INDIGENOUS

CREATIVE CRAFTS
(HUMS 103)
Team Luzon
 WEAVING
• Weaving is a centuries-old tradition in the
Philippines which is deeply rooted in the
culture of many tribes and provinces, who
each have their own particular pattern or
style to tell their history or way of life. It
has also become a source of livelihood for
many communities.
• Through weaving, they are able to make
clothing, textiles, banigs (or woven mats),
and other items with different materials.
IKAT WEAVING
IFUGAO (KIANGAN, BANAUE &HUNGDUAN)
• Kiangan, the birthplace of Ifugao, weaving has
always been a part of the community’s daily
activities. May it be for economic purposes, cultural
preservation or personal use.
• The Ifugaos of Kiangan either practice traditional
weaving which follows old-age techniques passed on
through generations, or the ikat, where bundles of
yarn are tightly wrapped together and dyed as many
times to create a desired pattern or design.
• The patterns used are mostly traditional ones,
typically nature-inspired and beliefs-based.
 BOLINAO MATS
PANGASINAN (WEAVING)
• In Bolinao, Pangasinan, the buri palm material is used for
mat-making; a double-layered mat with one side using a
tartan- or gingham-like coloured design while the reverse
is kept plain.
• It is a smooth weaved made from buri or rafia leaves.
The art beauty of banig weaving life in the intricacy of
folding over the strips of the materials to yield a design
of interlaced folds and entails a sequential order of steps
to create a geometric pattern.
• These mats from the buri/rafia palm are used traditionally
as the liner for the wedding dance performed by the
newlyweds. Weaving mats is the pride of thier Town.
Love begins with mats.
KALINGA TEXTILES
PROVINCE OF KALINGA
• The Kalinga weavers, particularly in the upper Kalinga area,
put textures on the striped bands using twill-weave
technique. Tiny motifs, patterns, and embellishments have
characterised Kalinga textile.
• Kalinga hand woven fabrics are characterized by dominant
red stripes and motifs of geometric patterns with nature
symbols interlaced with white yellow and black fibers.
including miniature lattice, continuous lozenge pattern
locally called inata-ata, and pawekan or mother-of-pearl
platelets, among others. 
• Originally woven in Lubuagan, the “ka-in” (wrap around
skirt) is now more known as the Kalinga. The different types
of “ka-in” are gilamat, silugwid, pilakpak, gililing, lilaktob
and ilaglis. For men’s g-strings, there are the pilagpagen,
kilayao and sillayuti. 
 INABEL
ILOCOS NORTE
• Handed down from generation to generation, the art of
inabel weaving is a golden thread entwined in the Ilocano
culture.
• Manually woven through a wooden loom, an abel fabric is
made up of pure creativity, imagination, positivity, respect,
discipline and keenness.The various abel weave designs are
inspired by natural elements. It maybe land formation
patterns, the colors of flowers and vegetation, the ripples of a
calm blue ocean, or the sky on a bright night.
• The Ilocanas of the olden times were taught this textile craft
which once bolstered the economy of the Ilocos region
during the colonial times, when abel products were largely
exported to foreign lands. Spanish galleons sailed the seas
with pieces of inabel sailcloth. The abel is certainly a
representation of the elegant past of Ilocos.
 GADDANG TEXTILE
GADDANG TRIBE OF NUEVA VIZCAYA
• The Gaddang tribe is unique among northem Luzon communities for being so
lavish with its use of beadworks that is elevated to an art form. Gaddangs' are
fond of wearing seed beads around their heads, necklaces, and wrists.  
• The Gaddang textiles, with exquisite beadwork, used for these costumes are
woven by the women themselves from homegrown cotton, and dyed in bright
natural colors.
• Gaddang women attire includes the "tapis" or skirt, a lengthy piece of cotton
cloth worn around the waistline down to the knees, and a long-sleeved, round-
necked collarless and waist-length blouse. The traditional costume for the
Gaddang male is the G-string, which is held by a girdle, whose flap is weighted
on the hem by beaded tassles.
• An upper collarless, short garment is also worn, together with headkerchiefs.
Most ceremonial garments have beaded seams and the front flaps of male G-
strings as well as male kerchiefs and shirts display intricate beadwork.
 ULBONG
IFUGAO & CORDILLERAS
• Ulbong or Orpfong
• Woven container with cover. It was used for storing husked or
pounded rice (from the mortar and pestle). Before the introduction
of plastic and ceramic rice bins, each house owned one of this. 
• The container was primarily used to protect the rice from
unwanted insects and kept the desired rice moisture and taste for
days. Each household would store pounded rice so it will be ready
for cooking. Containers like this were kept inside the Ifugao
traditional house.
• It was a practice to keep this container filled with some rice
contents. In recent times in Ifugao and other parts of the
Cordilleras, containers similar to this are woven and used as
ceremonial gift to newly married couple.
 PASIKING
IFUGAO, MOUNTAIN PROVINCE

• Pasiking (PAH-see-king) is a rattan backpack made or crafted by

the mountain tribes in Northern Luzon, particularly by the Igorot
ethnic groups in the Cordillera Region. 
• Pasiking designs have sacred allusions, although most are purely
aesthetic. These artifacts, whether handwoven traditionally or
with contemporary variations, are considered exemplars of
functional basketry in the Philippines and among Filipinos.
• To the Igorot makers and highland  tribes the pasiking has long
served as a handy carry-all, a multi-purpose bag used in farm
work, when travelling or simply as a container for personal items
or knick-knacks. The rattan pasiking are known for its durability
even in inclement or rainy weather since the rattan contracts
when wet, making the weave tighter and less prone to splitting.
 RAMIT
MANGYAN, MINDORO

• Mangyan is the generic name for the eight indigenous groups found on

the island of Mindoro, southwest of the island of Luzon, the Philippines,
each with its own tribal name, language, and customs. For the Mangyans,
craft has always been a product of their way of life and an extension of their
customs and traditions. 
• The ramit is a textile made by the Buhid and Hanunuo Mangyans. It is
woven on a backstrap loom called harablon and features intricate geometric
patterns. In the past, it was made from homespun cotton which was then
indigo-dyed.
• The Ramit is a handwoven cloth traditionally worn as a skirt or used as a
blanket for carrying children, it now finds other uses as a table runner, wall
hanging, bag or placemat.
 BIDAY
PALAWAN
• Biday is made from rattan, a wood product. A Biday is one of the
NATRIPAL (Nagkakaisang Tribo ng Palawan or United Tribal People
of Palawan) various native product in the Philippines especially in
Palawan. It is for the tribal to be supported by others.
• This craft is usually made of wood that they harvest from their
environment – mostly the forest and in the mountains – it depicts
their art and culture which adds up to the cultural and heritage value
of the indigenous peoples of Palawan.
• Biday is a handicraft that may be used in many differentways, some
use it as blinds for their windows, or a wall decoration while others
prefer utilizing it by making it a divider or a floor mat. Biday is made
from rattan, a wood product. To records, most of the handicrafts that
are sold as souvenirs are made by the Batak Tribe.
 BUL-UL CARVING
IFUGAO, NORTHERN LUZON

• Bulul, also known as bul-ul or tinagtaggu, is a carved wooden figure

used to guard the rice crop by the Ifugao (and their sub-tribe Kalanguya)
 peoples of northern Luzon. 
• The bulul has a simplified form, and is traditionally carved from narra
 or ipil wood. The bulul is touched by hands dipped in blood of a chicken
or pig in ritual called tunod during the rice planting season. Over time the
blood imparts a dark color to the figures, overlaid with a patina of grease
from food offerings.
• The sculptures are highly stylized representations of ancestors and are
thought to gain power and wealth from the presence of the ancestral
spirit. The Ifugao are particularly noted for their skill in carving bulul.

MEMBERS:
• Acuña, Nowenlo Von
• Angtiampo, Jonalyn
• Bahalia, Marjie
• Balbona, Emelyn
• Capadngan, Jericho James
• Carampatan, Arjie
• Cariquitan, Justine
• Carpon, Louise Mae