Philippine Christian University

Sampaloc 1, Dasmariñas City, Cavite 4114

SENIOR HIGH SCHOOL
S.Y. 2023-2024

MODULE IN CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS (GRADE

11/12)
QUARTER 3 - WEEK 3 (FEBRUARY 12-16, 2024)

LESSON 3 – INTRODUCTION TO INDIGENOUS / TRADITIONAL ART FORMS IN THE

PHILIPPINES

OVERVIEW
The world is evolving at a rapid pace. The Philippines, as a country, is at a crossroads from its inevitable
shift from traditional to contemporary. Given these looming changes, we must not lose sight of our ancient
way of life; instead, we must rekindle interest in and recover Filipino indigenous culture and arts through
teaching and learning.

OBJECTIVES
At the end of this lesson, you are expected to:

● Content Standard: Understand the significant roles of artists from the region. (Week 3-8)
● Performance Standard: Creates avenues to advocate the arts from the different regions. (Week 3-8)
● Most Essential Learning Competency/s (MELCs): Research on various contemporary art forms. (Code:
CAR11/12CAP-0c -e-4)

TEST YOURSELF
Mind Map

Instruction: Fill in the boxes with your ideas about the word “Katutubo”.

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 Idea 1:
Idea 2:
Idea 3:
Idea 4:

STUDY THESE TERMS

● Tribe – a social group composed chiefly of numerous families, clans, or generations having a shared
ancestry and language.
● Handicraft – also called as artisanal handicraft or handmade, a wide variety of types of work where
useful and decorative objects are made completely by one’s hand or by using simple, non-automated
tools like scissors, carving etc.
● Tapestry – a heavy handwoven reversible textile used for hangings, curtains, and upholstery and
characterized by complicated pictorial designs.
● Cultural identity – refers to identification with, or sense of belonging to, a particular group based on
various cultural categories such as nationality, ethnicity, race, gender, and religion.

DISCUSSION

Defining Indigenous People

The word “indigenous” comes from the Latin word
“indigen” which means native or original inhabitant—an idea
that became popular in the 17th century. Thus, the most
common understanding of the concept suggests that they are
the original inhabitants of the land.
According to the United Nations Permanent Forum
on Indigenous Issues, the term “indigenous” has been used
continuously, whether as a form of collective names for
categorization or as representation to the legal issues in the
corresponding state that governs them. They are most often
mentioned as tribal people or ethnic groups or communities.

What is Indigenous / Traditional Art?

Traditional / Indigenous art is art that is part of a culture of a certain group of people, with skills and
knowledge passed down through generations from masters to apprentices. It is an art commonly made by the
indigenous people. It includes artworks that frequently uses raw materials such as extract from wood, plants,
shells, etc.

Philippine Indigenous People and Their Art

The number of Indigenous Peoples in the Philippines is unknown, but it is estimated that between 10%
and 20% of the country's population. The last census of 2010 included an ethnic variable for the first time.
However, an official figure for the Indigenous Peoples of the Philippines has yet arrived, and it is estimated that

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the country's indigenous population is between 10% and 20% of the national population, which currently
stands at around 102.9 million.

There are One hundred Ten (110) major Indigenous groups in the Philippines. Most of the Indigenous
Peoples depend on traditional agriculture utilizing available upland areas. Republic Law No. 8371, known as
the Indigenous Peoples Rights Act (IPRA), was enacted in 1997. It has been praised for its support for the
cultural integrity of Indigenous Peoples, the right to their lands and the right to self-directed development of
these lands.

Each region of the Philippines has its own indigenous communities. Similarly, each of these
communities has its own unique arts and crafts. Whether it be visual arts, song and dance, handicrafts,

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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

Importance of Studying Traditional Art

According to the National Commission
for Culture and Arts (NCCA), it is important to
showcase traditional art to highlight our “cultural
identity” as it is essential to every society. “The
art and culture of a people represent the sum
total of a nation's history and civilization. A
nation is only great as its culture, while its true
image and soul is reflected in its art.”

Traditional Attire of Some Philippine Indigenous

Groups
Northern Philippines

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Central Philippines

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Southern Philippines

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Other Examples of Indigenous Artforms in the Philippines

Music and Dance

Indigenous artists do not showcase their efforts, and their
accomplishments are rarely valued. The earliest art forms in the
Philippines that have not yet been somewhat penetrated by
Western influences are music and dance.
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.

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Decorative Art
In northern Luzon, for example, the Ilocanos are
known for the craftsmanship of the cotton fabric “inabel”.
Indigenous peoples decorate their everyday implements with
art. In the Mountain Province, “shields, spoons, ladles, bowls''
and figurines are infused with art through wood carving.
In Mindanao, on the other hand, original Muslim art
can be recognized through certain motifs, colors and patterns.
These stylized elements are evident through brasswork, tools,
weaponry and musical instruments.
Capiz, for example are known for making handicrafts
from the shell of the Placuna placenta mollusc or windowpane
oyster they found in the seas comes from Fishermen harvest
these edible molluscs for food and use the shells in to make different things like lampshades, stained glass
windows, etc.

Main Characteristic of Philippines Indigenous Artform

The communal orientation is manifested in all aspects of traditional Filipino village life and, to a great
extent, even in urban settings. Traditional arts reflect this communal orientation as well, with the following
specifics:

● Integration of the arts with other values and functions. – Art is not separated from its other values
and functions such as “religious, moral, spiritual, social and ecological concerns”
● Unity of the arts – Sensory modes are cultivated holistically and have to be developed together. No
one's sensory mode and aesthetic intelligence is to be cultivated at the expense of the others, senses
have to be harnessed and promoted together for maximum aesthetic well-being. (Integration of
faculties is the integration of artistic sensibilities)
● Art is assimilated into life - Art is integrated with everyday life and not regarded as a separate activity.
● Equality of opportunity for participation in the artistic, creative process – The community is involved
in the work of art; thus, one artist is rarely recognized and remains anonymous most of the time
● Artist is not separate from his audience or society - There is no dichotomy of artist and society because
art is not the specialist’s concern alone. Everybody is expected to be an artist and participate in
creative, expressive activities.

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 ● Flexibility of material, technical, and formal requirements – No rigid or fixed standards dictate the
choice of materials, techniques, and forms for artistic creation and expression, e.g. Flexibility ensures
a wider, more democratic participation of people in artistic activity.
● Use of available resources for artistic creation – Art is not synonymous with big production costs
because what matters is artistic excellence or the creative idea as well as making art part of everyday
life.
● Process of creation is valued over the work of art – The emphasis is on the creative process rather
than the finished product. This valuing method nurtures creative health.
● Conceptualization and realization are simultaneous - Affirmation of the creative imagination through
the tradition of instant mirroring or biofeedback, which, together with emphasis on the creative
process, provides an excellent condition for communal participation.

In Focus: Batok
“Batok”, “batek”, “patik”, or “batik” are all broad terminologies for
indigenous tattoos in the Philippines. During the pre-colonial era, practically
all ethnic groups in the Philippine Islands tattooed both sexes. The marks are
created by "taping" the designs into the skin using bone/wood instruments
and homemade ink.

Apo Whang-od Oggay – is a Filipina tattoo artist from Buscalan,

Kalinga, Philippines She is known as the "last" and oldest mambabatok
(traditional Kalinga tattooist) and belongs to the Butbut ethnic group within
the wider Kalinga ethnic group.

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ACTIVITY (EVALUATION)

Performance Task: Art Making (Painting)

Instruction: Create a painting art piece

depicting Filipino Indigenous arts and culture.
Submit your output by attaching two (2)
photos upon submission [*see notes below*].
Create a title and a brief description.

Photo Requirements:

● One (1) photo of your artwork

● One (1) photo of you together with
your artwork

The following rubrics will be used to evaluate

your production:

Source: https://community.simplek12.com/scripts/student/share/view.asp?id=542

REFERENCES (Licenses and Attributions)

A. Books
● Biana, T. et. al. (2016). Teaching Philippine Indigenous Cultures: Modules for Higher Education
Institutions. DLSU Social Development Research Center. Pg. 53-56. Accessed from
https://www.dlsu.edu.ph/wp-content/uploads/pdf/sdrc/books/ubcheamodule-sept262016.pdf
B. Conference Sessions
● De Vera, D. (2007, August 20-26). Indigenous Peoples in the Philippines: A Country Case Study. Rural
and Northern Immigration Pilot Regional Assembly, Hanoi, Vietnam. Accessed from
http://www.iapad.org/wp-content/uploads/2015/07/devera_ip_phl.pdf
C. Online Sources
● https://our7107islands.com/digging-deeper-philippine-indigenous-arts-and-crafts/
● https://www.iwgia.org/en/philippines.html
● https://steemit.com/traditional/@lapilipinas/philippines-traditional-artifacts-and-cultural-crafts
● https://mandalameadow.com/arts-and-crafts-philippines/
● https://m.facebook.com/JmePaints/albums/4543796225672522/
● https://www.lanewilcken.com/what-is-batok.html#/
● https://www.sunstar.com.ph/article/102315/chasing-whangod-the-oldest-kalinga-mambabatok
● https://ncca.gov.ph/about-culture-and-arts/in-focus/the-cultural-matrix-of-philippine-traditional-
arts/

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Prepared by: Checked by:

Christopher Jason Y. Ampoloquio, LPT Princess P. San Antonio, LPT

Emmanuel O. Orense Subject Lead Teacher - Social Science 12
Marjory Ann L. Panghulan, LPT, MBA
May Ann R. Rebay
Kristina A. Leonidas
Ma. Ernianne Joy P. Kallos, LPT
Subject Teacher/s

Approved by:

Mario S. Mecate, Ph.D.

AVP for Basic Education/Principal

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