Sculpting

Ceramic pottery
The focus of the video is Augustu "Ugu" Bigyan, a pioneer and incredibly successful ceramic
potter from Quezon City. He describes how soaking clay in water is one of the steps in making
pottery. Ugu asserts that observation is the most crucial skill to develop in ceramics. When
sculpting the clay, Ugu uses tapping as one of his techniques. The sound of the tapping indicates
if the clay is already thick or thin there. Priority is given to Ugu's dedication to his passion over
both productivity and the environment. He is working hard because he wants to pass on his passion
or aptitude for ceramics to younger generations. This person taught me that the more people who
admire pottery or art, the more you will fall in love with it and be content with it. Additionally,
this individual enjoys fusing his passion of art and food.
Paete (Woodcarving)
The Spanish gave the name "Paete" to the center of woodcarving. One of the wood sculptors
mentioned in the film, Danilo Cads, was born and raised in the location indicated. His daughter
is the role model he frequently uses. Another time, this Paete-based sculptor named Felix "Kid"
Baldemor claimed to be descended from a well-known family of woodcarvers. In his senior year
of high school, he started carving wood. Ernesto Cagayat, the most well-known sculptor in Paete,
Laguna, is his grandfather, and the majority of his designs are relic objects and mother-and-child
statues. These sculptors blame a scarcity of supplies, notably wood, for their challenges. The
Cagayat claim that the government bans them from consuming the wood they are utilizing. For
the benefit of the younger generation, these sculptors are unwilling to give up, and this let me
sense their passion and hearts for what they do.
Glass Sculpture
The video opens with Ramon Orlina, the most well-known glass sculptor in the Philippines with
a 40-year career. His method involves doing conception and execution simultaneously. At the
University of Santo Tomas in Manila, the Philippines, Orlina studied architecture before
beginning his creative career. Orlina carves his designs from green glass blocks without heat
using his own process and handcrafted tools, calling glass a medium that is "endlessly
interesting." In recent years, the focus of his monoliths, which are usually very vast in scale, has
evolved from abstractions to the feminine form, "this affords me a greater challenge to explore
its possibilities." The artist lives and works in Manila, Philippines. He created innovative glass
sculpture as a result of martial law. Out of 25 shows, just five were sold, but Mr. Orlina
persisted. His materials were made from glass remnants. He is also creating works specifically
for the younger age. One thing Mr. Orlina taught me was how to make something remarkable out
of it. I admire his creative thinking. Like the critic Cid Reyes stated at the beginning of the
movie, the development of glass sculptors and potential sculptors is hampered by a lack of
technological advancement.
Weaving
Likhang Pinya
The Philippines is the 3rd largest pineapple supplier in the world, but not use in full potential.
Traditional Philippine fiber known as Piña is produced from pineapple leaves. Since the 17th
century, pineapples have been widely grown in the Philippines for use in weaving nipis cloth, a
kind of luxurious fabric with a sheen resembling lace. The word is derived from the Spanish
word Piña, which means "pineapple." Even now, people continue to practice and value this
enduring tradition. To survive, pia weavers must put in a lot of effort and have perseverance,
passion, and love. Many new weavers and young people were motivated to enjoy their traditional
trade of weaving again as a result of the trainings that were held last year. A number of trainings
were methodically taught to the participants and implemented with the help of our extremely
competent cultural master. One of the pinya fiber weavers in the film, Rosita Urriza, stated that
one of the biggest challenges they constantly have in pinya weaving is the lack of supplies and
workers. But they persist, which is why their goods travel abroad and keep thriving all across the
world.
Tuwali weaving/Weaving dreams
Indigenous peoples wore traditional attire in times past, such as the Tuwali Tribe of Ifugao. Doc
Nielsen Donato learned how these ancient garments were manufactured in this video. The
Tuwali tribe is known for wearing their traditional outfits, or ana'bol. Because of their reliance
on natural resources, this tribe also uses natural resources to produce the materials for their
weaving. The issue they now have is that modernization has caused the Tuwali tribe's weaving to
progressively disappear. Even their weaving materials have changed; cotton is no longer used.
Organizations are still working to keep it from dying completely, though. Some younger
generations still know how to weave according to the tuwali tribe's customs because of them.
T’nalak weaving
The Tinalak is more than just an Abaca-fiber garment, woven pattern, or indigenous relic. It is a
dream and vision that the T'boli women in Mindanao, the Philippines, have experienced. The
weaver receives dreams from the spirits and ancestors, which then direct their hands to make the
tinalak's intricate and lovely designs. T'boli holds that Fudalu, the abbaka goddess, provides the
T'nalak's design patterns. One of the dreamweavers mentioned in the film, Lang Dulay, who
started weaving when she was 12 years old, is renowned for continuing to use traditional themes
in T'nalak weaving despite the craft's commercialization and the introduction of more
contemporary designs by non-T'bolis. She was known for having a mental library of about 100
patterns and designs, some of which were inspired by her dreams, earning her the moniker
"dreamweaver." As a result, she is credited with helping to preserve the weaving culture of her
people and was given the "National Living Treasures Award." During the T'nalak Festival in
July, this weaving custom is honored.
Inabel weaving
One of the many things the Philippines' Ilocos region is proud of is the inabel. Any type of
woven fabric can be referred to as "inabel," which is the Ilocano word for weave. However,
inabel is specifically used to describe textile that is clearly of Ilocano provenance in the weaving
industry. These inabel wovens by Laoag weavers in Ilocos are something we are glad to offer.
Magdalena Gamay one of the weavers in the video, uses hardwood pedal looms with various
design strategies. The dizzying binakul design is intended to frighten away and divert evil spirits,
so defending the wearer. The pinilian or brocade weave, the suk-suk or discontinuous
supplemental weft technique, the ikat tie-dye technique, and the multi-heddle design technique
are further patterns. Every province has a unique design aesthetic. The technique of making
inabel is difficult and time-consuming, just like other types of handweaving in the nation. Fans,
stars, windows, and cat's paws are a few common designs. According to her 50 yards is
equivalent of 1 month weaving. However, due to lack of cotton materials, there’s only one
manufacturer in a barangay that’s why this tradition is slowly dying also. Polyester is the rival of
cotton. Although it is an alternative for cotton, it is harmful somehow.