MODULE 1: INDIGENOUS CREATIVE CRAFTS IN THE PHILIPPINES Contents: _____________________________________________________________ Principles of Indigenous creative crafts: · Definition of Indigenous materials · Importance of Indigenous Materials · Tools and Mateials used in making indigenous creative crafts · Safety practices in making indigenous creative crafts Principles of Indigenous crafts design: -Measuring and laying-out of indigenous design. Designing Indigenous Crafts and its classifications of materials used: -Wood -Rattan -Coconut shell -Bamboo -Leather PRINCIPLES OF INDIGENOUS CREATIVE ARTS Learning Objectives: - Recognize the different purpose and types of Indigenous materials. - Categorize safety practices in making indigenous crafts - Appreciate the richness of Filipino indigenous materials used in the handicraft making. Definition of Indigenous materials INTRODUCTION: The small islands that make up the island nation of the Philippines, which is part of the Malay Archipelago, are home to numerous tribes. Undoubtedly, it is a beautiful country with lovely beaches, tall mountains, volcanoes, coral reefs with vibrant colors, and the blessing of a lush green rainforest. The locals are friendly and support each other through various jobs, but one stands out in particular. It is the one that involves Philippine arts and crafts. THE IGOROTS THE LUMAD THE MANGYAN Location: Northern Luzon Location: Southern Mindanao Location: Central Islands Every nation has distinctive arts and crafts. Philippines also has. Every work of art or craft made represents the nation and serves as a fine illustration of the people's artistic and creative abilities. It takes years of dedication and practice to cultivate an art or craft, and it is the product of the artisans' labor of love for their craft. DEFINITION OF TERMS: INDIGENOUS MATERIALS Timber, canes, grass, palms, and rattan are examples of indigenous materials that are naturally and locally found in a particular location. Capiz, pearls, corals, and seashells are also indigenous raw materials in the country that are widely known and used creatively in crafts and decoration because the country is an archipelago with an abundance of beaches and marine resources. INDIGENOUS CRAFTS Indigenous art is produced by native, or "traditional," people who are descended from the land. Arts and crafts refer to the practice of creating items by hand, sometimes with the aid of specialized tools, and skillfully fusing that with the artist's sensibility and aesthetic sense. The Philippines has many villages devoted to the art and craft industries, which not only attract tourists but also provide jobs for many Filipinos. Traditional crafts like weaving, metalsmithing, pottery, woodcarving, and goldsmithing are well-known throughout the nation and highly regarded by both locals and visitors. The southern Philippine Islands are known for their priceless ornate carvings. ____________________________________________________________ Indigenous Peoples Rights Act 1997 (Republic Act No. 8371 of 1997) An Act to Recognize, Protect, and Promote the Rights of Indigenous Cultural Communities/Indigenous Peoples, Establishing the National Commission on Indigenous Peoples, Creating Implementation Mechanisms, Appropriating Funds for the Commission, and Other Purposes. Importance of Indigenous Materials and Crafts ● Creativity - it is an art that reflects the artistic sense, feelings, and cultural characteristics of a society. ● Renewable and plentiful, derived from a variety of natural sources - Being naturally non-polluting and not releasing any harmful chemicals, particles, or toxins into the atmosphere is very helpful in reducing pollution to the environment. ● Promotes the beauty and cultural aspect of a country - Through this, people from generation to generation may experience and retain the artistic side of the Filipinos. Tools and Mateials used in making indigenous creative crafts ● Hand Tools - generally used for applications that require less power and greater finesse. (examples: needles, glass cutters, looms, spinners, and presses.) ● Power Tools - actuated by an additional power source and mechanism other than the solely manual labor used with hand tools. ·Safety practices in making indigenous creative crafts 1. Learn the right techniques. Learn all you can about the materials and techniques you’re using. 2. Do arts and crafts in an area where the air circulates well. 3. Keep arts and crafts materials away from food and drink. 4. Keep your working place organized. PRINCIPLES OF INDIGENOUS CRAFTS DESIGN Learning Objectives: - Apply the principles of the tools and materials used in a specific craft; - Design artistically a modernized version of indigenous craft; - Picture graphically the modified version of indigenous crafts in class presentation. The principles of design describe the ways that artists use the elements of art in a work of art. Movement is the principle of design used to give artists the ability to lead a viewer's eyes around an art piece. For instance, artists will create pathways within their artwork so that a viewer will automatically look at a piece in a certain direction. Balance is the distribution of the visual weight of objects, colors, texture, and space. If the design was a scale, these elements should be balanced to make a design feel stable. ____________________________________________________________ Types of balance In symmetrical balance, the elements used on one side of the design are similar to those on the other side; In asymmetrical balance, the sides are different but still look balanced. In radial balance, the elements are arranged around a central point and may be similar. Asymmetrical balance occurs when you have different visual images on either side of a design, and yet the image still seems balanced. To be considered asymmetrical, a design needs to have unequal visual weight on either side, but those unequal visuals need to balance each other. Unity is the principle of design that unifies all other principles within a piece of work, allowing each individual element to coexist with one another to form an aesthetically pleasing design. Variety is the use of several elements of design to hold the viewer's attention and to guide the viewer's eye through and around the work of art. Unity is the feeling of harmony between all parts of the work of art, which creates a sense of completeness. Rhythm is a principle of design that suggests movement or action. Rhythm is usually achieved through repetition of lines, shapes, colors, and more. It creates a visual tempo in artworks and provides a path for the viewer's eye to follow. Scale refers to the relative size of an element in a design when compared to another element. It is responsible for creating a visual hierarchy among elements of your creation. It tells viewers what things to look at, what order to look at them, and what's the most important element to focus on. Emphasis is the principle of creating a centered interest in an artwork, often achieved by color contrast and by lines which direct the eye to it. Contrast refers to the use of visually different elements. In addition to capturing attention, contrast can guide the viewer's eye to a focal point, highlight important information and add variety, or even drama, to a design. The amount of difference between elements : ● Value contrast - the amount of difference between values ● High contrast - there is a large difference between the lightest and the darkest areas and edges look harder. ● Low contrast - there is not much difference between the lightest and darkest areas and Edges look softer. ____________________________________________________ MEASURING AND LAYING-OUT OF INDIGENOUS DESIGN. For designating measurements of length, pre-Columbian societies developed units that primarily related to the human body. Smaller distances were defined using body parts such as fingers, palms and feet. Incans most commonly used the ricra, the fingertip-to-fingertip distance of outstretched arms. Layout design is the process of arranging visual and textual elements on-screen or on-paper in order to grab a reader's attention and communicate information in a visually appealing way. Example of measuring and laying out of indigenous design is Piña fiber. Piña is from a leaf, the leaf has to be cut first from the plant. Then the fiber is pulled or split away from the leaf. Each strand of the piña fiber is hand scraped and is knotted one by one to form a continuous filament to be handwoven and then made into a piña cloth. The green epidermal layer is scraped off the leaf with tools made from coconut shells, coconut husks or pottery shards. Extraction from the long, stiff leaves is time consuming and labor intensive. These fibers are then spun into soft, shimmering fabrics by hand. Because the fiber is fine and breaks easily, working with it is slow and tedious. Workers are constantly knotting broken threads. The result is a lightweight, transparent fabric that is positively beautiful. The second layer, bastos, is a coarse fiber used in making strings or twine. The finer fiber is called pinukpok. All these fibers are combed to clean them further (usually by the river since it is believed that its water makes the strands whiter) and render them easy for hand knotting into continuous strands. Since the individual stripped fiber is no longer than 30 inches, the fibers have to be knotted. This process is known in the dialect as pag-panug-ot, an utterly delicate and laborious task. A piece of bamboo is fashioned into a blade to cut off the end of each knot. The next step is warping. This is done on pegs struck in a board. Another laborious step, it usually takes 15 to 20 days to warp enough yarns to complete a “sucod” of 18 to 20 “bucos” or 54 to 60 meters of cloth. Pag-talinyas or spinning is likewise executed with a crude hand-operated bobbin winder which is turned by the right hand while the left hand drills the strand into a tiny mold made of reed or tabun-ak. This process makes the material ready for the loom. The loom has foot-operated treadle with an extended overhead warp beam with two harnesses and two treadles. The warp is wound into the warp beam. Then it is treaded into the boddle (benting) reed or sucod. The benting allows the warp to open when the treadle is stepped on the feet. The sucod is used to press the weft to thicken the cloth. The thickness and width of the cloth is determined by the sucod. There are the 65, 70 and 80 types of winder. For instance, the 65 sucod produces a cloth of about 24 inches in width; 70 sucod, 29 inches, and the 80 sucod, 31 to 32 inches. Dyeing the fiber to any desired color may be executed at this point. Normally piña is beige or dirty white or ecru but dyed piña produces blue or black piña cloth. These hand woven fabrics are colored with vegetable dyes originating from leaves, and bark of different trees. The result is equally dramatic and charming. Difference between crafts and arts Art is described as an unstructured and open-ended form of work; that expresses emotions, feelings, and vision. Craft denotes a form of work, involving the creation of physical objects, by the use of hands and brain. Art relies on artistic merit whereas craft is based on learned skills and technique. REFERENCES: Philippines - IWGIA - International Work Group for Indigenous Affairs Philippines - Resources - Arts & Crafts | IndiaASEAN.org - Your gateway to ASEAN cooperation Use arts and crafts materials safely - Canada.ca https://philippinefolklifemuseum.org/portfolio-items/history-and-origin-of-pina/ https://keydifferences.com/difference-between-art-and-craft.html DIFFERENT KINDS OF INDIGENOUS MATERIALS AND THEIR CRAFTS (include pictures of indigenous materials nga kahoy, before siya nahimong crafts) Learning Objectives: - Identify the different tools and materials in indigenous crafts; - Modify materials used in making indigenous crafts - Classify the different materials and tools used in indigenous materials. 1. WOOD - Narra, acacia, molave, mahogany, mango, santol, yakal, tanguile....., the Philippines has several wood species to choose from. - Filipinos had been engaging in the art of woodcarving long before the arrival of the Spaniards. - The most popular Filipino woodcarvers are the Ifugaos, the Tagbanwas, the Maranaos and the Paetenos. Creative Crafts of WOODS: * Statue Wood Carving * Image Wood Carving 2. RATTAN - The palm tree rattan is probably one of the most famously known plants in the Philippines. - With its use spanning not just for baskets but also for furniture, hats, and bags. - This climbing vine is strong, fibrous, lightweight, durable, flexible and easy. Creative Crafts of RATTAN: * Baskets * Bags 3. BAMBOO - Many designers and manufacturers have long favored bamboo’s versatility and functionality. - The native plant species, which grows in many parts of the Philippines, has been used in the production of furniture, and as décor pieces. - Bamboo crafts permeate all aspects of Philippine life. Bamboo is used for house construction, for fishing and farming implements, for musical instruments and much more. Bamboo items may still be found in the handicraft section of most public markets. Creative Crafts of BAMBOO: * Musical Instruments * Bamboo Furnitures 4. COCONUT SHELL - Coconut shell has biological function as the protector of the main fruit, located in the inner side of the coconut fiber - It can be categorized as hard wood. - Artworks from coconut shell hace excellent quality, imperishable, and relatively easy to form. Creative Crafts of COCONUT SHELLS: * Decorations * Ladle 5. LEATHER - 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. Creative Crafts of LEATHER: * Pouch * Footwear REFERENCES https://fameplus.com/touchpoint/raw-potential https://medium.com/@mariarosanna/the-woodcarvers-of-the-philippines-3e4b10cd580f#:~:text=Tagbanwa%20 Woodcarvers&text=And%20this%20is%20probably%20why,exciting%20of%20indigenous%20Philippine%20wo odcarvings. https://encyclocraftsapr.com/bamboo-crafts/#:~:text=One%20significant%20bamboo%20craft%20is,for%20ca rrying%20and%20storing%20tobacco. https://wickerdarling.com/blogs/wicker-darling-blog/what-is-a-rattan-handbag-hand-woven-in-the-philippines https://asiainch.org/article/coconut-shell-craft/ https://colosushandicraft.wordpress.com/2013/04/25/philippine-handicraft-industrytheir-benefits-and-importan ce/ https://en.wikipedia.org/wiki/Indigenous_peoples_of_the_Philippines https://www.vigattintourism.com/tourism/articles/Indigenous-Arts-and-Crafts https://www.slideshare.net/babaylan1111/philippine-indigenous-art FILIPINO ARTISTS CREATING INDIGENOUS CRAFTS/MATERIALS ● METALSMITHING - Espina ● WEAVING - Dayagro ● POTTERY - Ag-ag ● WOODCARVING - Francisco ● BAMBOO - Contreras ● COCONUT SHELL - Abella ● RATTAN - Cassion ● LEATHER - Alcantara LAYOUT: (PICTURE) (sa drive ra diretso) NAME OF ARTIST BIODATA ● date of birth, birth place, date of death (if deceased) ● little details sa iya life nga related sa iyang craft skills chuchu ● achievements/awards (if naa) (mubo rajud guys ayaw namog search maayo if unsa makit-an ninyo kana lang) MASTERPIECE SAMPLE: link: https://www.cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html METALSMITHING EDUARDO TUBIG MUTUC - - - A metalsmith and sculptor from the Philippines. Mutuc is a native of Apalit, Pampanga. He was born to farmers on October 12, 1949, and grew up with nine siblings. He only finished elementary school and then helped his parents on their farm. He began his artistic career as a woodcarver at the age of 29, seeking an alternative source of income to supplement his farming earnings. As a helper, he worked in an antique shop owned by his relatives, the Lozano family. During his time there, he learned woodcarving from Carlos Quiros. He learned silver plating, or pinukpuk as it is known locally, from a colleague in his sixth year and left the furniture shop where he was working to become an independent craftsman with another friend. He went on to create other religious works many of which are based on Spanish colonial designs although Mutuc also incorporates his own ideas. In 2004, He was given the National Living Treasures Award. POTTERY TESSY PETTYJOHN Born: 1948 Hometown: Manila Based In: Calamba, Laguna - Tessy Pettyjohn is a renowned pioneer of Philippine pottery, clay art, and sculpture. Starting her craft in the late 1970s, she has had many shows both here and abroad in her long career. Although she has retired from teaching, she now concentrates on doing her own work for exhibits at her Laguna workshop studio. She continues to explore the use of indigenous Philippine clays, pigments, and minerals for making high fire ceramics and glazes. BAMBOO RATTAN KENNETH COBONPUE Kenneth Cobonpue is a Filipino industrial designer known for his unique designs integrating natural materials through innovative handmade production processes. He was born on december 16,1968. Together with his wife they have 2 children. He began his design career after his studies in Industrial Design in New York, which led him to apprenticeships and further studies in Italy and Germany. After a series of further studies and apprentices abroad, Kenneth moved back to Cebu in 1996 to help manage their family business founded by his mother in 1972. Upon managing the business, Kenneth discovered that by the use of natural fibers and materials as a medium, modern design could have a new face.Cobonpue pioneered the integration of design, manufacturing, and global distribution as well as branding in Cebu, operating from his headquarters on the island. Awards to his credit include Hong Kong's Design for Asia Award, the Japan Good Design Award, the American Society of Interior Designers Selection, the French Coup de Coeur Award, and the first Asian Designer of the Year title given by the Maison et Objet in Paris.In March 2017, Cobonpue was appointed by President Rodrigo Duterte as chairperson of the National Economic and Development Authority Regional Development Council for Central Visayas. WEAVING Lang Dulay (August 3, 1928 - April 30, 2015) She was a Filipino traditional weaver who was a recipient of the National Living Treasures Award. She is credited with preserving her people's tradition of weaving T'nalak, a dyed fabric made from refined abaca fibre. Lang Dulay was a T'boli princess from the Lake Sebu region in South Cotabato. She first learnt weaving at the age of 12 from her mother, Luan Senig. She is known for maintaining the use of traditional motifs in T'nalak weaving amidst commercialization of the craft which saw the introduction of more modern designs by non-T'bolis. She notably had a mental repertoire of around 100 patterns and designs some of these were based on her dreams, hence her description as a "dreamweaver". Lang Dulay set up the Manlilikha ng Bayan Center workshop in her hometown to promote the traditional art of T'nalak weaving and by 2014, five of her grandchildren had become weavers. Lang Dulay fell into a coma in early 2015 and died on April 30 of the same year. She was conferred the National Living Treasures Award in 1998. That same year, her works were featured in an exhibit at the Smithsonian Institution in Washington, D.C. in the United States as part of the Philippine Independence Centennial celebrations. Masterpiece: T’Nalak WOODCARVING Jose P. Alcantara Born: 1911 - 2005 ● Jose P. Alcantara was a renowned Filipino sculptor, muralist, painter, inventor and businessman. Alcantara is remembered for his contributions to the rich and diverse Filipino art scene, and is known as one of the greatest sculptors that the country has ever produced. ● A native of Manila, Alcantara began his career in art at the age of ten as an apprentice in a sculptural shop in the Quiapo district. He would go on to hone his craft over the course of his lifetime, and go on to win multiple prizes in competitions held by the Art Association of the Philippines, as well as various awards in the United States where he emigrated later in life. ● Medal awarded to Alcantara shortly before his passing by the president of the Philippines AWARDS: ● Special Prize, 1951: INA NG LAHI (MOTHER OF FILIPINOS) ● Third Prize, 1951: THE KISS ● First Prize, 1953: MOTHER AND CHILD ● First Prize, 1954: INA NG ANI (MOTHER OF HARVEST) ● Second Prize, 1955: SUSMARIOSEP ● First Prize in the first Southeast Asian Art conference and Competition: BEHOLD THE MAN COCONUT SHELL Bernadette Solina Wolf Date of Birth: February 27, 1959 Deceased: October 21, 2022 ● Bernadette Solina Wolf is a gifted painter and children’s book illustrator in the Philippines. She has become a popular illustrator who always includes Philippine patterns and indigenous designs in her artworks. ● Bernadette has a Bachelor of Arts degree in Visual Communications from the College of Fine Arts, University of the Philippines. She had taught visual arts at the Philippine High School for the Arts for five years. ● Living on Puerto Galera, a small island approximately 130 kilometers (81 miles) south of Manila, Bernadette has dedicated herself to illustration for about four decades. LEATHER PRINCIPLES OF DESIGN 1. Movement ARTIST: VINCENT VAN GOGH ART: STARRY NIGHT Van Gogh's The Starry Night (1889) is an example of how an artist can use a specialised painting technique to suggest movement. Broken, swirling lines suggest the movement of the wind through the sky. Van Gogh also used short, circular lines surrounding the stars and moon. This helps suggest that they are twinkling. 2. BALANCE Symmetrical Balance ARTIST: LEONARDO DA VINCI ART: THE LAST SUPPER Leonardo was well known for his love of symmetry. In his Last Supper, the layout is largely horizontal. The large table is seen in the foreground of the image with all of the figures behind it. The painting is largely symmetrical with the same number of figures on either side of Jesus. Leonardo Da Vinci's The Last Supper is another great example of symmetrical balance, drawing upon a one-point perspective in which the vanishing point is somewhere behind and above Christ in the center of the painting. An equal number of figures can be seen on either side of Christ, six on each side. Asymmetrical Balance ARTIST: Hokusai ART: "Under the Wave off Kanagawa" / The Great Wave The asymmetrical balance of the painting creates a feeling of heaviness and weight on the wide of the great wave. Despite the weight of the painting falling on the right side of the painting, the negative space works to balance this asymmetry. 3. UNITY ARTIST: EDVARD MUNCH ART: THE SCREAM The cold and the warm colors meet near the top of the painting and appear like they are in harmony. The two figures walking away from the middle figure creates a sense of loneliness. The dark colors in the water creates a sad feeling and the red skies create the feeling of pain. 4. Variety Artist: Tom Thomson Art: Opulent October, Winter When an artist places different visual elements next to one another, he/she is using variety: Straight lines next to curvy lines. Organic shapes among geometric shapes. Bright colors next to dull colors. 5. Rhythm Artist: Van Gogh Art: Weiner Elementary Like music or a dance, rhythm in art has a flow of objects or elements that repeat similarly to the beat of music. The rhythm can be shown through brushstrokes as in many of Van Gogh's paintings. 6. Scale Artist: Francesco Botticini Art: The Assumption of the Virgin Big to small human size 7. Emphasis Artist: Claude Monet Art: Impression, Sunrise The focus of the Impression, Sunrise painting is almost entirely on color and light, emphasizing the breaking sunlight and its undulating reflections. Monet sought to perfectly capture the morning in evanescent detail and his medley of blues and oranges depict this fittingly. 8. Contrast Artist: Pablo Picasso Art: Les Demoiselles d'Avignon Among the broken elements of the painting, the contrast between the faces of the three women on the left and those two on the right are the most glaring one. Those two faces on the right are painted chaotic exuberance and distorted making them seem barely related to human. Artist: Georges Braque Art: Still life with Lemons BOOKSTYLE KRISHA - Title page & Table of Contents Principles of Indigenous creative crafts: · Definition of Indigenous materials · Definition of Terms CASSION - · Importance of Indigenous Materials · Indigenous Peoples Rights Act 1997 Group members name, roles, and pictures layout GRACE - · Tools and Mateials used in making indigenous creative crafts · Safety practices in making indigenous creative crafts All REFERENCES ELOISA - Principles of Indigenous crafts design: · Movement - Contrast · Measuring and laying-out of indigenous design · ·Difference between arts and crafts SHIRLEY - Designing Indigenous Crafts and its classifications of materials used: -Wood -Rattan -Coconut shell -Bamboo -Leather ELECCION - https://en.wikipedia.org/wiki/Indigenous_peoples_of_the_Philippines ABELLA & CASSION - https://www.vigattintourism.com/tourism/articles/Indigenous-Arts-and-Crafts INSOY & ALMEDILLA - https://www.slideshare.net/babaylan1111/philippine-indigenous-art
