The Importance of Preserving Indigenous Crafts in the Present

Generation

A Thesis

Presented to 

the Faculty of the 

College of Business Administration of 

University of Cebu - Main Campus

Cebu City, Philippines 

In Partial Fulfillment 

of the Requirements for the Subject of HUM 103

By Group 3:

Ramil Largo Abalorio

Marjorie Blanco

Aiko Lopez

Russell Paras Manascap

Shannen Faith Morales

Julie Mae Magsalay

Alexis Jane Navaja

Randolf Quijano

Hannah Mae Saguban

Frances Lynn A. Pestano

Jhea L. Montalban
 CHAPTER 1 

INTRODUCTION

Rationale of the study

The term "craft" originates from the Middle English word for "strength" or "skill,"

which was derived from the Old English word "craeft," which comes from the Old High

German word "kraft," which meant "strength.” The word "craft" means "skill in planning,

making, and executing," and, by extension, "an occupation or trade requiring skill," with

"crafts," then, being those objects that result from the application of that skill. Every

nation has its own artistic traditions and handicrafts. The Philippines also had this. Every

work of art and craft that is created in a country serves as a symbol of that nation's

heritage and is a wonderful illustration of the artistic and creative capabilities of its

inhabitants. Throughout Philippine history, craftsmanship and its various forms have

always been important. Filipinos have a natural desire to create, demonstrating the state

of being fully engaged in their profession and expressing satisfaction and pride in their

work. The cultivation of art or craft requires years of dedication and practice and is the

result of the artisans' hard work and, more importantly, their passion for the art. A

Filipino craftsman devotes himself to his work and to sharing the tale of the Philippines,

revealing its true essence- its soul to the world. 

“The cultural and heritage diversity of our world is an irreplaceable source of

spiritual and intellectual property for all of humanity should be actively promoted as an

integral aspect of human development.  All cultures and societies are rooted in particular
forms and means of tangible and intangible expression that constitute their heritage, and

these should be respected.”  (Nara Document on Authenticity 1994).  Local traditions are

unique even within very narrow physical boundaries, and their preservation is an

expression of the protection of cultural diversity, a problem that becomes more important

as globalization progresses. Preserving inside is a sign of appreciation for this culture and

its bearers.  

The concept of arts and crafts is associated with the practice of producing

something with one's own hands, often with the assistance of certain specialized

equipment, and deftly blending that production with one's own sensitivity and artistic

sensibility. Also, the handicraft sector is important for generating revenue and

employment. There are a lot of towns in the Philippines that are devoted to the art and

craft industries, which not only bring in a lot of money from tourists but also provide jobs

for a lot of people in the Philippines. This has also been acknowledged globally as a

strategy for poverty reduction. It is a method of maintaining and fostering cultural and

artistic traditions, such as the transmission of varied techniques and skills of traditional

crafts from generation to generation.

Although the importance of indigenous handicraft or crafts industry has been

already understood before, there still are several challenges that affect the preservation of

the indigenous crafts and arts.  Today's technology continues to progress and develop,

and the preservation of the Philippines' traditional culture and arts may be challenged due

to Filipinos' inclination and disinclination for both Filipino culture and arts.
 CHAPTER 2

REVIEW OF RELATED LITERATURE AND STUDIES

Related Literature

Craft, according to Simon Sadinksky (2018), is about connecting with nature,

one's surroundings, and oneself. It's also about connecting the past to the present and

preparing for the future. According to Deepak (2008), handicrafts have a traditional value

that represents the indigenous ethnicity of a certain location. The knowledge and skills

required for producing those items have been passed down from generation to generation.

According to Simon Sadinksky (2018), without training the next generation of

craftspeople, we are at risk of losing some of our most important built heritage. To

combat this issue of losing this part of our culture, it is important to encourage schools to

see craft as a viable, skilled, and impactful career and a valid alternative to what may be

considered more conventional careers. Like how people from the past survived with this

skill in crafts, it can also help our future generations. The art of craftsmanship develops

one's creativity, innovation, and imaginative side. The link between theory and practice is

an important one, with strong links between practitioners, students, and sector

organizations crucial to not only encouraging but facilitating the next generation to take

up traditional crafts (Simon Sadinksky 2018). We risk losing some of our most precious

built heritage if we do not teach the next generation of craftsmen.

Meanwhile, our ancestors' history revealed numerous details about the crafts,

including how they supported themselves and their families with living expenditures and

maintenance. According to the Department of Art, Culture, Science, and Technology

(1998), the handicraft industry not only provides revenue generation chances for groups
with access to resources, but it also provides employment opportunities. Handicrafts have

been proven to be a sustainable source of income and employment in Vietnam,

particularly in rural areas, according to Szydlowski (2008). Ferreira (2001) has

demonstrated that in rural Brazil, 21,8 percent of the working population is primarily

employed in rural industries. Also in India, the sector created employment for millions of

"craftspeople," whose livelihoods and income depend on the sale of crafts, making it the

second largest source of employment in the country (Wood, 2011; Sood, 2002). 

Importance in Preserving Our Cultural Heritage

Cultural heritage is the inheritance of living traditions that span a communities or

society's history, practices, expressions, values, locations, and objects from the past to the

present. Cultural heritage is regarded as an invaluable resource and the cultural legacy of

a people, nation, or country that is inherited from the past, preserved in the present, and

passed onto future generations. It unites as one the members of human society as a whole.

UNESCO recognizes both tangible and intangible cultural heritage. In addition to

artifacts and objects, tangible cultural heritage includes historic or archaeological

locations, built structures, monuments, graves, and cultural landscapes. 

In our country, crafts are regarded as intangible cultural heritage that are handed

down orally from master to apprentice and generation to generation. By immersing

oneself in cultural heritage, future-proofing cognitive skills such as critical thinking, agile

thinking, narration, creativity, and imagination can be developed. "Our vast and diverse

cultural heritage contributes significantly to the development of our nation." – Nelson

Mandela
Preservation of Cultural Diversity in Traditional Crafts

Traditional handicrafts have practical roots that must be assessed because they

arose from basic human need. Surprisingly, man's weapon, rather than his home, piqued

the artistic attention of humans initially. It reflects a society's cultural sensitivity to

material developments and indicates cultural enrichment in ordinary activities (Deepak

2008). The diversity of cultures and traditions in our world is an important source of

spiritual and intellectual richness for all people, according to the Nara statement on

authenticity (1994). As a crucial component of human growth, the preservation and

strengthening of cultural and racial variety should be actively fostered. All cultures and

communities have unique ways of expressing themselves via both tangible and intangible

means, and these should be recognized as part of each one's legacy.

Related Studies

Every country, every community, every minority has its own culture and tradition

passed on from one generation to the next. Because of technology and changes in the way

people live, these cultures and traditions are slowly being replaced by modern things and

practices. Indigenous arts, such as songs, dances, and pieces of art, must be preserved so

that they will be known by many more generations to come. Preservation efforts by

different organizations within each community are always underway to retain what is

customary to their culture and introduce to the younger population their culture and

tradition so that they can promote them to other communities in the future. 

According to Yang et al. (2018b) Traditional crafts, which reflect the culture and

tradition of a specific region, are essential components of any nation. Despite the fact that

the value of handicraft is universally acknowledged, there is little literature on the

preservation of traditional craft. In order to contribute to the sustainability of traditional

craft heritage and ensure continuous transmission of craft skills and knowledge from

generation to generation, the current paper sought to explore, identify, and address issues

faced by traditional craftsmanship in developing countries. Their investigation uncovered

a number of significant problems that represent serious obstacles to developing nations'

efforts to preserve their traditional craft traditions. They looked at the case of the

Pakistani handicraft business to offer empirical information, which helped us better grasp

the problems that traditional craft heritage faces. They also have made some

recommendations for policy to support, advance, and safeguard the history of traditional
craft. The case study of Pakistan highlights the importance of these policy

recommendations.

According to Pramono, Rudy, et al. (2021) Human ingenuity can be found in the

arts and crafts. Crafts are a type of activity employing materials that are readily available

while art is an expression of sentiments and emotions. Local communities' use of

traditional crafts greatly adds to the legacy of intangibles. Their research locates

traditional crafts in Yogyakarta, defines their significance, and takes into account the

variables that affect them. The goal of their study is to count the number of people who

are interested in bamboo handicrafts sold to the general public as tourist attractions and to

evaluate the entrepreneurial environment. The qouta sampling method is employed in

their sampling process. Qualitative and quantitative descriptive research approaches, such

as semi-structured interviews and observation, were used by them. In order to

comprehend the study results, the primary respondents of Shabbat bamboo from the data

analysis approach using SPSS analysis provide descriptive data summarizing the

respondent's condition. The majority of respondents preferred bamboo batik products,

which indicates that the research's findings about bamboo batik craft products have

potential and are in demand by the market. Odd groups from the market research analysis

reveal that women prefer this bamboo batik craft product, that there are still some flaws

in the product, and the market pricing. Creating products and marketing tactics that add

value for customers is necessary to increase product competitiveness.

Zimu-Biyela (2016) conducted a study to assess the preservation of indigenous

knowledge in Dlangubo village in Kwazulu-Natal, South Africa, and discovered that oral

traditions, folklore, and apprenticeship are traditional methods of knowledge

preservation, whereas coding, documentation, and digitisation are contemporary

approaches to knowledge preservation. Ebijuwa (2015) discovered that in Nigeria, IK

preservation is accomplished through storytelling, experiential training, and the usage of

gene banks. Similarly, Anyira, Onoriode, and Nwabueze (2010) stated that for the

preservation of IK, several approaches such as digitisation, tape recording, and

microfilming are utilized.

 CHAPTER 3

METHODOLOGY

Research Design

The study follows a qualitative research design wherein data collection process

consists of survey and interviews. When conducting a survey and interview, researchers

will follow a systematic set of questions that will allow an in-depth analysis and

assessment of the significance of preserving and the participants’ appreciation of the

indigenous crafts in the Philippines.

Research Instrument

The research instrument that has been used in collecting data is a survey

questionnaire prepared by the researchers that is composed of 10 items about the

importance of preserving indigenous crafts in the present generation. For this study, the

researchers makes use of surveys and interviews.

QUESTIONNAIRES

1. Is it important to preserve our indigenous arts and crafts?

YES NO

2. Are we protecting the integrity of our traditional indigenous works of art?

YES NO

3. Is it significant to preserve local crafts and arts?

 YES NO

4. In this present generation, do you think that the people are preserving our

traditional indigenous crafts?

YES NO

5. Can we maintain and continue the life of traditional indigenous crafts in the

Philippines?

YES NO

6. Do we appreciate our indigenous crafts and arts in this present generation?

YES NO

7. Is indigenous creative crafts and arts important in our society or community?

YES NO

8. Is it important to learn about our indigenous creative crafts?

YES NO

9. Is it essential to be aware of cultural differences?

YES NO

10. Is it important to promote the Philippine indigenous arts as Filipinos?

YES NO

Research Environment

The research will be established at University of Cebu-Main Campus, located at

Sanciangko St., Cebu City. Research participants will be focused on the enrolled business

administration college students of the University of Cebu-Main Campus.

Research Respondents
 The researchers will choose 40 students of a sample size population among the

college students of Business Administration in University of Cebu Mai Campus S.Y

2023-2023.

CHAPTER 4

DEFINITION OF TERMS, OBJECTIVES AND CONCLUSION OF THE STUDY

Definition of Terms

         Indigenous Crafts – it refers to any form of art that is made by the indigenous

community using available raw materials. 

         Craftsmanship - skill at making things, or the skill with which something was

made or done.

Heritage Crafts - a heritage craft is defined as a practice which employs manual

dexterity and skill and an understanding of traditional materials, design and techniques,

and which has been practiced for two or more successive generations.

         Traditional Handicrafts - objects artistically made using simple traditional tools

and by using conventional manual methods like weaving, painting, etc.

         Cultural Heritage - is the heritage of tangible and intangible heritage assets of a

group or society that is inherited from past generations.

Objectives
 The overall goal of this research is to investigate the significance of conserving

indigenous Philippine crafts in the present generation, as well as to measure the level of

appreciation among college students enrolled in the Business Administration program at

the University of Cebu Main Campus. The study may examine the cultural, economic,

and social significance of preserving traditional Filipino crafts, as well as the potential

impact of their decline or disappearance. It may also investigate the extent to which

college students in the Business Administration program are aware of and value

indigenous crafts, and the factors that influence their perceptions and attitudes towards

them. By gaining a better understanding of these issues, the study may contribute to

efforts to promote the preservation and revitalization of traditional Filipino crafts, as well

as to inform educational and cultural policies that support their continued practice and

development.

Scope and Delimitation 

The general intent of this study is to understand the necessity of preserving the

indigenous crafts of the Philippines in the present generation as well as to measure the

level of appreciation among the college students of Business Administration in

University of Cebu Main Campus. This study has a sample size of 40 respondents. The

researchers carried out a qualitative study on the college students under Business

Administration in University of Cebu Main Campus. The interview was conducted inside

the campus through interviews and surveys.

Conclusion
 In conclusion, preserving indigenous crafts in today's generation is crucial for

maintaining cultural diversity and ensuring the continuity of traditional ways of life. It is

important to recognize that the loss of indigenous crafts can result in the loss of cultural

heritage and identity, as well as economic and social opportunities for indigenous

communities. By preserving and promoting the practice of indigenous crafts, we can

contribute to the preservation of cultural diversity, support local economies, and promote

a sense of pride and continuity among indigenous peoples. Therefore, it is important that

we prioritize the preservation of indigenous crafts and support the efforts of indigenous

communities to maintain their cultural heritage

 References

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preservation and accessibility of indigenous knowledge in the Niger Delta Region of

Nigeria’. Library Philosophy and Practice (e-journal). June pp. 1-10.

Deepak, J. S. (2008). Protection of Traditional Handicrafts under India

Intellectual Property Laws. Journal of Intellectual Property Right.

Ebijuwa, A. S. (2015) ‘The role of libraries in the preservation of indigenous

knowledge in primary healthcare in Nigeria’ International Journal of Digital Library

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Brazilian northeast. World Development, 29(3), 509-528.

LaMore, R., Root-Bernstein, R., Root-Bernstein, M., Schweitzer, J. H., Lawton, J.

L., Roraback, E., ... & Fernandez, L. (2013). Arts and crafts: Critical to economic

innovation. Economic Development Quarterly, 27(3), 221-229.

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 Zimu-Biyela, A. N. (2016) The management and preservation of indigenous

knowledge in Dlangubo village in Kwazulu-Natal, South Africa, University of South

Africa, Pretoria.

CURRICULUM VITAE

Personal Information

Name: Ramil L Abalorio Jr.

Age: 21

Present Address: Tulay tapon Pob 3 Carcar City

Cebu

Contact #: 09617503358

Date of Birth: June 29 2001

Place of Birth: Carcar City

Religion: Roman Catholic

Civil Status: Single

Educational Background
Tertiary: University of Cebu – Main Campus

Senior High School: University of Cebu Pri

High-School: Car-car Academy Tech School Inc.

Primary: Upland Elementary School

Work Experience: BPO Back Office

Personal Information

Name: Aiko Lopez

Age: 19

Present Address: 58-D Tabada Mambaling Cebu

City

Contact #: 09239200120

Date Of Birth: April 03, 2004

Place Of Birth: Cebu City

Religion: Roman Catholic

Civil Status: Single

Educational Background
Tertiary: University of Cebu – Main Campus

Senior High School: Don Vicente Rama Memorial National High School

High-School: Don Vicente Rama Memorial National High School

Primary: Mambaling Elementary School

Work Experience: Working Scholar at UC- METC

Personal Information

Name: Julie May Magsalay

Age: 19

Present Address: 233 Spolarium Street Duljo

Fatima Cebu City

Contact #: 09553040439

Date Of Birth: May 5, 2003

Place Of Birth: Pigcarangan, Lanao Del Norte

Religion: Roman Catholic

Civil Status: Single

Educational Background
Tertiary: University of Cebu – Main Campus

Senior High School: Cebu Institute of Technology-University

High-School: Abellana National School

Primary: Mambaling Elementary School

Work Experience: Sale Support Representative for 14months at Dyninno,

Cebu

Personal Information

Name: Russell Falcon P. Mañacap

Age: 21

Present Address: Sambag 1, Cebu City

Contact #: 09062644319

Date Of Birth: July 1, 2001

Place Of Birth: Cebu City

Religion: Roman Catholic

Civil Status: Single

Educational Background
Tertiary: University of Cebu – Main Campus

Senior High School: University of San Carlos - Downtown Campus

Junior High School: University of San Carlos - South Campus

Primary: University of San Carlos - South Campus

Work Experience: N/A

Personal Information

Name: Jhea L. Montalban

Age: 20

Present Address: Osmeña Blvd, Kamagyan,

Cebu City

Contact #: 09482175084

Date Of Birth: June 30, 2002

Place Of Birth : Cebu City

Religion: Roman Catholic

Civil Status: Single

Educational Background
Tertiary: University of Cebu – Main Campus

Senior High School: Camotes Hillside Academy Inc.

Junior High School: Camotes Hillside Academy Inc.

Primary: Sta. Cruz Elementary School

Work Experience: N/A

Personal Information

Name: Shannen Faith Morales

Age: 20

Present Address: Canduman, Mandaue City

Contact #: 09999719741

Date Of Birth: November 02, 2002

Place Of Birth : Cebu City

Religion: Roman Catholic

Civil Status: Single

Educational Background
Tertiary: University of Cebu – Main Campus

Senior High School: Carmen National High School

Junior High School: Carmen National High School

Primary: Canduman Elementary School

Work Experience: N/A

Personal Information

Name: Alexis Jane B. Navaja

Age: 21

Present Address: 2708 R. Duterte St. Banawa

Cebu City

Contact #: 09430806922

Date Of Birth: November 6, 2001

Place Of Birth : Cebu City

Religion: Roman Catholic

Civil Status: Single

Educational Background
Tertiary: University of Cebu – Main Campus

Senior High School: University of Cebu - Pri

Junior High School: Evangelical Theological College of the Philippines

Primary: Evangelical Theological College of the Philippines

Work Experience: N/A

Personal Information

Name: Randolf Jan H. Quijano

Age: 20

Present Address: V. Rama Calamba Cebu City

Contact #: 09321675795

Date Of Birth: September 3,2002

Place Of Birth : Cebu City

Religion: Born Again Christian

Civil Status: Single

Educational Background
Tertiary: University of Cebu – Main Campus

Senior High School: University of Cebu - Pri

Junior High School: Ramon Duterte MNHS

Primary: Labangon Elementary School

Work Experience: N/A

Personal Information

Name: Marjorie S. Blanco

Age: 23

Present Address: Jose Palma Sambagan,

Tabunok, Talisay City, Cebu

Contact #: 09617806036

Date Of Birth: December 21, 1999

Place Of Birth : Cebu City

Religion: Iglesia Ni Cristo

Civil Status: Single

Educational Background
Tertiary: University of Cebu – Main Campus

Senior High School: Asian College of Technology- Integrated School

Junior High School: Talisay City National High School

Primary: Tabunoc Central School

Work Experience: N/A

Personal Information

Name: Hannah Mae M. Saguban

Age: 20

Present Address: 486 R. Duterte St., Banawa

Cebu City

Contact #: 09564857288

Date Of Birth: February 3, 2003

Place Of Birth : Cebu City

Religion: Roman Catholic

Civil Status: Single

Educational Background
Tertiary: University of Cebu – Main Campus

Senior High School: University of Cebu - Pri

Junior High School: Ramon Duterte Memorial National High School

Primary: Evangelical Theological College of the Philippines

Work Experience: N/A

Personal Information

Name: Frances Lynn A. Pestaño

Age: 23

Present Address: Cabancalan, Mandaue City,

Cebu

Contact #: 09155105040

Date Of Birth: February 14, 2000

Place Of Birth : Cebu City

Religion: Roman Catholic

Civil Status: Single

Educational Background
Tertiary: University of Cebu – Main Campus

Senior High School: Saint Louis College-Cebu

Junior High School: Saint Louis College-Cebu

Primary: Benedicto College

Work Experience: 2018 - Boylen Marketing

Casuntingan, Mandaue City

Office Assistant (shs immersion)

2019 - Lynolds Marketing

Casuntingan, Mandaue city

Office assistant

2023 - Mandani Bay

F.E. Zuellig Avenue, Mandaue City

Property Specialist