Major Philippine Indigenous People’s Group and Their Geographic Locations

OBJECTIVES:
Explain indigenous crafts and its purpose.
Enumerate the different major Philippine Indigenous People’s groups and their
geographic locations.

TOPIC OUTLINE
A brief definition of indigenous craft and famous crafts in the Philippines
Definition of Indigenous Peoples
Gen. Profile & backgrounds of different major Philippine Indigenous groups & their
geographic location

Indigenous craft

WHAT IS INDIGENOUS CRAFT?

Indigenous crafts are the products manually created by ethnic or tribal groups in the
Philippines. These are arts that are purposive in nature as they reflect the way of life
during early times. It portrays how they manage to organize their living practices, the
hunt for survival and the call of duty in balancing the use of nature/ecosystem.

Top 6 Indigenous Pinoy Arts and Crafts

1. Cloth Weaving
2. Basket Weaving
3. Pottery
4. Jewelry making
5. Wood carving
6. Tattoo

Indigenous peoples
The Indigenous Peoples’ Rights Act (IPRA), or Republic Act No. 8371 of the
Philippines, defines Indigenous Peoples as follows:
“Indigenous Peoples/Indigenous Cultural Communities (IP/ICC) refer to a group of
people sharing common bonds of language, customs, traditions and other distinctive
cultural traits, and who have, under claims of ownership since time immemorial,
occupied, possessed and utilized a territory.

ICCs/IPs shall likewise include peoples who are regarded as indigenous on account of
descent from the populations which inhabited the country at the time of conquest or
colonization or the establishment of present state boundaries and who retain some or
all of their own social, economic, cultural and political institutions, but who may have
been displaced from their traditional domains or who may have resettled outside their
ancestral domains.”

The U.N. Sub-Commission on the Prevention of Discrimination and Protection of

Minorities (1971) relies on the following definition:

Indigenous communities, peoples, and nations are those which, having a historical
continuity with pre-invasion and pre-colonial societies that developed in their
territories, considered themselves distinct from other sectors of the societies now
prevailing in those territories, or parts of them. They form at present non-dominant
sectors of society and are determined to preserve, develop and transmit to future
generations their ancestral territories, and their ethnic identity, as the basis for their
continued existence as peoples in accordance with their own cultural patterns, social
institutions and legal systems.

General profile of the indigenous peoples in the Philippines

 The Philippines is composed of 7,107 islands and islets spanning 1,854

kilometers from north to south.
 It is an archipelago endowed with abundant natural resources, a rich history,
diverse cultures, and many ethno-linguistic groups.
 The Philippines is the only country in Asia that has officially used the term
“indigenous peoples.” Of the more than 75 million Filipinos, about 12 to 15
million are indigenous peoples, or about 17-22% of the total population in 1995.
 Indigenous people communities can be found in the interiors of Luzon,
Mindanao, and some islands of Visayas. They either withdrew to the hinterlands
in the face of colonization or they stood their ground successfully and have
maintained a close link to their ancestral past. These communities comprise a
diverse collection of more than forty ethno-linguistic groups, each with a distinct
language and culture.
 With the long years of colonial rule in the Philippines, from the 1700s to the early
1900s, and the influx of migrants into indigenous peoples’ territories, many
influences have been introduced that gradually changed the indigenous way of
life. Indigenous communities at present are still characterized by these
phenomena but are definitely no longer in their pure and natural state, showing
varying degrees of influence from outside culture.

According to:

Tunay na Alyansa ng Bayan Alay sa Katutubo (TABAK)

There are more than forty ethnic groups that comprise the Philippineindigenous
population.

National Commission on Indigenous Peoples (NICP)

On the other hand, identifies ninety-five distinct tribes of indigenous peoples in
fourteen regions of the country and includes the Islamic groups.

Kalipunan ng mga Katutubong Mamamayan ng Pilipinas (KAMP)

The data of KAMP include forty ethno-linguistic groups and three major groups of
Islamic or Muslim Filipinos.

Major Groups of Indigenous Peoples

1. Mindanao lumad
This is a generic term embracing all non-Muslim hill tribes of Mindanao. Lumad is a
Visayan term that means “born and grown in the place”. The Lumad peoples are
composed of some eighteen ethnic groups and they form the largest grouping of
indigenous peoples in the country. They can be found in almost all provinces of
Mindanao and they include the Subanen, Manobo, B’laan, T’boli, Mandaya,
Mansaka, Tiruray, Higaonon, Bagobo, Bukidnon, Tagkaolo, Banwaon, Dibabawon,
Talaandig, Mamanua, and Manguangan.
2. Cordillera peoples
This is the indigenous population of the Cordillera mountain range, which covers six
provinces in the middle of Northern Luzon – Abra, Apayao, Benguet, Ifugao,
Kalinga, and Mountain Province. They are collectively called Igorots, meaning
“mountain people” although some groups like the Kalingas and Ifugaos refuse to be
called Igorots except by their own tribes. There are eight ethno-linguistic groups in
the Cordillera, namely, Bontoc, Ibaloi, Ifugao, Isneg, Kalinga, Kankanaey, Tingguian,
and Yapayao.
3. Caraballo tribes
These are the five ethno-linguistic groups – Ibanag, Ilongot, Gaddang, Ikalahan and
Isinai – who together with the Agta peoples inhabit the Caraballo mountain range in
Eastern Central Luzon. This range connects the provinces of Nueva Vizcaya, Quirino
and Nueva Ecija. The Caraballo tribes number roughly 500,000.
4. Agta and aeta/negrito
These short, dark-skinned and kinky-haired peoples are considered the earliest
inhabitants of the Philippines. Aside from having been perpetually pushed into the
hinterlands of Central Luzon, mainly in the provinces of Zambales, Bataan and
Pampanga, and in other parts of the country, they also suffer from racial
discrimination. With a population of about 160,000, they are the most widely
distributed among indigenous peoples.
5. Mangyan of mindoro
This is a generic name for the six ethno-linguistic groups spread over the mountains
and foothills of Mindoro, an island southwest of Luzon, namely, Batangan, Iraya,
Hanunoo, Alangan, Ratagnon, Buhid, and Tadyawan. They are described as the first
inhabitants of the island, and until today, they are one of the few groups that still
practice a pre-Spanish form of writing. Their present population is about 150,000.
6. Palawan hill tribes
These are the non-Muslim tribal people of Palawan island located further west of
Mindoro. This group is composed of four ethnic groups – Tagbanua, Batak,
Kalamianes, Cuyonin, and Ken-uy, and they number at least 120,000.
7. Muslim groups
These are the Muslims in Mindanao composed of fourteen groups, namely, Maranao,
Maguindanao, Tausug, Samal, Yakan, Sangil, Palawani, Badjao, Kalibugan, Jama-
Mapun, Ipanun, Kalagan, Molbog, and Muslim.
The Different Indigenous Materials and Tools Used in Making Indigenous Crafts
OBJECTIVES:
Explain indigenous crafts in the Philippines.
Identify indigenous/traditional arts in the Philippines.
Describe the different indigenous materials and tools used in making indigenous
crafts.

INDIGENOUS CRAFTS IN THE PHILIPPINES

Arts and Crafts in the Philippines refer to the various forms of the arts developed and
accumulated in the Philippines from the beginning of civilization in the country up to
the present era. They reflect the range of artistic influences on the country's culture,
including indigenous forms of the arts, and how these influences have honed its arts.
FOLK ARCHITECTURE
We can define local/folk architecture as an architecture formed in the process of
anonymous design which later becomes traditional under the influence of various
factors.

EXAMPLE:
 The Darul Jambangan (Palace of Flowers) was the palace of the Sultanate of Sulu
based in Maimbung, Sulu, Philippines. It was destroyed by a typhoon in 1932. It
was "believed to be the largest royal palace in the Philippines."
 A colonial-era bahay kubo belonging to Apolinario Mabini in Santa Mesa,
Manila
 Ifugao house
 Ivatan house
 Torogan/ Maranao’s House
 Badjao’s Stilt Houses and Houseboats

Maritime transport
Maritime Transport in the Philippines includes boat houses, boat-making, and
maritime traditions. These structures, traditionally made of wood chosen by elders
and crafts folks, were used as the main vehicles of the people, connecting one island
to another, where the seas and rivers became the people's roads.

Example:
 The balangay was the first wooden boat that was excavated in Southeast Asia.
 These boats were instrumental in the settlement of Austronesian peoples in the
Philippines and the Malay archipelago.
 The karakoa is a traditional Visayan warship made without nails.
 It is known to be about three times as fast as a Spanish galleon.

 The paraw is a traditional Philippine outrigger canoe sail boat in the Visayas that
transports cargo and passengers. Paraw sailing is a tourist attraction, especially in
Boracay and Iloilo, where the Iloilo Paraw Regatta Festival is held annually since
1973.
 The vinta is a variant of the Visayan paraw. The difference is the type of sail
rather than the hull. These boats are used off the coasts of Zamboanga and
throughout the Sulu archipelago.
Weaving
Weaving is an ancient art form that continue in the Philippines today, with each ethnic
group having their distinct weaving techniques. The weaving arts are composed of
basket weaving, back-strap loom weaving, headgear weaving, fishnet weaving, and
other forms of weaving. Expensive textiles are made through the intricate and difficult
process called back-strap looming. Fibers such as Cotton, abaca, banana fiber, grass,
and palm fiber are used in the Filipino weaving arts.

Weaving Communities in Luzon

1. Binakul from Ilocos (Ilocos Region) - The Ilocano people of Ilocos Norte, Ilocos
Sur, and La Union use cotton or kapas as the main material and the pedal loom, called
pangablan in textile production. The Ilocanos employ several design techniques,
including the binakul (double-toned basket weave) and pinilian (brocade weave).
Pinilian literally means ‘selected’ or ‘chosen’ - the root word is pili, or to select or
choose.

2. Kalinga Weaving (Cordillera Administrative Region)- In the mountainous

Cordillera region in northern Luzon, six major ethnic groups practice weaving: the
Itneg, the Ga’dang, the Kalinga, the Bontoc, the Ifugao, the Ibaloy, and the Kankanay.
Aside from cotton, these weaving communities also use bast and plant fiber. They
traditionally use the back-strap loom but some also use the pedal loom. Multi-heddle
and pinilian techniques are also employed.

3. Sinamay Weaving (Catanduanes Island, Bicol Region)

4. Mangyan Weaving (Mindoro Island, Southwestern Tagalog Region)

BASKETRY
The fine art of basket weaving in the Philippines has developed intricate designs and
forms directed for specific purposes such as harvesting, rice storage, travel package,
sword case, and so on. The art is believed to have arrived in the archipelago due to
human migration, where those at the north were the first to learn the art form.
Examples are various rice baskets, and Filipino tobacco basket.

Example:
 Storage (A tampipi is a common basket type for storing clothes and blankets.)
 Winnowing trays are used to separate rice from its hull. Serving trays present rice
and other foods for consumption. The baskets shown here are from the Bontoc
Igorot people of the mountain area of Luzon Island.
 Fish traps are placed in swift flowing streams and simpler baskets are used to
carry crops from the field to home or market.
 Personal Baskets- Bontoc men carry tobacco and other personal belongings in
small bags shaped to fit beneath the arm (upper). Often compartmentalized, these
bags include a "secret" compartment where valuables can be stored.
 Unique to northern Luzon Island is the inabuntan or hunter's pack. It is
constructed to be rain-resistant, providing a dry storage space for hunting gear
and game.
 Bamboo and rattan hats vary in shape, size, and design, but all function to protect
the wearer from sun and rain.
Carving

The art of carving in the Philippines focuses on woodcarving and folk non-clay
sculptures. Indigenous woodcarving is one of the most notable traditional arts in the
Philippines, with some crafts in various ethnic groups date back prior to Hispanic
arrival with perhaps the oldest surviving today are fragments of a wooden boat dating
to 320 AD. Examples are Kulintang from Mindanao Bulul gods.

EXAMPLE:
1. 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.

2. Maranao Woodcarvers- further down south of the Philippine Islands, are the
Maranao 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.

3. Woodcarvers of Paete- In Luzon, the town of Paete in Laguna has been known as
the center of woodcarving in the Philippines. The ban on logging has led many
woodcarvers to switch to paper mache, but today, Paete continues to be one of the
best sources of fine woodcarvings. In this town, woodcarving has been elevated to a
fine art form which is no wonder, because the name Paete comes from the word paet,
which literally means chisel.

Stone, ivory, and other carvings

Stone carving is a priced art form in the Philippines, even prior to the arrival of
Western colonizers, as seen in the stone likha and larauan or tao-tao crafts of the
natives. These items usually represents either an ancestor or a deity who aids the spirit
of a loved one to go into the afterlife properly.

EXAMPLEs:
 Stone carvings at the facade of Miagao Church, world heritage site and a National
Cultural Treasure
 Various ancient carved limestone burial urns
 Carved marbles from Romblon
 Virgin Mary ivory head with inlaid glass eyes (18-19th century)
 Virgin Mary, gilt and painted ivory (17th century)
 Ivory carving of Christ Child with gold paint (1580-1640)

 Tattoing
 Folk Writing
 Folk Drawing
 Folk Painting
 Sculptures

Films

Folk writing (calligraphy)

The Philippines has numerous indigenous scripts collectively called as suyat, each of
which has their own forms and styles of calligraphy. Various ethno-linguistic groups
in the Philippines prior to Spanish colonization in the 16th century up to the
independence era in the 21st century have used the scripts with various mediums. By
the end of colonialism, only four of the suyat scripts survived and continue to be used
by certain communities in everyday life.

Examples:
 Hanunoo of the Hanuno’o Mangyan tribe
 Buid of the Buhid Mangyan people
 Apurahuano of the Tagbanwas
 Palaw’an of the Palaw’an people

Accessory-making
Prior to the Philippines’ colonization by the Spaniards, jewelry was prevalent in
barangays and tribes as part of our pagan roots. Amulets, talismans, charms—the now
folkloric anting-anting and agimat—were woven into the beliefs that linked people
with religious ceremonies and status. Flat, round, and triangular pendants hung around
necks and were believed to heighten the senses and the wearers innate ability to self-
heal, to harness superhuman strength, or to connect with elementals.

EXAMPLES:
ANTING-ANTING, the Filipino "amulet" or "charm"

Pottery
The art of pottery, categorized into ceramic making, clay pot-making, and folk clay
sculpture, has long been a part of various cultures in the Philippines, with evidence
pointing to a pottery culture dating around 3,500 years ago. Important pottery artifacts
from the Philippines include the Manunggul Jar (890-710 BCE) and the Maitum
anthropomorphic pottery (5 BC-225 AD).

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

INDIGENOUS MATERIALS IN THE PHILIPPINES

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.

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.

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.

The Woodcarvers of the Philippines

The Spanish conquistador Miguel Lopez de Legaspi called the Filipinos “buen
ebanistas” after seeing the woodwork produced by the natives. Filipinos had been
engaging in the art of woodcarving long before the arrival of the Spaniards. The craft
is more than 2000 years old — dating back to the time when carvers had to make use
of stones, shells and even the teeth and tusks of animals to shape the wood. Today,
Filipino woodcarvers continue to carve a name in the ranks of the finest in the craft.

The more popular Filipino woodcarvers are the Ifugaos, the Tagbanwas, the Maranaos
and the Paetenos.

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.

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.

Tagbanwa 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

In Luzon — the biggest of the three major Philippine islands — the town of Paete in
Laguna has been known as the center of woodcarving in the Philippines. The ban on
logging has led many woodcarvers to switch to paper mache, but today, Paete
continues to be one of the best sources of fine woodcarvings. In this town,
woodcarving has been elevated to a fine art form which is no wonder, because the
name Paete comes from the word paet, which literally means chisel.

The Woodcarving Capital of the Philippines

In order to produce artworks along the spots, craftsmen are said to be busy chipping
woods. It is a town that has become known for its centuries-old wood carving
tradition passed on through different generations. Wooden statues and crucifixes,
either big or small, this can be found in mostly every Catholic Church and home in
the country, these are usually made in Paete.

In Laguna Province, Paete is the fourth-class municipality. It is proclaimed as the

“Carving Capital of the Philippines” in 2005. It is derived from the word Paet in
tagalog which means chisel. Shops also sell religious icon and also the detailed carved
items. Wood workshops are still on the sight especially in the south Luzon. The
smaller shops are settled in artisan’s homes.

When the Spaniards came, Paete was said to be a barangay that is peaceful under Gat
Lacampauid. The Spanish friars had this tradition of classifying towns that they built
for honoring the saints. The town is made famous by craftsmen that are surely highly
skilled in terms of woodcarving and its embellishment. Paete was an exception.
Legend has it that there was this one Franciscan priest who did the job by his superior
to visit their settlements alongside to Laguna de Bay.

Statues are one of the art forms that feature predominantly in the Catholic Churches.
These statues serve as a reminder for the key events, beliefs, and individuals in church
history.

This art started in the area in Laguna even before the Spanish influence. In this way
this led to local artists to carve on its religious figures. To this generation, Paete and
the local artists and craftsmen can continue to make the tradition alive.

For sample woodcarving procedures,

Rattan Weaving in the Philippines

Rattan alternately called Wicker comes from the Malay word rotan, 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 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.

THE WEAVING PRACTICES OF THE YAKAN TRIBE

OBJECTIVE:
Describe the weaving practices of the Yakan tribe.

THE YAKAN TRIBE

 The Yakan are an indigenous Muslim tribe native to the tropical island of
Basilan. Located in the Sulu Archipelago in the most southern region of the
 Philippines, Yakan people are recognized for their remarkable technicolor
geometric weaves and the distinctive face decorations used in their traditional
ceremonies.

 The Yakan are kind and loving people that embody a non-materialistic culture
and live in close-knit communities.

 They are Muslims, but many beliefs and practices deriving from an older religion
are still retained and are, to a great extent, incorporated into their Muslim rituals
and life.

 Yakan hand loomed fabrics are known for their use of bold colors and geometric
patterns. The traditional Yakan art of weaving originated from the island of
Basilan, and there is no better place to witness this living art than in the Yakan
Homeland of Lamitan, Basilan.

 Yakan fabrics are traditionally used as garments. The Seputangan is a square

cloth used by the Yakan women as a head cover or as belt. The Badju Lapi is a
tight blouse with long sleeves and ornamented with gold, silver or bronze buttons.

 Sawal is the traditional tight-fitting trousers made of a Yakan fabric characterized

by its vertical stripes design. The trousers are then covered by the Pinalantupan
skirt.

YAKAN WEAVING

Yakan weaving uses bright, bold and often contrasting colours in big symmetrical
patterns. The inspiration for designs comes from island living and Islamic sacred
geometry.

T’NALAK AND T’BOLI WEAVERS FROM LAKE SEBU

T’NALAK/T’BOLI DREAM WEAVERS

 The Schools of Living Traditions, dedicated to preserving the ancient art of

T’nalak weaving, is the center that the late Lang Dulay managed. It is located at
Sitio Tukolefa, Lamdalag, Lake Sebu, South Cotabato.
 The center serves as the training venue to ensure the transfer and continuity of
this unique living tradition.

“DREAM WEAVERS”

 Interestingly, T’boli women do the t’nalak without using tracing patterns or

guides. Preferably, they rely on a mental image of the figures. Dubbed as the
“dream weavers,” the T’boli women believe that the patterns are gifts on them
through their dreams by “Fu Dalu,” the spirit of the abaca.
 The designs they had from their dreams are handed down from generation to
generation. However, not every t’nalak weaver knows every design. Some of the
designs are kept within the family of those who originated them.

T’NALAK
 T'nalak, a deep brown abaca-based cloth tie-dyed with intricate designs, is
produced by women of Mindanao's T'boli Tribe. It is one of the best known
cultural products of the Philippines.

 To produce a Tnalak fiber, abaca trunks (Abaca is one of the banana species
native to the Philippines) are stripped into strands pulling the stem from the
stripper, separating the flesh from the abaca fiber. After which, the fibers are
combed to remove the sap to avoid the darkening of the strands.

 The fibers then are hung from a house beam and combed with the fingers, where
the weaver selects and classifies the fibers according to their thickness. During
the selection of the fibers, the whiter and finer threads found in the inner stalks
are separated from the coarser ones.

 To make the fibers soft and manageable for weaving, the abaca strands are
squeezed, using a motion like washing clothes. The fibers then are spread on a
beam and air-dried inside the house.

 Once dried, the fibers are painstakingly connected from end to end by tying tiny
knots. The fibers are then bundled together by winding the threads around a
bamboo warp frame. It can take two weeks for a weaver to complete the standard
length needed for the T’nalak.

 The traditional colors found in a Tnalak fiber are the black, red, and natural color
of the abaca, which is almost white. To color the abaca strands, natural dyes
produced by the vegetation around the area are used by the Tboli women. No
artificial or chemicals are being used to color the fiber.

 To dye the abaca, the tied fibers are cooked for an average of three weeks to
achieve the desired hue of color. After which, the tied fibers are removed and
rinsed in running water through a stream until the water runs clear.

 The backstrap loom is used to weave the dried abaca fiber. A backstrap loom is a
form of horizontal two-bar or two-beamed loom where one bar is attached to the
bamboo beam of the T’boli longhouse and the second beam, or the backstrap, is
attached to the weaver’s lower back.

INDIGENOUS CRAFTS MADE OF COCONUT SHELLS AND SEASHELLS

OUTCOME
Create different indigenous crafts made of coconut shells and seashells

Coconut Shell Crafts

The Coconut constitutes a plant that belongs to the Palmae family and is widely
grown in tropical regions as it needs a proper living environment for its growth and
production.

CONTAINER
Use the coconut shell to keep trinkets, treasures, and small items. Things to keep
inside might include rubber bands, keys, toys, pens, and pencils, twist ties, your stash
of used plastic bags, etc.

PLANT HOLDER
Grow a small plant in the coconut shell. While half a coconut shell can work, having
it cut about three-quarters of its height is usually the best size for a coconut shell plant
holder. Drill or pierce some drainage holes in the shell base first and line with
sphagnum moss.

BASKET
As with the idea for the bird feeder, add heavy string or light rope to form a hanging
handle. Use the coconut shell basket to carry things in, such as freshly cut herbs and
flowers, freshly laid eggs, and seeds from your garden.

NATURAL CANDLE HOLDER

If you like making your own candles, use the coconut as the container into which you
tip the wax. Keep the wick centered and it'll be a great candle for many hours.

BOWL
As a bowl, the shell can hold anything you like. A fun thing to try is a bowl of nuts
still in their shells; try macadamias, Brazil nuts, almonds and walnuts, for example.
Keep a nutcracker nearby to encourage snacking on healthy nuts.

LAMPSHADE
If you're good with carving, you could carve a whole shell with neat holes in a pretty
pattern. Add a globe and lamp base and you'll have a wonderful lamp with many light
patterns glowing from it.

Seashell Crafts
Seashell craft is the craft of making decorative objects or of decorating surfaces using
seashells. The craft includes the design and creation of small items such as shell
jewelry and figurines made from shells.

FLOWER POT
Use those seashells to really dress up your spring and summer flowers by attaching
them to your flower pots. These particular pots are weathered first, so they have that
great beach cottage look, and then adorned with your seashells.

CLAMSHELL CENTERPIECE
Turn those seashells into gorgeous centerpiece that is perfect for gracing the table
during the summer months. You just fill a larger clam shell with potting soil and add
the plant. Then use the smaller shells for decoration.

SHELL BOUQUETS
You can turn seashells into a bridal bouquet. You can combine it with flowers, and it
is perfect for weddings at the beach.

SEASHELL SHADOW BOXES

Shadow boxes are not only gorgeous, they’re very easy to create. Just fill your
shadow boxes with shells and add in sand or whatever else you want. Mix up the sizes
of your shells to really make them unique.

SUMMARY
Coconut shell and seashell craftworks involve tremendous creativity and is used for
the creation of utility and decorative items by artisans who use their creativity to
create items from utility to artistic products.