradition of pag-ukit dates back since
time immemorial. Even the national hero, Jose Rizal, mentioned its works in one of his novels. The exquisite
talent of the Paeteños have reached overseas with some of their works reportedly displayed and used in
some countries such as the Vatican and United States.

Paete is a 4th class municipality in the province of Laguna, Philippines. According to the latest census, it
has a population of 24,696 people in 5,101 households.

The town, pronounced Pī-té, long i, short guttural ê, is located at the northeastern part of Laguna, along the
shores of picturesque Laguna de Bay. It was founded in 1580 by Spanish friars Juan de Plasencia and
Diego de Oropesa of the Franciscan Order. It is believed that the earliest inhabitants were of Malay lineage,
coming all the way from Borneo in their swift and sturdy boats called "Balangay". The town is made famous
by craftsmen highly skilled in woodcarving and its embellishment.

The official town hero is not a statesman nor a soldier but a woodcarver, the master artisan Mariano
Madriñan, whose obra maestra, the life-like Mater Dolorosa, was honored by the King of Spain with a
prestigious award in Amsterdam in 1882. The town was proclaimed "the Carving Capital of the Philippines"
on March 15, 2005 by Philippine President Arroyo. It is also believed that the modern yo-yo, which
originated in the Philippines, was invented in Paete.

Many descendants of these skillful artisans have found a niche in the culinary world. Ice sculptures and fruit
and vegetable carvings done by dexterous hands of Paeteños abound on buffet tables of cruise ships and
world-class hotels and restaurants. Today the town thrives mainly on the sale and export of woodcarvings
and taka, tourism, poultry industry, farming and fishing.

How Paete got its name

Before the Spaniards came, Paete was said to be a peaceful barangay under Gat Lacampauid. The
Spanish friars had a tradition of naming towns they built in honor of saints. Paete was an exception. Legend
has it that there was once a young Franciscan priest who was tasked by his superior to visit their newly-
founded settlements alongside Laguna de Bay. The priest knew little about the terrain so he asked a native
the name of the place. The latter misinterpreted the young friar, thinking that the former wanted to know the
name of the tool he was using. He answered, Paét (chisel) --thus, the name Paete.

REFERENCES
 https://erni2aindigenouscreativecraftsfinals2020.wordpress.com/2020/05/06/example-post-
3/
 https://themixedculture.com/2013/11/08/philippines-paete-laguna/
 https://www.widewalls.ch/magazine/male-nude-paintings/edvard-munch-badande-man-
bathers1907

Module 6: INDIGENOUS CRAFTS OUT OF RATTAN

LEARNING CONTENT

Rattan alternately called Wicker comes from the Malay word rotan (yantok in Filipino term), a specific plant
of the Calamus Daemonorops and Korthalsia genera, belonging to the palm or Arecales or Palmea family.
This type of plant have originated and said to be abundant on the tropical regions of Asia and observed to
have some relative species in Australia and Africa. Distinct from the most common plant species, its leaves
are not clustered into a crown. This plant is geographically situated on heights climbing up to 3,000 meters
above the sea level. Based on expert studies, there are around 600 different species of this plant and 13
corresponding generas.
Those that we see as rattan furniture and other items made out of this plant on the market are those that
grow in the wild, the hilly tropical areas, where the average temperature is averaging at 25 degree Celsius
and a relatively moist environment measured in through an annual rainfall of 2,000 mm or less. Since this
type of plant thrives best on the tropics, it wouldn’t be a surprise why the South East Asian nations like the
Philippines, Malaysia, and Indonesia are the top producers of rattan products and raw materials. This is the
primary reason as well why rattan craft from these countries are the most exquisite and considered to be
the best.
The generic classification of this palm would be according to their climbing nature or ability whether it be a
low or a high climber and whether they are single-stemmed or a bunch of the plant cluster. Typically, the
plant ironically has a very short and thin stem on the base and the size are much larger on the tip. Though
it’s just a palm, a single plant including its stems can grow lengths reaching to 100 meters.

Rattan is characterized by having slender stems measuring 2 to 5 centimeters in diameter with long
internodes between the leaves. These nodes or stems would project a seemingly vine appearance for the
plant. The plant’s characteristics are similar to that of the bamboo except for the more solid stems. The
sheaths and whips of the plant are protected or covered with spines all throughout. The whips and the
spines benefit the plant through survival and protection. These spines provide structural support or serve
as hooks while the plant is climbing over the surrounding trees.

Rattan Geographical Distribution

The majority of the world’s rattan supply comes from the Indonesian tropics. The next top supplier is the
Philippines, Sri Lanka, Malaysia, Laos, Cambodia, Vietnam and Bangladesh. Almost all supply of this plant
are located and harvested from the hills, mountainous regions, and tropical forests. Though the supply is
ample enough, environmental threats to rain forests, including deforestation has also been the source of
supply threat for the plant. Statistics have shown that forest and the plant’s population have enormously
decreased over the past few decades.

Rattan Harvesting, Collection, and Processing

Although forests have still an ample supply remaining, it is important to preserve and protect this plant and
the forest land and areas where it grows. Rattan is not considered as a seasonal plant, it grows all year
round, there is no harvesting season, and that it grows faster compared to all other tropical wood. Tools to
harvest the plant are just the common and simple ones, the challenge lies on the actual harvesting. The
first harvesting impediment is the difficult landscape and the inaccessible mountain, jungle or forest. The
next is the intensive manpower or labor that it requires. Harvesting is often the livelihood or tasks of the
villagers or the local people who are experts about the cutting and climbing required. Risks associated with
the harvesting include dead tree branches that may fall off, colonies of ants, wasps and all other insects
that can impede or distract the harvester. Prior to the plant or wood transport, all spiny sheaths, whips, and
the leaves are removed.

The most common method of processing the rattan stem or wood is through sun drying, or perhaps smoked
with burning sulphur. Raw materials intended for the sturdier and solid crafts are sometimes boiled in oil to
eliminate excess oil and natural gum deposits, these two attracts most wood-boring beetles. (Read further
on how rattan is processed).
The Many Uses and Benefits of Rattan
With all its advantageous features (light, durable, flexible), rattan has been the top choice as a material for
numerous projects and purposes. They can be generally classified either in terms of being a furniture raw
material, handicraft source, shelter material, and even as a source of food and medicine.

1. Furniture Making.
This would probably the most popular use of this plant. Rattan furniture making is a very large industry.
Furniture products include sofas, chairs, tables, mats, and many more types. These furniture are not only
adornment to homes but an essential furnishing requirement of businesses as well, most especially those
who are wanting to arrive at a traditional, all natural theme. Said furnitures are the choice of most
restaurants, offices, and all other buildings.

2. Handicraft and Arts.

Rattan’s flexibility, strength and durability make it perfect for crafts and all other artistic items. Expert
craftsmanship of a lot of natives brings out the true beauty of this plant. Most museums showcase some of
the brilliant works and items made out of it. The plant is also noted as the material used for canes not just
for oldies but martial artists as well. That’s correct, for in the Philippines, they are proud of their
unique Arnis or Eskrima, a sporting martial art which in the past is used as a self-defense. This martial art
specifically requires the use of a rattan-cane or stick.
3. Rattan as a shelter material
Most natives or locals from the rattan rich countries employ the aid of this sturdy plant in their home building
projects. It is heavily used as a housing material in the rural areas. The skin of the plant or wood is primarily
used for weaving.

4. Food source and Medicinal Potential

The inner core of the plant including its shoot is edible and is part of the local delicacies of the specified
countries. The fruit is also edible and sometimes fermented to become vinegar.

Rattan’s fruit exudes a certain type of red resin locally termed as “dragon’s blood” which said to have some
medicinal properties and was further used as dye for wood and wood products like the guitar and violin.
Recently, a group of scientists and medical experts have declared the full medical potential of the plant’s
wood or pole through the production of artificial bones which shall be used for humans. (Learn about this
new medical breakthrough)

Other Benefits of Rattan

With the growing deforestation and logging problem, rattan planting and harvesting is one of the best
alternative to the scarcity of timber products. This plant also serves as the secondary forest cover which
would serve as protection to much more smaller plants. It is also a possible small-scale cultivation alongside
fruit and rubber trees.

The Rattan Trade and Industry

To date, rattan global trade reached a massive US$4 billion annually. Some industries where the plant is
abundant heavily rely on craft and marketing. It’s the main income source for the local or villagers on the
most remote areas in the Philippines, Laos, Vietnam, and Cambodia, thus helping these people alleviate
from poverty.

Europeans is said to be the most frequent and best clients of rattan craft and products.

Environmental Issues and Sustainable Rattan

With its popularity and demand, rattans are considered to be threatened and deemed overexploited in some
areas. Abuse may come in the form of cutting the younger ones eliminating the future capacity to reproduce.
There are also health issues related on the toxicity of some methods of processing, and the possibility of
pollution (Rattancraft products are totally safe and environment friendly).

Overview of the Philippine Rattan Sector

Sectoral contribution to the Philippine economy

The rattan sector has significant economic and social importance in the Philippines. It contributes to
employment and income generation of people who have few other livelihood options. It also forms part of
the way of life of these people who, over the years, have developed social relationships linked to the rattan
production-to-consumption system. Estimates made from various sources indicate the rattan dependency
of more than 4 million people, excluding those in the trading business whose number is undetermined
(Table 1). The sector’s employment contribution is though to be about 6% of the total 68 million Filipinos.
The largest subgroups are the workers and gatherers, the former concentrated in urban areas and the latter
in rural areas, primarily in the uplands. The Philippine rattan industry is a major exporter of high-quality
rattan products to different countries. In 1994, foreign exchange revenues from rattan furniture and
handicraft items amounted to US$241.64 million, up 27% from US$188.61 million in 1993. The biggest
markets for Philippine rattan are the United states, to which more than half of the total sales are made,
Japan (S%), the United Kingdom (5%) and France (3%). Other importers are Australia, Canada, Spain,
Italy, Germany, the Netherlands, Taiwan-China, Belgium and MiddleEast countries. New product forms are
being developed, such as those combined with nonrattan materials like wood and wrought iron. They are
now making significant inroads into the international market. In 1993, rattan furniture exports comprised
about 56% of the total Philippine furniture exports. The growth of rattan exports is shown in Fig. 1.

The extensive production system

Rattan grows wild in the natural forests. Exceptions are some 6 000 ha of plantations pioneered by two
companies. Additional areas cover another 6 000 ha developed through government reforestation program.
The 1987 Philippine-German inventory placed rattan resources at 4.6 billion linear metres (lm) broken down
into 63% 2 cm diameter poles. These figures may be much lower now, considering that ratan is continuously
harvested to meet the requirements of the industry. Since all forests are publicly owned, cutting permits are
required for rattan collection, as is the case for timber extraction. The permit specifies an Annual Allowable
Cut (AAC) and is renewable annually. DENR Administrative Order (DAO) 4 Series of 1989 provides for
equitable access to rattan resources by including indigenous cultural communities (ICCs), cooperatives,
rattan gatherers’ associations, private individual and corporations among those eligible to apply for rattan
permits. There are two types of permits: (1) the negotiated contracts for ICCs; and (2) the bidded contracts
for individuals and corporations. As of 1994, there were 364 licences issued with an aggregate AAC of 211
million lm (Table 2). Recorded harvests are far lower than AACs and industry requirements of about 200
million lm. In 1994, it was only 9% of AAC indicating the great extent of under-reporting. Whether negotiated
or bidded, gathering is mostly done by tribal people who are dependent on forest resources for their daily
subsistence. Gathered poles are sold to contractors through their agents or traders, at Prices usually
dictated by the buyer as the gatherers are isolated from formal market transactions and information. As the
prices at the gatherers’ level are low, their only option is to gather as much as they can, leading to further
undervaluation of the resource and even higher extraction rate. Administrative difficulties allow non-
compliance to AACs, reinforced by corruption among government personnel who tolerate under-reporting
of harvested volumes and non-payment of correct forest charges in exchange for a profit share from
contractors. This results in considerable revenue losses to government and indiscriminate rattan cutting.
Similarly, rattan permits could be renewed even without compliance to the required replacement planting
for the harvested rattan. In the long term, the sustainability of the resource is threatened and gatherers
suffer the unfavourable impact of the loss of an income source. Other potential impacts include high cost
of raw material supply for the industry, and eventual losses of competitiveness, employment opportunities
and foreign exchange earnings.

Continued harvests without replenishment has created raw material problems for the industry to the extent
that domestic supply is now augmented by imports of rattan poles and semiprocessed products like wicker
or inner core. However, statistical data do not show the actual volume of imports of manufacturers and
exporters. The 1994 data from the philippine Forestry Statistics indicate that the country’s imports of rattan
had amounted to only 294 tons valued at $761 000 which is an underestimation of the actual volume.
Information collected from different large exporting firms, particularly in Cebu and Angeles City, revealed
that they ger some imports. All these point to the need to sustain the supply through government and private
efforts.

REFERENCES
  http://rattancraft.com/rattan
 https://steemit.com/handmade/@winbel/native-handicrafts-made-from-rattan-nito-of-
buluan-philippines-aba1c975f1228
 https://www.inbar.int/wp-content/uploads/2020/05/1489478930.pdf

Module 7: INDIGENOUS CRAFTS OUT OF COCONUT SHELL

LEARNING CONTENT

https://web.facebook.com/peejay.ano
Coconut shells are an eco-friendly raw material that are quite easy to work on too. Since the availability is
plenty in stock, there is no fear of running out of stock either! Creativity is the key to such spectacular
craftworks. But when there is a block, a few of these ideas could spur your imagination and take your
creativity to levels you have never been! The best part is that anyone can try these crafts with coconut shell
ideas with a few tools right at the comfort of your home.

Coconut shells are useful for many things once treated and can be used as bowls and utensils. The unused
shells make good flammable material for an outdoor stove fire.

Coconut shells, once discarded for no use, are now a greatly demanded raw material for many products.
Coconut shells are used in the handicraft industry that is used in handicraft industries to make unique pieces
of art and utilities. Coconut shell handicrafts are one of the main eco-friendly products that are available in
the market.

Origin
The coconut palm mostly grows on Saline soil near beaches and tropical habitats. Authorities claim that the
coconut palm tree became popular from the Southeast Asian region, while another theory suggests its
origin in the north-west of South America.

Its spread has been attributed to two key factors. The natural disposal happened as coconuts floated from
shore to shore. Coconuts are thick but light which can travel for several months on seawater.

About the Handicraft

In ancient times, crafting objects from the coconut shell was initially practiced by coconut farmers. They
would scoop the copra and use the shell which was waste or by-products. It is known to be a craft, the shell
is carved out and is experimented with by craftsmen in Kerala. Coconut shell craft is gaining popularity in
recent times. This craft has been traced down in Iraq almost 900 years ago. Indisutras strives to teach this
skill to more and more craftsmen and wants to popularise it.

Coconut shell products that are crafted in India are mostly from South Indian states where majorly coconut
plants can be found in abundance. The craft of making decorative and useful products from coconut shells
is widely practiced in India. States like Kerala, Tamil Nadu, and coastal regions have lots of skilled artisans
for making coconut shell products. Coconut trees are widely grown and found in Kerala. Fossil coconuts
have been found in New Zealand apart from India.

Coconut shell products have gained popularity only in the last few decades, this craft is gaining popularity
all over the world. The coconut shell products are usually manufactured and crafted in Kerala, few regions
in Calicut, and around Kozhikode. Other places include Goa, Andaman and Nicobar Islands, and Tamil
Nadu. This craft owes to an abundance of coconut trees in Kerala.

Regions of Production coconut shell and woodcraft are primarily used in Kerala, around Calicut, and
Kozhikode. Availability of coconut shell craft has white metal inlaid to make artifacts.

Coconut shell, which was primarily considered waste can be used as a raw product and by-product for
creating handicrafts for decorative and utility purposes.

The best part about coconut shells is that they are hard and durable. They don’t break very easily and last
long enough. It is not only a natural product but is also 100% eco-friendly and sustainable.

These products also don’t contribute to the clogging of drains in the monsoon or the breeding of mosquitoes.
Process of making coconut shell products
The coconuts collected are of different sizes. A mature coconut is chosen because it is lignin, eliminating
any chances of germs breeding. The kernel part is removed and is cleaned to get the shell.

The shell is sanded several times to get a smooth finish. After they are sanded, the shells are cut into
desired shapes and sizes with the help of a coping saw. The design is marked with a marker and then the
coping saw is used to create designs on the coconut shell.

How is the coconut shell craft sustainable?

1. Coconut shell resembles wood as is a sustainable substitute

2. The properties of the shell make it eco-friendly
3. Coconut shells are abundantly available in the coastal areas and are very inexpensive and are
completely biodegradable.

The procedure requires tools and sandpaper for polishing. There is no use of any artificial colors and
substances. The special coating is used sometimes to get a more polished look, but that is done only for
decorative items.

The main waste that is derived from this process is coconut dust powder and chips. This coconut powder
is used for making incense sticks. No artificial ingredients are used for the same, because of which these
items are in demand.

The chips after cutting and carving the coconut shells are used innovatively by the artisans. They use it for
decorative home items to create texture using these chips. The coconut husk is also used as fuel.

Use of the coconut shell product

Coconut shell is used to make different items like desk-top accessories and lifestyle products,
paperweights, mobile stands, and serving bowls. You can find these products in handicraft stores where
you can find good quality and finished coconut shell products.

Another huge scope that these products have been in foreign countries. The manufacturers focus on
premium clients who need good quality coconut shell products with a sizeable market. Online markets like
Indisutras are also helping these traditional products get good reach in the market sector.

Coconut shells can be used to make every product that is not only eco-friendly but is also durable despite
being lightweight. Nowadays there is increased awareness to use green and sustainable projects, many
handicraft manufacturers create uniquely designed coconut shell products like coconut shell furniture,
keychains, and other items. These items are now getting very popular on-demand which keeps increasing
with time.

The striking feature of this art form is these sturdy coconut shells can be used from home decor to jewelry.

REFERENCES
 https://asiainch.org/article/coconut-shell-craft/
 https://indisutras.com/2021/04/05/coconut-shell/
 https://www.collettivovv.org/coconut-shell-crafts/

Module 8: INDIGENOUS CRAFTS OUT OF BAMBOO

LEARNING CONTENT

Bamboo has been an easy and versatile material for all societies that have practiced a self-reliant,
ergonomically and environmentally sustainable way of living. Bamboo is considered sacred in such
societies as it is invaluable for many tasks in their daily lives. For rural people who do not depend on
industrial goods for their daily practices learn to fashion bamboo to their requirements from an early age.

Bamboo is the material of the century according to the United Nations Development Program (UNDP). Our
Filipino heritage in bamboo crafts dates back as far as 15th century.

The Philippine archipelago, composed of 7,100 islands, is located between latitudes 5 oN and 21oN and
longitudes 116oE and 127oE. It is bordered by the Luzon strait to the north the Pacific Ocean to the east,
the Celebes Sea to the south, the Sulu and South China Seas to the west (FAO, 1995 and World Resources
Institute, 1994).
It has a total land area of 30 million ha, 53 percent (15.88 m. ha) of which is forest land (Philippine Forestry
Statistics 1996). Land is classified as alienable and disposable, unclassified and forest lands. Forest lands
are categorized into reservation, timberland, national parks, military and naval reservation, civil reservation
and fishponds.

There are approximately 83 million Filipinos (Philippine Statistical Yearbook, 2005). Two thirds of the
population lives in rural areas. The total labor force in 1993 was 26.8 million (13.0 million in urban areas,
and 13.8 million in rural areas) with 10 percent unemployed (de Los Angeles and Ygrubay, 1992).
Almost all the lowland areas suitable for intensive cultivation are occupied (ADB, 1994). Landless people
are forced to migrate to the steep uplands where they convert forests to farms through slash and burn
cultivation and the most notable result is forest degradation. In 1994, it was estimated that deforestation
occurs at a rate of 100,000 ha per year.

Because of the rather sad plight of the environmental and socio-economic conditions of the people within
the forest lands, utilization of resources must be sustainably reached. Among the resources found within
these forest lands are bamboo. Bamboo has proven to be vital resources in terms of its contribution to the
national economy and ecological stability of the Philippines.

Bamboo stands out among woody plants because it possesses unique qualities and offers a wide array of
uses. The bamboo culms has long been tapped as an inexpensive source of housing materials, furniture,
handicraft, banana props, fish pens and other innumerable products. The young shoots of certain species
are gathered for food. The rhizomes in its roots help prevent soil erosion and control floods. Through the
years, the uses of bamboo have largely diversified and benefited many industries. Because of its large
fibers, it is also a good material for pulp and paper. Its short rotation of about 4-6 years is a distinct
advantage over fast growing tree species because of quick turn over in terms of investments.

In spite of its myriad of traditional uses, the main reasons for the classification of bamboo as a "minor forest
product" or "secondary timber" have been enumerated by Bello and Espiloy in 1995. These include the
following: 1.) abundance of wood from natural forests in the past particularly the lesser known or
commercially less accepted species for the reproduction of reconstituted panel products; and 2.) constraints
in cultivating bamboo which may be monocarpic, fire tender and easily bruised.

In the Philippines, bamboo has diverse, functional and traditional uses. It underlies so much of Philippine
culture that it is part of many ceremonies, traditions and beliefs. Philippine culture is also replete with myths
and tales about bamboo. For example, the first Filipino man ("lalaki") and woman (babae") came from a
piece of bamboo according to a Visayan myth.

Various instruments be it wind, string or percussion are made out of bamboo while split and unsplit bamboo
are used in Philippine folkdances. Examples of these are "tinikling", "singkil", and "subli".
Bamboo is also part of Philippine folk games. The "palo sebo," a greased bamboo pole with a small bag of
prize money or toys tied at the end is a game always played during fiesta time. "Luksong kawayan" or high
jump also uses bamboo poles or sticks as hurdles.
Bamboo has likewise taken a very important role as a traditional weapon during times of war. During the
Spanish era, bamboo mats were rolled to appear like cannons and were mounted on carts. On Sept. 2,
1896, a Filipino band composed of bamboo musical instruments was used to fool their enemies by attacking
the Spanish garrison.

In ancient times, furniture was usually made of bamboo. These include "papag" (bed), "bangko" (bench),
and "aparador" (cabinet). On the other hand, basketry is probably the oldest bamboo handicraft in the
Philippines. Bamboo baskets are produced for all sorts of uses.

Bamboo is also used in many ways for food and food preparation. Bamboo containers are used to steam
rice, the staple food of the Filipinos. Bamboo shoots are either cooked as food or pickled and is considered
as a delicacy in many places. However, this aspect of bamboo utilization has not yet been developed as
an industry. Bamboo kitchen utensils are carved from bamboo while split bamboo is woven and laminated
to make plates. In rural areas, "banggerahan or paminggalan" still serve as cupboards where dishes are
dried and kept. Bamboo skewers are commonly used to roast pigs while thinner sticks are used for
barbeques such as pork, chicken, innards, hotdogs, bananas and sweet potatoes.

In agriculture, bamboo is used as props for banana and vegetables, baskets for packaging fruits, fish and
vegetables, agricultural implements and construction of animal drawn carts for transporting farm products.
Bamboo is also used as dibble sticks in planting. In early agriculture, bamboo was used for fetching water
from rivers, deep wells or surface wells.

Bamboo is also used extensively as an indigenous material for soil and water conservation technologies.
Check dams use woven bamboo strips between the pegs while bush or stones are placed against the dam’s
upper side. In protecting river/stream banks, bamboo can be planted to stabilize water while holding the
soil in place and reducing water flow.
In the 1570s, when the Spaniards arrived in the country, the typical Filipino house or "bahay kubo" was built
with a framework of bamboo poles and walls of split cane woven like a mat.

Bamboo crafts

Bamboo crafts permeate all aspects of Philippine life. Bamboo is used for house construction, for fishing
and farming implements, for musical instruments and much more. Bamboo items may still be found in the
handicraft section of most public markets.
The poles can be used as containers for water or for gathering wine. The young shoots are fermented and
eaten. Bamboo skin can be woven into mats or baskets. Bamboo is used for the crafts of the everyday but
also for festive occasions.

This pervasiveness of bamboo as a material has to do with the fact that it is found almost everywhere in
the country. About 60 or so different species have been identified in the archipelago. Of this number, about
twenty are endemic.

Among some Philippine groups, the first woman and man were supposed to have emerged from the splitting
of the bamboo. The bamboo is a popular symbolic image in the arts. The plant’s flexibility is even touted as
a personal trait to emulate.

Among the more elaborate craft forms involving bamboo is the making of fans that is still practiced in the
northern province of Ilocos Sur. Festive arches known as arkos are made in towns in Rizal and Nueva Ecija
provinces. These employ a special whittling technique which transforms the skin of the poles into floral
shapes.
One significant bamboo craft is the making of lakub which is associated with the Maranao ethno-linguistic
group of the large southern island of Mindanao. Lakub are multi-hued containers made from bamboo poles
often used for carrying and storing tobacco.

To make lakub, the bamboo poles are cut at the beginning of the lunar cycle. This ensures that the sugar
content of the sap is at its lowest reducing insect infestation. The poles are skinned and sun-dried for weeks.
They are decorated with pieces of paper cut in decorative shapes then wrapped with cloth dipped in different
dyes. These are then rolled in banana leaves, tied, and boiled in water. When the wraps are removed the
resulting colorful tubes are polished with a piece of glass.

If not for the recent revival efforts of the National Commission of Culture and the Arts, lakub were hardly
being made due to their unprofitability given cheaper substitutes.

REFERENCES
 https://artsandculture.google.com/exhibit/bamboo-craft-process-dastkari-haat-
samiti/mALyYJlUih-dIA?hl=en
 https://encyclocraftsapr.com/bamboo-crafts/
 http://anythingaboutbamboo.blogspot.com/2010/11/philippine-national-report-on-
bamboo.html
 http://pjaranador.blogspot.com/2013/05/insensibilities-in-filipino-bamboo.html
 https://worldbamboo.net/wbcx/Powerpoints/Post-
harvesting%20and%20Processing/PhilippineBambooIndustry_RTAggangan.pdf

Module 9: INDIGENOUS CRAFTS OUT OF LEATHER

LEARNING CONTENT

A Brief History Of Leather

A true testament to human ingenuity and resourcefulness, leather has undoubtedly played a crucial part in
the development of civilisation. From early man to the modern day, leather has been an enduring feature
of almost every era of design and fashion.
The benefits of utilising dried animal hides were first recognised in prehistoric times when early man began
to use early forms of leather for clothing and shelter against harsh conditions. The earliest recorded leather
artefacts crafted by primitive societies date back to 1300 BC when man began to appreciate animal skins
as much more than just a food by-product. Early civilisations across the world started to develop their own
techniques to soften and preserve their animal hide by-products using methods traditionally passed down
from father to son through many generations, such as smoke and animal grease. However, it is thought
that the art of vegetable tanning as we know it today was originally discovered by ancient Hebrew settlers.

The Ancient Greeks were known to have used leather to craft sandals and other garments during the
Homeric era in around 1200 BC. The prevalence of leather manufacturing then started to spread to Egypt,
where it was revered and cherished by Pharaohs and Queens, and later to Rome where it was commonly
used by foot soldiers to craft protective over-shirts and armoury.

As societies became increasingly more sophisticated and developed, so did the scale of manufacturing and
the processes used to create leather. As innovation expanded, professional tanners and leather craftsmen
started to form advanced trade guilds during the Middle Ages in order to maintain ownership of tools and
control of the supply of materials. It was not until the 19 th century that an alternative method to vegetable
tanning was invented. Chrome tanning involves using chemicals which streamline the manufacturing
process so that many of the preparatory steps required for traditional vegetable tanning are eliminated.
Today, 80-90% of tanning worldwide involves the use of chromium.

Not only is leather used to produce clothing, but it has also long been associated with the bookbinding
industry due to its popularity during the Victorian era. Novels by the likes of iconic authors such as Charles
Dickens and Oscar Wilde have been immortalised in gilded leather and first editions now fetch thousands
of pounds at auction.

Leather is a durable and flexible material created by tanning animal rawhide and skin. This can be produced
at manufacturing scales ranging from to modern industrial scales. Leather is made from hide or skin of
mammals, reptiles, bird or fish. The hides ad skins taken from the animals are initially unattractive, hence
the need for processing to achieve attributes of a leather that we know of. Leather is used to make a variety
of articles, including footwear, automobile seats, clothing, bags, book bindings, fashion accessories and
furniture Leather crafting or simply leather craft is the practice of making leather into craft objects or work
of art, using shaping techniques, coloring techniques or both.

The Shoe Capital of the Philippines - Marikina

Marikina City is known for the quality shoes that are mostly handcrafted. Having lived in this wonderful city,
I would say that a lot has changed in the last few decades. The products from this city are definitely to be
proud of. Definitely FromPh
History of Marikina City started in the 1500s when the Augustinians arrive at the Marikina Valley.
Catholicism was spreading like wildfire at that time and they were followed by the Jesuits in 1630. When
the Americans came in the 1900s, the place was officially named Marikina after a parish known as
Mariquina. People at that time lived along the riverbanks and nearby fertile farms.
The locals at that time combined with the knowledge shared by the early Chinese settler began producing
rice and vegetables in great quantities making it part of the country’s prized hacienda during the Spanish
Era.
Marikina became a town of shoemakers starting in 1887. Being able to master this craft, the people were
able to easily adapt when heavy industries arrive in the 1950s. Most shoemakers at that time built their little
shops right at the lower part of there houses. Honing their skills when it comes to making shoes and
leathercraft.
Basic Information About Marikina

Marikina was founded three hundred righty-three years ago when the Jesuits arrived in 1630. They called
the area Jesus dela Peña (Jesus of the Rocks). It was later called Mariquina and a parish was established
there in 1687. Fishing and farming were the main source of livelihood. In 1901, the town was officially
named Marikina by the First Philippine Commissioner, Trinidad Pardo de Tavera replacing the Hispanidad
“q” with the vernacular “k”. Later in 1977, the town was officially made a part of the newly-created Metro
Manila area.

The significant year for Marikina was in 1887. It was in this year when shoemaking started to flourish through
the efforts of Don Laureano "Kapitan Moy" Guevarra. From this year, the growth of the place economically
becomes dynamic due to shoemaking. Today, Marikina is one of the sixteen (16) cities and a municipality
of Metro Manila. It was proclaimed a city through the Republic Act 8223 on December 8, 1996. It is a multi-
awarded metropolitan city, often cited for its vibrant economy, highly-skilled and literate work force, involved
and enlightened business community and responsive local government that puts a premium on governance,
sustainable urban development and public service. It is also one of the healthiest cities in the Asia-Pacific
region, winning at least seventy-eight awards and recognitions both local and international in a span of
twelve years.

Today, Marikina is known as the Shoe Capital of the Philippines because of its progressive shoe industry.
It is also the home of the world’s largest pair of shoes certified by the Guinness Book of World Records.
Furthermore, the Shoe Museum preserved most of the famous shoes of former First Lady Imelda Marcos.
The city also prides itself of cultural and heritage site, Kapitan Moy, the ancestral house of the Father of the
Shoe Industry in the Philippines, Don Laureano Guevara and other numerous tourist sites.

ART OF LEATHERCRAFTING
Different Kinds of Leathercraft Projects
I would like to extend my sincerist thanks to maam Tashana Kym A. Dorias, Part-Time Lecturer at the College of Education for
sharing her expertise and resources in formulating my Module 9: INDIGENOUS CRAFTS OUT OF LEATHER.

REFERENCES
 https://mahileather.com/blogs/news/a-brief-history-of-leather
 https://www.abitape.com/leathercraft-a-timeless-tradition/
 http://www.artesdelasfilipinas.com/archives/160/the-history-of-marikina-s-shoe-industry