LEARNING ACTIVITY SHEET

ARTS 7

I. Introduction

Arts in the Philippines 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.

This module will take you to the journey of arts and crafts of Luzon
(Highlands and Lowlands). You will become familiar with different
designs, motifs and history of their attires, fabrics, crafts and
accessories used by the people of different regions.
The sculptures and architectures of Luzon reveal many aspects of the
people’s culture, tradition and history. The elements and principles of
arts and these fascinating arts and crafts will lead you to understand
the rich culture and tradition of the Philippines that is handed down
from generation to generation.

II. Learning Competency

 Trace the external (foreign and internal indigenous influences that
are reflected in the design of an artwork and in the making of a
craft or artifact. ( A7PL- IIIh-4)

III. Nominal Duration

 60 Minutes

IV. Objectives/Learning Outcomes

 Analyze elements and principles of art in the production of one’s
arts and crafts inspired by the arts of Luzon (Highlands and
Lowlands)
 Appreciate artifacts and art objects in term of their functions
and their distinct use of elements and principles.
V. Content Lesson/Discussion

IFUGAO

Sculpture

The beauty that one can exalt in

seeing the seemingly never-ending
terracing of rice fields, remarkable
long-stretching successive lines of
rice paddies hand-contoured in
several edges of Cordillera mountain
is really a historical dictate in our
conscience and to the minds of our
foreign visitors and a part of this
monumental achievement by our
brother Ifugao. There is another
cultural identity that exhibits their greatness this is the Ifugao Bul-ul
sculpture. These sculptural objects considered as an indigenous kind
that deserves the right to be marked intrinsically important for the
Ifugao cultural existence. If history told that rice terraces belong to
the essential nature or constitution of an Ifugao living it is by the
same degree, that Bul-ul sculpture is acknowledged as an integral
part of this festive agriculture drama.

Rice agriculture in the Ifugao mountainous area of fertile land is the

primary reason for their physical survival. This fact in anyway obliges
the Ifugao people to invent a preventive or defensive instrument to
protect their environs and its agricultural produce.

This dream by the Ifugao gave rise to a tangible image that will
magically bring the assurance of protecting their primary source of
living from any physical or natural adversaries. And because the
Ifugao people are incidentally praise-fearing persons, their feeling of
attachment to the concept of Gods; because they strongly believe that
these Gods intervene with their undertakings and communicate with
their dead ancestors, talented Ifugao carver were being motivated to
create such figure like Bul-ul in which by the process of enchantment
this will somehow encase the spirits of their deceased ancestors and
thereby mediate their demands to the Gods.

AMULETS
Amulets such as kiwil amongst Ifugaos, were used to protect people
from hostilities. Charms such as agayok were used by men to attract
women. In the past, when headtaking was still practiced by the
Ifugao, hipag amulets were used by men. It was their belief that they
will aid them in the headtaking raids.

MOUNTAIN PROVINCE

Textile

Mountain Province is growing in

popularity as a "Spelunkers Delight
and Weavers Paradise." It is, in fact,
THE breeding ground of backstrap
weavers in the Cordillera. As
evidence, most Mt. Province weavers
even populate the weaving centers
in other provinces like Benguet and
Baguio City.

Backstrap weaving is very common in the province. Likewise, they

take pride in the weaving of burial cloths which is popular in the
town of Guinzadan.

Kabayan Mummies
When industrial activity began
in the forests north of Manila,
loggers discovered ancient
burial caves hewn out of the
rock containing mummified
remains and hundreds of
coffins and skulls. The Ibaloi
tribe, which has existed in
Benguet province for
thousands of years, practiced
embalming rituals also found
in New Guinea and similar to
those of the Egyptian 21st dynasty. Dying members of the tribe drank
salty mixtures to begin the process. After death, their bodies were
cleansed, rubbed with herbs, and heated while their mouths were
filled with smoke. These steps were performed continually over a
period of weeks before the deceased were placed fetal position into
oval-shaped wooden coffins with decorative carvings. These practices
endured until the arrival of Spanish colonialists in 1500 and the
caves themselves remained untouched until the 19th century. Once
uncovered, they were designated a National Cultural Treasure but the
title assured them very little protection from vandalism and looting
that was rampant among visitors hoping to leave their mark on the
Kabayan mummies.

1998 World Monuments Watch

In addition to man-made problems, many of the caves were plagued

by insect infestation and fungal growth. Although some slight
research had been done and a few fences had been erected, any effort
to protect the caves was complicated by their remoteness. WMF
placed the caves on the 1998 Watch and secured a grant from
American Express for emergency conservation and the creation of a
comprehensive management plan. The project focused on four of the
most visited and heavily damaged caves: Timbac I and II, Bangao,
and Tenongchol. Under the guidance of the National Museum,
conservators treated the mummies to prevent further deterioration.
The governments of 13 municipalities were involved in a cultural
awareness campaign to introduce these unique finds to the Philippine
people. A workshop was held on the conservation of Benguet cultural
heritage, which centered on possible methods and techniques to
preserve the mummies. The Philippine Department of Tourism
sanctioned off the area where the caves are located and built tourist
facilities outside to better control visitation and prevent harmful
intrusions. The caves opened to the public in October of 2002.

Although mummification is no longer practiced among the Ibaloi

people of Benguet Province, the tribe today still considers the
Kabayan caves to be sacred territory and performs rituals in the area.
The Ibaloi recently reburied one of the looted mummies, the
intricately tattooed corpse of a chieftain named Apo Annu, after the
National Museum procured and returned his body. Because of the
tribe’s continuing relationship with the caves, it was important to
develop the site for tourism and allow for economic growth without
impeding their way of life. The Ibaloi actively participated in the
conservation effort led by WMF and the National Museum in Manila
to ensure the preservation of their history.

ABRA

Textile

Tingguian Weaving Traditions

TINGGUIANS OF NAMARABAR.
Tourism itineraries to Abra did
not include a trip to its tribal
community so I requested our
freelance tour guide to veer away
from the usual route and take us
to the Tingguian village of
Namarabar in Peñarrubia. The
Tingguian culture dates back to
pre-Spanish times but despite of
strong external forces
encroaching their traditions, they continue to practice their ethnic
beliefs and handicrafts.

The Tingguians are also called Itneg, a contraction of the Ilocano

words iti uneg, which means interior that refers to the location of
their settlement at the heartland of Abra. The Tinggians originally
settled near the lowlands of Narvacan and Santa in Ilocos Sur and
had constant contact with the Ilocanos but because of the clashes
between the natives and Spaniards, they moved out from the war-
torn valley into the uplands of the Cordillera.

TINGGUIAN WEAVING TRADITIONS

Tingguian weavers practice a

ritual before weaving. It
involves sacrificing a native
pig, dancing and praying to
Pinaing, the goddess of
weaving who according to
Tingguian folklore, introduced
to the Tingguian women the
weaving patterns for the
pinilian and binakol and the
embroidery style called
kinamay through dreams.

Pinilian refers to a grid style weaving pattern with motif that form the
shape of a deer, an eagle, a lizard, a flower, an eight pointed star,
sinang-kabayo (horse), sinan-tao (human figure) and other complex
Pinilian motif. These symbols have meanings that were exclusive to
the Tingguians. These motifs are believed to provide protection from
evil spirits and are symbols of prestige among the tribe. Pinilian
fabric is used as a wrap-around skirt, loincloth for men, and
headband and belt. Pinilian blankets are also used in important
rituals. The Ilocanos learned the pinilian technique from the
Tingguians. The weaving patterns used for Abra abel and the
psychedelic optical art weave of the binakol today for instance are
based from the traditional pinilian patterns.

VI. PROCEDURE/ PERFORMANCE OF SKILLS

ACTIVITY: Compare and Contrast

Identify the similarities and differences of the following textiles based
on the designs and materials used. Write your observations in a Venn
Diagram.
Ilocos Textile Cordillera Province Textile

Textile from Ilocos Textile from Cordillera

VII. Assessment (Learner)

a. Performance Output
Make a creative poster of a positive advocacy on the importance of
arts and crafts in a community, applying the elements of arts.
i. Rubrics Analytic

roject/Presentation
Exceeds Good Fair Poor
 
10 pts 7 pts 4 pts 2 pts

Poster Content Exceeds Good Fair Poor

The poster Poster includes Does not have all The poster is
includes all all relevant of the relevant lacking in
information information; information of the elements required
relevant to the however, it does poster. Sources and in resources
topic in an not utilize the and information used. There are
organized fashion resources are not used in an many gaps in
and includes and/or is not effective manner, information
effective use of well-organized. or there is not presented.
sources. enough
information
presented.
Information is
presented in an
unorganized
fashion

Work Exceeds Good Fair Poor

quality/effort
The work done The work was Work is done with Work is done with
exceeds all done with good fair effort, but the little effort, quality
expectations and effort that quality is still not is not what the
shows that the shows what the what the learner learner is capable
learner is proud of learner is is capable of. It is of. It is evident
his/her work. The capable of. It is evident that the that the work was
effort that was put evident that work was rushed. rushed and little
into this task is time was put time was spent on
the best it can be into this poster the final product.
by the learner. and Work is
presentation. incomplete.

Style/Mechanics Exceeds Good Fair Poor

The poster has an The poster is The poster lacks The poster lacks a
element of clear and logical style and reads clear
creativity and and contains more like a list of understanding of
style,, and is not facts as well as facts than an oral the subject matter
just a list of facts. very few group and their are
The poster is mistakes. Good presentation. The many errors.
presented in a clear poster lacks Poster is not
clear and concise presentation. neatness and creative.
manner with full clarity
understanding of
the subject.

VIII. References
Music and Arts Learners Material 7.2017.