1

UNIT Suggested time allotment: 18 hours

1 PHILIPPINE INDIGENOUS CREATIVE CRAFTS

LESSON 1. WHAT ARE INDIGENOUS ARTS

I. LEARNING OUTCOMES:
• Explain when to consider a person or group as true indigenous people. (U)
• Conclude how indigenous arts and crafts survived through the signs of
times. (AN)
• Conclude how indigenous arts became beneficial to the wellness and
economic aspect of the indigenous people. (AN)
• Create their own definition of indigenous arts. (C)

II. INPUT

Who are the indigenous people?

Before we go directly on what is indigenous arts all about? Let us first define
what is an indigenous people really is. Dictionaries define indigenous as "originating in a
particular region or country; native; innate; inherent; natural.” The word dates back to
the Latin indigena, meaning native or original inhabitant. The word indigenous has many
meanings. In every region of the world, many different cultural groups live together and
interact, but not all of these groups are considered indigenous or native to their
particular geographic area. In fact, it is those groups who claim a shared sense of
identity who are internationally recognized as “indigenous peoples.” Throughout human
history, peoples have migrated to various regions of the Earth, and cultures have
mingled and exchanged influences. For these reasons the identification of indigenous
peoples is not always straightforward and simple (Indigenous People, n.d.). And it is
estimated that there are more than 370 million indigenous people spread across 70
countries worldwide. Practicing unique traditions, they retain social, cultural, economic
and political characteristics that are distinct from those of the dominant societies in
which they live (UN, n.d.)

Indigenous or aboriginal peoples are so-called because they were living on their
lands before settlers came from elsewhere; they are the descendants according to one
definition of those who inhabited a country or a geographical region at the time when
people of different cultures or ethnic origins arrived. The new arrivals later became
dominant through conquest, occupation, settlement, or other means an through those
events when they settle in an area their purpose on living expounds. Indigenous people
not only live for survival but for other purposes like engaging to arts. And their product in
arts becomes an artwork which are mostly integrated to their culture, tradition and
beliefs which makes it uniquely different to other point of view to arts (Indigenous
People, n.d.).
 2

Artwork created by the Indigenous people who come from the land is indigenous
arts. Connection to four elements of wind, water, air in nature, fire, and references to
physical, spiritual, and intellectual realms are the common themes (Stranan, 2018).
Indigenous Philippine Art is an art made by the indigenous peoples of the Philippines
through their crafts and artworks which are influenced and inspire by their lifestyle,
culture, belief, traditions, ethics etc. It is made from raw materials which include extract
from trees, fruits, and vegetables. In addition, some of the art treasure of the Philippines
is found on rock in caves, tress, and woods (Limcango, 2010).

Indigenous Philippine arts and crafts

In Cebu, Philippines weaving is still one of the most precious traditional
livelihoods that are kept and practice. The art of weaving of the Cordillera tribal groups
in the Philippine North still exists despite the threat of the more practical, mass
production of cloth it originated in the pre-colonial times. To produce blankets and
articles of clothing the natives use backstrap loom. Throughout the province of Antique
pina cloth is produce in looms, Fibers are obtained from the leaves of the pineapple
which makes a delicate and exquisite hand-woven cloth. It is popularly used in Barong
Tagalog, the country's traditional formal menswear. The ‘barong’ is now already popular
around the world because of the organic and airy textile being used. Abaca fiber come
from the abaca plant is widely grown in certain regions in the country. It is woven mainly
to make 'sinamay' fabric and abaca rope, as well as specialty papers like vacuum bags,
currency, and tea bags. There are also handcrafts like bags, carpets and clothing made
of abaca. Baskets are also made by the Cordilleran’s as livelihood. They also use these
as storage for food when they need to go to mountain terraces to raise crops. Certain
types of baskets also serve for carrying grains, for hunting animals, and for fishing in the
streams. Bamboo baskets are used as fish traps; the shape and size of baskets
determine to the kind of fish to be caught (Freeman, 2016).

Benefits of Indigenous Arts:

Economic benefits
Profits gained by the indigenous people are just one financial benefit from selling
of their arts and craft. Nevertheless, compliance noted that indigenous artist necessarily
translates into major economic benefits or better living standards in terms of their
success (Smith, 2018).

Social benefits
Social benefits are provided to indigenous people in the sector of visual arts and
crafts. It provides a range of benefits across many sectors of indigenous society,
promotes health and well-being and through participation in the visual arts it enhances
social cohesion within communities. The function of art and craft extends beyond
aesthetic pleasure – it is embedded in daily life, family connection, and traditional law as
well as in dreaming lore and spirituality. For many Indigenous artists, visual art and craft
is not seen as a commodity but rather as something akin to a family member – it
represents a multi-layered connection to the past, present and future. The social role of
 3

creating visual art and craft is also primary to the social benefit and meaning of art and
craft activity in the community context (Smith, 2018).

Benefits to Indigenous groups

Within indigenous groups or community mediums of visual arts has been
successfully used as a form of expression and a gate to spread and cultivate their
culture. The visual arts have provided an avenue for the advancement of Indigenous
women in personal development and self-esteem, financial independence and
empowerment within their communities (Smith, 2018).

Health benefits
Engagement in arts activities can have a positive impact on the health and
wellbeing of indigenous. Art has been used for healing Indigenous patients suffering
from a range of physical and mental ailments. One example is the Art Therapy class in
Sydney (Smith, 2018).

Cultural benefits
Indigenous artists express their culture, identity and connection to the land and
their community through their art. The practice of art making within communities is part
of the continuum of ceremonial practice, reinforcing people's connection with traditional
lands, ancestral beliefs and ritual. It also provides opportunities for the transmission and
reinforcement of cultural knowledge to younger members of the community (Smith,
2018).

PRACTICE EXERCISE
1. Write your own definition of Indigenous arts based on what you have read.
Limit your answer in 3-5 sentences only.
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
2. Defend how art becomes beneficial to indigenous art. Limit your answer in 3-5
sentences only.
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
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ASSESSMENT # 1
WHAT ARE INDIGENOUS ARTS

Name: _____________________________________Program/Year: _______________

Subject: Arts 1: Indigenous Creative Crafts CP No.: ____________________
Instructor: Johnfer Ramil A. Magparo

A. Instructions:
 Compare and contrast the following.
 Write down your answer in a separate sheet of paper (short bond paper) if
there are tables or graphic organizers kindly copy them and fill it out with your
answer on the other sheet of paper.
 Submit your output either through schoology, messenger, or schools drop
box.
 Copy the heading format used above. Then fill out the needed informations.

1. Benefits of Indigenous arts (10 pts.)

Economic benefits Social benefits

2. Benefits to Indigenous groups (10 pts.)

Health benefits Cultural benefits

B. Answer the following questions.

 5

1. Write down below two (2) reasons that a person or group of people considered as
indigenous groups. Expound each reason in 3-5 sentences only.
1.1)
1.2)
2. Cite three (3) reasons (it could be events, ethics, or etc.) on how indigenous arts
and crafts survive until now even if majority of our lifestyle is already modernized?
Expound each reason in 3-5 sentences only.
2.1)

2.2)

2.3)

3. How did indigenous arts and crafts become beneficial to indigenous groups in
terms to economic and wellness? Limit your answer in 3-5 sentences only.

C. Task: Indigenous artwork

Instructions:
 Look for an artwork (painting, song & accessories, etc.) from any of the IP
group in the Philippines.
 Have a picture/copy of this art from the net and give its full description.
 Discuss the significance of this artwork to the IP community.
 Write down your answer in a separate sheet of paper (short bond paper) if
there are tables or graphic organizers kindly copy them and fill it out with your
answer on the other sheet of paper.
 Submit your output either through schoology, messenger, or schools drop
box.
 Copy the heading format used above. Then fill out the needed informations.
 It will be rated based on the rubrics in Appendix A, number 1.
 6

REFERENCES

Encyclopedia Britannica, (n.d.). Ainu people. Retrieved from

https://www.britannica.com/topic/Bari-people

Esri, (n.d.). The Miao and Hmong of southern China, Laos and Thailand. Retrieved from
https://www.arcgis.com/apps/Cascade/index.html?appid=897330b1c8a04541b2
344a335edbcfa

Freeman, (2016). Cebu Lifestyle. Indigenous Philippine arts and crafts. Retrieved from
https://www.philstar.com/the-freeman/cebulifestyle/2016/06/30/
1598122/indigenousphilippine-arts-and-crafts

Indigenous Peoples of the World (n.d.). Retrieved from https://www.edu.gov.

mb.ca/k12/cur/socstud/foundation_gr8/blms/8-5-2b.pdf

Jarus, O. (2016). Live Science. Who are the Assyrians? Retrieved from
https://www.livescience.com/56659-assyrians-history.html

Limcango, T. (2010). Indigenous Philippine Art. Retrieved from

https://en /Indigenous_Philippine_Art

Smith, J. (2018). Chapter 3- The benefits of indigenous art. Retrieved from

https://www.aph.gov.au/Parliamentary_Business/Committees/Senate/Environm
nt_and_Communications/Completed_nquiries/2004-07/indigenousarts/report/c03

Stranan, J. (2018). Recycled Mats. What is Indigenous Arts? Retrieved from

https://www.recycledmats.com.au/What-is-Indigenous-Art

United Nations Permanent Forum on Indigenous Issues, (n.d.). Indigenous Peoples,

Indigenous Voices. Retrieved from https://www.un.org/esa/socdev/
unpfii/documents/5session_factsheet1.pdf
 7

LESSON 2. PHILIPPINE INDIGENOUS ART

I. LEARNING OUTCOMES:
• Infer concepts that differentiate the Philippine indigenous art from western arts.(U)
• Argue that Philippines is not illiterate before the arrival of the Spanish. (EV)
• Conclude where did indigenous people gather inspirations in making their various
indigenous arts. (AN).

II. INPUT

Philippine indigenous arts refer to the various forms of the arts that have
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 the country's arts (Romero, 2013).

In addition, Philippine indigenous art is different from the western understanding

and standard of art. Art is not separated from its other values and functions such as
“religious, moral, spiritual, social and ecological concerns”. Sensory modes are
cultivated holistically and have to be developed together. Basically, for indigenous
communities, art is assimilated into life. There is no dichotomy of the artist and society
nor rigid standards that dictate materials, forms or techniques. The process of creation
is valued over the work of art and conceptualization and realization is simultaneous (De
Leon, 2011)

On the other hand, the term ‘Western art’ or western indigenous arts largely
describes the art of western Europe but is also used as a general category for forms of
art that are now geographically widespread but that have their roots in Europe. Art
historians describe the history of Western art in terms of successive periods and/or
movements, including classical, medieval, Byzantine, Romanesque, Renaissance,
baroque, rococo, neoclassicism, Romanticism, realism, Impressionism, modernism and
postmodernism. Definitions of these periods are often debated, as it is impossible to
pinpoint where they begin and end, or to account for the wide array of art produced
within them. Nevertheless, such terms are indispensable in navigating the complex
history and stylistic shifts of Western art across time. As conclusion western indigenous
and other forms of art is different to Philippine indigenous arts in terms of setting,
purpose and depth of integration to indigenous groups way of life (Art gallery NSW,
2000).

Indigenous communities can be found in various regions in the Philippines.

These communities have their own unique arts and crafts. Whether it be visual arts,
 8

song and dance, handicrafts, tapestries and clothing or pottery, each region boasts of
exceptional talent, skill and creativity. Unfortunately, these masterpieces have been
“downgraded” by outsiders to merely crafts or handicrafts that are only worthy of being
sold in tourist shops (This is also known as the art vs. crafts controversy) (Racette and
Robertson, 2009).

The earliest art forms in the Philippines that have not yet been somewhat
penetrated by Western influences are music and dance (Ortiz, 1976). In addition, in
Cordillera their ethnic or indigenous dances still exist because kinds of dances like the
war dance of now being toned down the war dance interwoven in Igorot rituals, the
Ifugao funeral dance, and the Benguet victory dance are examples of the dances in
pure indigenous form. Other dances represent the daily affairs of the community such
as planting, fishing, pounding rice, etc. (Panizo and Rustia, 2003). An example of a
song that represents the daily affair of planting rice is the traditional folksong Magtanim
ay di biro (Ortiz, 1976).

In addition, there is always an impression or misconception that Filipinos were

illiterate before the arrival of Spanish. That we didn’t have our own culture is a big
misconception and needs to be corrected. The truth is that Cordilleran were not
conquered by colonizers like the Spanish is the enough reason why Filipinos should
preserve, give more importance, and always protect the culture and traditions of the
highlands (Mangilog, 2018).

Ethnic dances in the different municipalities of Mountain Province have

differences and commonalities in terms of steps, attire or costumes, purposes. These
dances are part of the people’s customs and traditions that have become part of the
Igorots’s identity (Fiar-od, 2014).
In any festive gathering among Igorots, be it a ritual, barrio or town fiesta, wedding
celebrations, people’s assembly, the gongs are played according to its rhythm
appropriate to the specific purpose of the occasion. Such purpose could be for
entertainment, socialization, or in more serious cases, as part of an Igorot ritual (Fiar-
od, 2014).

Similar to performance art, sculpture and visual arts are practical in nature in
indigenous communities. Everyday implements and accessories are adorned and
decorated with such handiwork. In the Mountain Province, “shields, spoons, ladles,
bowls” and figurines are infused with art through woodcarving. In Mindanao, on the
other hand, original Muslim art can be recognized through certain motifs, colors and
patterns. These stylized elements are evident through brass work, tools, weaponry and
musical instruments. (Ortiz, 1976).

A Filipino person’s characteristic of being relational or communal is evident in his

or her art. Traditional indigenous art reflects this orientation as well. In essence,
Philippine indigenous art is not separated from its other values and functions such as
“religious, moral, spiritual, social and ecological concerns”: art is assimilated into life, the
community is involved in the work of art; thus, one artist is rarely, recognized and
remains anonymous most of the time, there is no dichotomy of the artist and society, no
 9

rigid standards dictate materials, forms or techniques, the process of creation is valued
over the work of art, and conceptualization and realization is simultaneous (De Leon,
2011).

PRACTICE EXERCISE
1. How does the Philippine indigenous art differ from the western understanding and
standard of art? Limit your answers to 3-5 sentences.
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________

2. Does the Philippines have its own forms of art before the colonization of Spaniards
take place? If yes, what are these forms of art? And why do you say so? Limit your
answers to 3-5 sentences.
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
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ASSESSMENT # 2
PHILIPPINE INDIGENOUS ARTS

Name: _____________________________________Program/Year: _______________

Subject: Arts 1: Indigenous Creative Crafts CP No.: ____________________
Instructor: Johnfer Ramil A. Magparo

A. Instructions: Answer the following questions in 3-5 sentences.

1. Did the Philippines have its own forms of art even before the colonization took
place? Cite an article from magazine, internet or books to support your claim. (5 pts.)
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________

2. Write down the three (3) factors that is being considered and bcame the source of
inspirations of the designs of the different indigenous arts and crafts. Expound each
factor in 3-5 sentences only (5 pts. each)
2.1)
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
___________________________________________________________________

2.2)
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________

2.3)
______________________________________________________________________
______________________________________________________________________
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______________________________________________________________________
______________________________________________________________________
______________________________________________________________________

REFERENCES

Art gallery NSW, 2000, Western art. Retrieved from https://www.artgallery.nsw.gov.

au/discover-art/learn-more/western-art/

Fiar-od, (2014). Igorot Cordillera BIMAAK Europe. Ethnic Dances in Mountain Province.
Retrieved from https://www.icbe.eu/mprovince-articles/677-ethnic-dances-in
mountain-province

Mangilog, P. (2018). War Dances in the Cordilleras. Pinay Traveller. Retrieved from
https://pinaytraveller.com/archives/3008

A manual of visual arts workshops for the environment. Baguio: Cordillera Green
Network. De Leon, F. M. (2011) In focus: The cultural matrix of traditional arts.
Accessed through: http://ncca.gov.ph/aboutculture-and-arts/in-focus/the-cultural
matrix-of-philippinetraditional-arts/

Ortiz, M.A., Erestain, T. E., Guillermo, A.G., Montano, M.C. and Pilar, S.A. (1976). Art:
Perception and appreciation. Makati: Goodwill Trading Co., Inc.

Panizo, A. and Rustia, E.F. (2003). Art appreciation and aesthetics: An approach to the
humanities. Manila: Rex Book Store.

Romero F. (2013). Philippine indigenous arts.

Skubikowski, K., Wright, C., Graf, R. (2009) Social justice education: Inviting faculty to
transform their institutions. Virginia: Stylus Publishing, LLC.
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LESSON 3. BRIEF HISTORY OF DAVAO AND ITS TRIBES

I. LEARNING OUTCOMES:
• Identify the different individuals and indigenous groups crucial to Davao’s history.
(U)
• Distinguish the different contributions of the different indigenous groups
mentioned. (AN)
• Conclude how rich Davao is in terms of history and as a city. (EV)

II. INPUT

May 8, 1967, the undivided province of Davao where Davao del Sur belonged
and Davao City which is the capital of old Davao shared the same history.
The province of Davao Del Sur was created by the defunct Congress on May 8,
1967 under Republic Act No. 4867. It started functioning as a province on July 1, 1967
which was comprised of only ten (10) municipalities where Digos as the capital. The
elective provincial positions were filled by appointments by the President of the
Philippines until the time when the officials were duly elected and qualified in the 1967
election (Dejeto, 2018).

The province derived its name from the word “Daba-Daba”. This is a bagobo
word which used to refer to a “Sacred Brass” that belonged to the legendary bagobo
chieftain named Datu Duli. Datu Duli lived at the rolling hills of the famous Sandawa
Mountain, the ancient name of Mt. Apo. Later on, the letter “O” was added to the word
which meant justice to the bagobos. It was added to describe the fairness with which
justice was dispensed with by Datu Duli among his people. As years went by, the word
“Daba-Daba” was shortened to Daba-o which later on was pronounced Davao (Dejeto,
2018).

The early inhabitants of Davao del Sur were the Bagobo-Guinggas who occupied
the places at the foot of Mt. Apo, the Bilaans of the Hagonoy Valley, the Manobos in
Malita and Jose Abad Santos and other ancient tribes. One of the highlights of this
indigenous group is its political structure which is composed of the Chieftains called
“Matanum,” the Council of Elders, the Magani’s, the Babaylans and the slaves called
“Al-lang” in the native dialect. Even today political structure is still being used especially
here in Davao City. The political structure established order and constant progress
through having designate roles which comes with different powers and responsibilities.
On the other hand, the Datu can have as many wives as he can but upon the
recommendation and approval of the first wife. In marriage, age is not an issue for as
long as arrangements and settlements are reached, agreed upon and complied with by
 13

both parties. All conflicts and problems are finally addressed and resolved by the
Chieftain with the Council of Elders.

Food is abundant enough to be able to supply the community for the next harvest
season. the weavers can supply the needs for clothing. In fact, a Bagobo weaver,
Salinta Monon, won this years’ Gawad sa Manlilikha ng Bayan (GAMABA) for her
handloom weaving, a proof of the Bagobo artistry and craftsmanship. Environmental
preservations and utilization of natural resources are properly dealt with by the people
according to their tradition, practices and culture.

The aboriginal tribes are believed to belong to the second wave of Indonesians
who came to the island from Southeast Asia years before the birth of Christ (BC),
probably between 1,000 and 2,500 years ago. These early settlers lived a peaceful life,
developed a rich culture unaffected by outside influence until the end of the 14th century
when the Muslim Malays from Java and Sumatra introduced the Arabic strain into the
ways of life of the early Davaoweños, The Muslim influence became an established fact
with the famed Mohammedan leader Shereef Kabungsuan of Arab as its first sultan.
Muslim tribe like the Maranaos and Maguindanaos occupied certain places of Davao
Del Sur. The original inhabitants remained unconverted to the new faith (Dejeto, 2018).
The introduction of the Christian religion in Davao del Sur occurred after the
colonization of the northern islands. Here is the account of Zaide:

“In 1847, Jose Uyanguren, a wealthy soldier adventurer, offered to the Spanish
government a proposition that he would pacify and colonize Davao at his own expense.
Governor Claveria approved Uyanguren’s proposal on February 27, 1847. In two years
of hard fighting, he was able to pacify the warlike tribes and founded a settlement which
he called Nuevo Vergara in honor of his natal city in Spain. It is now Davao City “(Zaide,
History of the Philippines, Mc.Cullough Printing Co., Manila 1957, p. 72). However, the
Spanish entry into the province dates even before Uyanguren’s pacification drive. The
early excursion of Spain in Davao del Sur occurred during the period of exploration. Alip
accounts that one of the early Spanish expeditions landed in one of the islets in
Sarangani. This is the Villalobos expedition in 1542 (Intellectual Reserve, 2020).

The Spanish were the first Europeans to discover Davao, when in 1528 they
arrived at the coast and encountered groups of the native people. But it wasn’t until the
middle of the nineteenth century when the Spanish began populating the area and
gaining control of Davao ’s ports, when permanent European settlements began being
built. Control of the ports meant valuable trade leverage in the vastly expanding world
trade market. Although they tried, the Spanish were unable to gain complete control of
the Mindanao Island, as the native people fought back and resisted (Tripadvisor, n.d.)
At the turn of the 20th century, other tribes from the Visayas arrived who later became
the leaders of the province in government, particularly the Cebuanos. Soon they were
joined by the pioneering Ilocanos and Ifugaos who occupied the municipality of
Magsaysay. Others came captivated by the promise of Mindanao all of whom built
together what is now the province of Davao Del Sur (NEDA, n.d.).
 14

Before World War II the city was developed as a Japanese colony, which owned
extensive abaca plantations, but it was razed during the war. The rebuilt city is an
attractive blend of Spanish, American, and Moorish influences. Largely rural outside its
urban core, Davao City is one of the world’s largest cities in land area, sprawling among
coconut groves and rice lands. The regional headquarters for commercial and
administrative activities, Davao City is served by a major airport and highways. The
city’s industries include the production of abaca fibres, textiles, cement, and plywood.
Davao City is the site of the University of Mindanao (1946), the Philippine Women’s
College of Davao, and other colleges. Talomo Beach, the Bago Iñigo fish farm, and the
pearl farm on Samal Island are nearby. Inc. city, 1936. Area 854 square miles (2,212
square km) (NEDA, n.d.)

The Land
The western part of the province is dominated by Mt. Apo which is the country´s
highest peak. Mount Tanglao and Mount Latian are two other landmarks in the
hinterlands. Wide fertile valleys are found between the mountain ranges and the narrow
coastal plains in the east. The weather is basically warm with no marked seasons.
Rainfall is evenly distributed throughout the year (NEDA, n.d.)

The People
Most of the population are Visayan migrants. Cebuano is the most widely spoken
language. Other prominent migrant groups are the Ilonggos and the Ilocanos. Several
ethnic groups exist in the province, among them B´laans, Bagobos, Manobos and
Tagacaolos. These early settlers occupied the slopes, and base of Mt. Apo, and have
developed their own cultures which have been preserved to this day. The Bogobos, for
example, are known for their colorful dresses woven from Abaca fiber and ornamented
with beads, shells, metal disks and embroidery in geometric patterns. They also wear
bells as anklets or costume accessories, so they jiggle when the walk or dance (NEDA,
n.d.)
On the other hand, the B’laan are composed of three subgroups from Koronadal,
Sarangani, and Davao. Many B’laans speak Cebuano aside from the B’laan language.
Their means of livelihood are swidden farming, weaving (the males weave baskets and
the females, mats), fishing, hunting, food gathering, and tool- and weapon-making.
B’laans have kept themselves culturally, politically, and economically distinct from their
Muslim neighbors; they have never succumbed to the rule of the datuships. Thus, most
of B’laan traditions, customs, and way of life have remained intact. It is not unusual to
see B’laans still eating their mama (betel nut). The sound of bells hanging on the
women’s sabitan galing(a belt of brass rings) can still be heard as they go about their
daily chores. Elders continue telling stories of old times to the next generation (Wapano,
2007).
Another is the Manobo which simply means “people” or “person”; alternate
names include Manuvu and Minuvu. The term may have originated from “Mansuba,” a
combination of man (people) and suba (river). Manobos are concentrated in Agusan,
Bukidnon, Cotabato, Davao, Misamis Oriental, and Surigao Del Sur. The Manobo
usually build their villages near small bodies of water or forest clearings, although they
also opt for hillsides, rivers, valleys, and plateaus. The communities are small,
 15

consisting of only 4-12 houses. They practice slash-and-burn agriculture (Indigenous

People, 2020).
The Ubo are a Manobo sub-tribe who inhabit the more isolated mountains of
Southwest Cotabato in the area known as Datal Tabayong, as well as, more southerly
Davao del Sur. As of last count, they numbered close to 17,000 (OSCC, 1987); a follow
up on their numbers in subsequent years has proved difficult (Indigenous People,
2020).
Known for their intricate casting, the Ubo fashion fine weaponry and jewelry that
they believe possess souls, making it harder for the maker to part with them.
Agriculturally, they practice swidden, a slash-and-burn farming, oft planting and
harvesting rice, root crops, and vegetables for consumption. Like the Bagobo, the Ubo
believe in multiple deities headed by a central figure, Diwata (God); they're animist, they
also believe in ancestral spirits and unseen beings inhabiting the animate and inanimate
objects found throughout their environment. In civic matters, the political leader and
Datu (Filipino chieftain) of the village attains his position by virtue of wealth; speaking
ability and knowledge of customary law, known as fendan. The primary obligation
consists of settling disputes among members of a family, neighbors, and the
community. When a fine is set and/or imposed by the Datu, the accused has to pay it to
the aggrieved party; if he's unable to, then he will become servant to the one who pays
for him, otherwise known as dok (Indigenous People, 2020).

Commerce and Industry

Because of its favorable climate and fertile soil, Davao del Sur is primarily an
agricultural province. It is popularly known as Coconut Country since coconut is its
major commercial crop. Its rice and corn production is more than sufficient for its
population. Other crops grown are bananas, cacao, ramie, coffee, fruits and vegetables.
Davao City is the commercial center of southern Mindanao. Foreign and domestic
vessels load and unload goods at its port. Davao Gulf is the major fishing grounds of the
city. There are eleven coastal municipalities facing the Philippine Sea. Logging has
supported a wood-processing industry, but rapid forest depletion is a cause of concern
(NEDA, n.d.).

Read more about this topic at https://www.familysearch.org/wiki/en/Davao_del_Sur_

Province, _Philippines_Genealogy

PRACTICE EXERCISE
1. Give 2 roles of the people inhabiting the land? Elaborate your answer in 3-5
sentences per role.
Role 1: ___________________
______________________________________________________________________
______________________________________________________________________
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Role 2: ___________________
 16

______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
______________________________________________________________________

ASSESSMENT # 3
BRIEF HISTORY OF DAVAO AND ITS TRIBES

Name: _____________________________________Program/Year: _______________

Subject: Arts 1: Indigenous Creative Crafts CP No.: ____________________
Instructor: Johnfer Ramil A. Magparo

A. Indigenous Crafts. (5 pts. each indigenous group)

Instruction:
 List down four (4) indigenous groups with each of their crafts beside it.
 Write down your answer in a separate sheet of paper (short bond paper) if
there are tables or graphic organizers kindly copy them and fill it out with your
answer on the other sheet of paper.
 Submit your output either through schoology, messenger, or schools drop
box.
 Copy the heading format used above. Then fill out the needed informations.

Indigenous group Crafts

B. Answer the following questions in 3-5 sentences.

1. Does the geographical formation of a land affect the lifestyle of the people living in
that area? If yes, give a real-life example to support your claim.

2. What would be the reason that most of the indigenous people are bowing their head
facing the ground when they dance? Why do you say so?
 17

3. Do you consider Davao City a city of diversity? Why do you say so?

4. Today, we enjoy a generation of progressive technology. Most of our ways are

already integrated with technology like in farming, vegetation and fisheries which
make our life easier and more efficient. With this, should we dump our old and
traditional ways and further move forward to dominant technology enhancement?
Why do you say so?

C. Task: Research Work

Instructions:
 Choose one IP group to be the focus of your investigation.
 Get to know of their culture by readings from the different sources (internet,
newspapers, magazines etc.).
 But if you belong to your chosen IP group. You can talk and ask your elders
on the things about your community that you do not know yet as a member.
 Focus your investigation/discussion to the following:
a. origin of the tribe
b. people (what makes them different from other tribes)
c. politics (ways of governance)
d. ways of living
e. religious activities
 Make a narrative report containing the information related to those mentioned
in the 4th bullet.
 It will be rated based on the rubrics in Appendix A, number 2.

REFERENCES

Dejeto, M. (2018), Retrieved from https://www.rappler.com/life-and-style/travel/ph

travel/209798-photos-davao-city-culture-kadayawan-village

Ethnic Groups of the Philippines, (n.d.). Indigenous People. Retrieved from

http://www.ethnicgroupsphilippines.com/people/ethnic-groups-in-the
philippines/manobo-obo/

Intellectual Reserve, (2020), Retrieved from https://www.familysearch.org/wiki/en/

Davao_del_Sur_Province,_Philippines_Genealogy

National Economic and Development Authority, (n.d.). Davao del Sur. Retrieved from
http://nro11.neda.gov.ph/davao-region/davao-delsur/#:~:text=
 18

Davao%20City%20was%20founded%20by,city%20on%20October
2016%2C%201936.&text=The%20majority%20of%20the%20population%20ar
%20Visayan%20migrants.

Tripadvisor, (2020). Davao City Traveler Article: Davao City History. Retrieved from
https://www.tripadvisor.com/Travel-g298459-s203/Davao
City:Mindanao:History.html

Wapano, R. (2007). Ethnic Groups of the Philippines. A Close Encounter with the
B’laans: a primer. Passionist. Retrieved from
http://www.ethnicgroupsphilippines.com/people/ethnic-groups-in-the
philippines/blaan-davao/
LESSON 4. TOP 6 INDIGENOUS ARTS

I. LEARNING OUTCOMES:
• Identify the Philippine top indigenous arts. (R)
• Distinguish the different indigenous arts. (U)
• Examine the different pieces of art or outputs from the different indigenous art.
(AN)

II. INPUT

Cloth weaving
Weaving is the textile art in which two distinct sets of yarns or threads - called the
warp and weft - are interlaced with each other at right angles to form a fabric or cloth.
The warp threads run length-ways on the piece of cloth, while the weft runs horizontally.
Cloth is woven on a loom, a device for holding the warp threads in place while the weft
threads are woven through them, back and forth. Weft is an old English word meaning
"that which is woven". Woven cloth can be plain (in one color or a simple pattern), or it
can be woven in decorative or artistic designs (Hamam, 2013).
One of the most precious living traditions that are still kept until today is weaving.
Originating in the precolonial times, the art of weaving of the Cordillera tribal groups in
the North still exists despite the threat of the more practical mass production of cloth.
The natives use backstrap loom to produce blankets and articles of clothing.
Piña cloth is also produced in looms throughout the province of Antique. It is a
delicate and exquisite handwoven cloth that is made from the fibers which you can get
in the leaves of pineapple plants. It is popularly used in Barong Tagalog, our traditional
clothes. Having its organic and airy textile, it is becoming more popular now around the
world.
Abaca fiber come from the abaca plant that is endemic and grown in the country.
It is woven chiefly to make sinamay fabric. Abaca is popular in making a rope, specialty
papers like vacuum bags, currency, and tea bags. There are also handcrafts like bags,
furniture, carpets and clothing made of abaca.

Basket weaving
 19

Baskets are mainly used by the Cordilleras for their occupation. They use them
as a storage for their food when they need to go to mountain terraces to cultivate their
lands. A basket is needed for carrying grains, hunting animals, and fishing in the
streams. Baskets made of bamboo become their fish traps; the shape and size of
baskets are according to the kind of fish they want to catch.

Jewelry making
Since the early 16th century, jewelry making in the country has been in
existence. It is believed that the skill of our early Flipino in making jewelry are adopted
from their Asian neighbors like the Chinese. Jewelry-making is a source of livelihood for
the family and it is traditionally a home-based industry. The government gives their
support and attention in this industry. By this support, the country became the top
producer of gold. These are the two major product categories that the fine jewelry
industry in the Philippines are engaged for production:
The first one is the precious metal jewelry, which are made of gold and silver. It can be
in the form of rings, earrings, bracelets, brooches, pendants, necklaces, tie pins, and
cuff links (with or without gemstones). Decorative items like spoons and forks, and office
items such as pen and pen holders are also included in this category.
Another production in the jewelry industry are the pearls, precious stones, and semi-
precious stones. These are unworked or worked pearls. Colored gemstones like
emerald, rubies, and sapphires are also in this group.

Pottery
Pots in the Philippines have different sizes, shapes, and designs. Their designs
are usually geometric with stylized nature motifs. Pottery became more functional as the
time pass by (Caparas, 2014). Pottery is made up of ceramic materials and
encompasses major types of pottery wares such as earthenware, stoneware and
porcelain. To be considered pottery, a piece must be a fired ceramic ware that
contains clay when formed (Grimm, 2015).
An example of this is palayok, which is used for cooking. Banga and tapayan are used
for storing liquids. There is also the clay-made stove or "kalan". The making of burnay
pottery in Ilocos Sur is still a lively tradition that continues up to the present.

Woodcarving
Philippine sculpture is the most familiar art form among Filipinos. The most
popular woodcarving in the Philippines are carvings of the anitos (nature gods), santos
(saints), and statues of Christ and the Blessed Mother.
Philippine sculpture has undergone changes in terms of shape, size, and the
medium used.

Tattoos
Filipino tattoos have a rich history, dating back to before the Philippine Islands
were colonized by Spaniards. When Spanish ships first arrived there, they were greeted
by the heavily tattooed Visayas tribe and they called the islands "La Isla De Los
Pintados" which meant "The Island of the Painted Ones".
 20

In the Philippines, tattoos were a source of accomplishment and rank. Men bore
ink on their chests and heads as signs of their strength as warriors. Women wore
detailed lines on their arms and wrists (Visays and Mindanao tribes) or full chest and
arm tattoos (Luzon mountain tribes) and they were seen as marks of beauty. Most
tattoos were earned through the passage of rites ceremonies, or for accomplishing
tasks. The styles varied depending on the region and tribe that the people came from
(Caparas, 2014).
If there is one person who could best represent the rich culture of Kalinga, a
province located in the far north of the Philippines, it is none other than Whang Od, the
oldest Filipino tribal tattoo artist. Some even say she put Kalinga on the Philippine map
of must-visit places for local and foreigners alike. In fact, many people brave the cold
weather and the 10-hour trip to the mountains just to get inked by her (Dumaraos,
2017).
Whang-od Oggay is known as the last mambabatok (Kalinga tattooist) from the
tribe of Butbut in Buscalan, Kalinga. She has been tattooing for the past 80 years
including headhunters of the indigenous tribe, at the beginning of her long career.
These headhunters were the warriors of their tribe, who protect their villages, to the
extent of killing their enemies. For them, it is a symbol of bravery and courage. She
also inked the skin of women from the tribe, the tattoos are considered as a sign of
beauty and elegance (Dumaraos, 2017).
Whang-od is living proof of the tribe’s batok (hand-tapping) culture. Covering her body
are tattoos with different meanings and designs. Each of her arms, she said, took a day
to be inked completely. After her body was covered, she related how her father rejoiced
and killed a pig to celebrate the feat.
Now, after 80 years of tattooing, Whang-od is inking foreign and Filipino visitors who
visit her (Dumaraos, 2017).

Read more about this topic at https://theculturetrip.com/asia/philippines/articles

/meet-apo-whang-od-the-last-hand-poke-tattoo-artist-in-the-philippines/

PRACTICE EXERCISE

A. Fill in the blanks the correct words to make the sentence complete. (1 pt. each).

1. Since the early _____________, jewelry making in the country has been in
existence.
2. Piña cloth is also produced in looms throughout the province of _____________.
3. __________________ is the oldest Filipino tattoo artist.
4. __________________ is popular in making a rope, specialty papers like vacuum
bags, currency, and tea bags.
5. _____________ mainly used by the Cordilleras for their occupation.

B. Cite 2 specific products (whether a craft or artwork) of an indigenous group. Then

examine and fill out the blanks with the information of your chosen product.
 21

Name: _________________ Name: _________________

Indigenous group origin (artist):
_______________________
Indigenous art:
_______________________
Components (made of):
_______________________
Purpose/Function:
________________________________
________________________________
________________________________
________________________________
Indigenous group origin (artist):
_______________________
Indigenous art:
_______________________
Components (made of):
_______________________
Purpose/Function:
_________________________________
_________________________________
_________________________________
__________________________________

ASSESSMENT # 4
TOP 6 INDIGENOUS ARTS

Name: _____________________________________Program/Year: _______________

Subject: Arts 1: Indigenous Creative Crafts CP No.: ____________________
Instructor: Johnfer Ramil A. Magparo

A. Compare and contrast cloth weaving from basket weaving. (10 pts.)

Cloth weaving Basket weaving

B. Instructions:
 Make a comprehensive report about the 6 indigenous arts discussed in this
lesson.
 It will be rated based on the rubrics in Appendix A, number 3.
 Research more on it origin and purpose through time.
 On each indigenous art, reflect on what skill is being developed for him who
used to do it.
 Use any graphic organizer to organize your entries or you may use the one
presented below.
 Write down your answer in a separate sheet of paper (short bond paper) if
there are tables or graphic organizers kindly copy them and fill it out with your
answer on the other sheet of paper.
 22

 Submit your output either through schoology, messenger, or schools drop

box.
 Copy the heading format used above. Then fill out the needed informations.

REFERENCES

Caparas, K. (2014). Indigenous Arts and Crafts, Retrieved from

https://www.vigattintourism.com/tourism/articles/Indigenous-Arts-and-Crafts

Dumaraos, G. (2017). Culture trip. Meet Apo Whang-Od, the Last Kalinga Tattoo Artist
in the Philippines. Retrieved from https://theculturetrip.com/asia/Philippines
/articles/meet-apo-whang-od-the-last hand-poke-tattoo-artist-in-the-philippines/

Grimm, A. (2015). Pottery. Pottery: What and how it is made. Retrieved from
https://www.quora.com/What-is-pottery-and-how-is-it-made

Hamam, J. (2013). Jennifer’s Hamam. What is Weaving?. Retrieved from

https://www.jennifershamam.com/post/healthy-cooking-is-a-must-for-families
23