Introduction:

Arts in the Philippines refer to the artworks that have developed

and accumulated in the Philippines from the beginning of civilization in
the country up to the present.

In this 3rd module in GEC 006: Art Appreciation, you are going to
learn the Traditional Arts in the Philippines, Islamic arts, art in
Cordillera and the Indigenous arts.

Intended learning outcomes:

At the end of this module, you are expected to:

 create miniature of bahay-kubo and bahay na bato;

 summarize their learning about the arts in the Philippines; and
 draw the Sarimanok from the Islamic arts.

WORD BANK. Define the following terms according to your own

understanding.
1. Traditional
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 2. Crafts
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3. Handicraft
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TRADITIONAL ARTS IN THE PHILIPPINES

Arts in the Philippines are classified into traditional arts, arts in

Muslim Mindanao or Islamic Arts and arts in the Cordillera region. These
arts reflect the societies wide range of cultural influence in the
country’s culture and how they honed the country’s arts.

TRADITIONAL MOTIFS

 Traditional motifs are used by folklorist in analyzing, interpreting,

and describing the traditional elements found in the lore of a particular
folk groups and compose the folklore of the various regions and cultures
of the world based on the motif patterns.

In other words, the folklorist identifies motifs in folklore to be able

to interpret where, how, and why these motifs are used so that they can
understand the values, customs and ways of life of unique cultures.

The meaning in cultural anthropology encompasses the use of motifs in

the areas of music, literary criticism, visual arts, and textile arts
that create recognizable patterns in folk-art traditions.

 A motif is an image, spoken or written word, sound, act, or another

visual or structural device that has symbolic significance. It is used
to develop and inform the theme of a literary work. The concept of a
motif is related to a theme, but unlike a theme which is an idea or
message, a motif is a detail that is repeated in a pattern of meaning
that can produce a theme while creating other aspects at the same time.

It is closely related to a theme or a symbol and uses different narrative

elements. It is constantly repeated to represent a dominant or central
idea or theme in a work of art. It relates more to thought which is
used to support a theme.

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 TRADITIONAL CRAFTS
A traditional craft should meet the following requirements

1. Used mainly in everyday

2. Manufactured by hand
3. Manufactured by using a traditional technique or skill
4. Made traditional materials
5. Manufactured in a certain area with a certain number of
manufacturers

TRADITIONAL CRAFTS CONSIST OF THE FOLLOWING:

 Handicrafts
 Weaving
 Embroidery
 Woodcarving
 Musical instruments making
 Earthenware tiles making
 Glasswork
 Stonework

Handicrafts. The main sector of traditional crafts. These are types of

work where useful and decorative devices are made completely by hand or
by using simple tools.

Handicrafts have been existing in pre-historic times. These traditional

crafts have cultural and/or religious significance. Handicrafts were
later improved and adapted according to environmental conditions and
accepted as an art that reflects artistic sense, feelings, and cultural
characteristics of a society.

Philippine handicrafts are usually taken into character in terms of

jewelry, textiles, and artisan goods in which its raw materials are
locally sourced. On this note, it is truly an advantage for Filipino
craftsmen that there are abundant raw materials readily available for
their trade. (Mendoza, 2020)

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 Weaving. It is a method
of textile production in which two
distinct sets of yarns or
threads are interlaced at right
angles to form a fabric or cloth.
Other methods
are knitting, crocheting, felting,
and braiding or plaiting.

Weaving in the Philippine

archipelago is more than just a
function of necessity; it’s also an
art form, a tangible expression of
culture. It’s practiced alongside
woodworking, carving, boat
building, basketry, pottery, and
mat weaving, with different ethno
linguistic groups executing a
variety of designs, styles, and
techniques to produce textiles that
are distinctly their own.

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 Embroidery. It is not only used for decoration but also a means of
communication tool with the symbolism in its designs.

The embroidery tradition in the Philippines was born in the town of Taal,
Batangas during the turn of the century. It has been a refined art in
the society because of its intricate well-embossed appearance. It belongs
to one of the finest arts in the world.

The materials used in embroidery are Piña and other traditional fabrics.
The former is a soft, flexible, and durable fine off-white fabric that
is derived from the best mature leaves of the red Spanish variety of
pineapple. During the Spanish times, piña was the most expensive fabric
for Barong Tagalog on very rare and special events.

Hand embroidery originally starts with a designer called the magdidibuho.

He is in charge of stamping the designs on the cloth to be embroidered.
After that, the cloth is then passed to the embroidered, whom they call
the magbuburda, who embroiders the cloth in the place where the stamp is
put. Another person does the cut-open portion of the embroidery, called
the magkakalado.

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 Woodcarving. It has been existing long time ago, the most common products
are tables, sala sets, cabinets, doors cupboard corners, and others.
These crafts were greatly simplified and applied mostly to objects in
daily use such as tripods, wooden stands, writing sets, drawers, chests,
spoons for decorations, rowing boats, reading desks, etc. Architectural
works in woodcarving include windows, wardrobe covers, beams, ceilings,
pulpits, coffins, etc.

The materials used in woodcarving were mostly walnut, ebony, rosewood,

narra, acacia, bamboos, etc. Woodworking is generally common in
Cordillera region and Southern Tagalog provinces, especially Paete,
Laguna (Wood carving capital) and in Pangasinan.

Making musical instruments. It is a traditional craft that existed for

many long years. The materials used for making musical instruments came
from trees, plants, skin, bones, and animal horn. Musical instruments
are classified into string, percussion and woodwind.
Glazed earthenware tiles. These are used for ceramic and art purpose.
Artists usually create animal designs in these tiles. As a ceramic art,
it became world famous for their extraordinary creative workmanship.
Glasswork. It is
another traditional
art form. Stained
glass was developed
many years ago.
Church windows are
made of stained
glass in different
models and forms.
Figurines, mugs,
drinking glass,
utensils made of
decorative glass
work are very
common nowadays.
High quality of
glass workmanship
is kept alive in
this 21st century.

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 Stonework as a traditional craft plays an important role in exterior and
interior decoration in traditional architecture. Traditionally, products
of stonework consist of grinders, stone tables, and benches, gravestones,
human and animal figures, and decorative purposes. Stonework techniques
include carving, relief and statue. Ornamental motifs used are plants,
geometric motifs, writing and figures.

Basket weaving is also a traditional craft that started a thousand years

ago. It is carried out by weaving reed, willow, and nut branches, bamboo
trunks, rattan and other materials. It is used for home decoration in
addition to the original purpose of helping to carry things. Nowadays,
basket-making is a very good way of earning a living which is prevalent
in the Cagayan Valley, Cordillera, and Bicol Regions, as well as in some
provinces in Visayas islands.
There are other traditional crafts that are available and found in some
areas of the Philippines which you can name of. Nevertheless, as a result
of changing conditions of the present times, resulting to
industrialization and globalization in all areas of work, the production
of these traditional crafts has now ceased or about to cease.
However, in order to promote their cultural values and traditions in the
Filipino way of life, these works of art are photographed and recorded
for the archives and art museums for heritage and posterity. Others are
still exhibited during fiestas, festivals, and trade fair for promotion
and for income-generating purposes. There are still traditional crafts
that are found and available in some markets for sale purposes.
It is recommended that the government (local and national) should hold
national and regional traditional craft exhibitions or competitions to
promote the Filipino cultural value and heritage.

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 ISLAMIC ARTS (Arts in Muslim South)
The Muslim South where majority of the Muslim population is concentrated
has about nine (9) ethno-linguistic groups: Tausug, Maranao,
Maguindanao, Samal, Yakan, Sanggil, Badjao, Molbog, and Jama Mapun. Some
people believe that only the Tausug, Samal, Maguidanao and Maranao can
be considered as Muslim. Nonetheless, art in the Muslim south encompasses
the art produced by people who lived within the territory that was
inhabited by the culturally Islamic population.
Islamic art is a very difficult art to define because it covers many
lands and various peoples over some 1,400 years. However, Islamic art is
not at all restricted to religious art. It includes all other arts of
the rich and varied cultures of Islamic Societies as well.

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 T’boli Art
One of the most iindigenous people in Southern Mindanao are the T’boli
people of the South Cotabato. Based on Muslim Ethnography and linguistic
literature, the T’boli people have various names and spelling such as
t’boli, tiboli, tboli, tibole, tagabili or tagabulu but they term
themselves as t’boli or tiboli.

T’nalak
According to David and Everett (2020), T’nalak is a traditional
hand-woven cloth indigenous to the T’boli people from the Cotabato
region. It is woven in order to celebrate and pay tribute to major life
events such as birth, life, marriage, or death within the community. The
cloth is woven from abaca fibers and is naturally dyed from bark, roots,
and certain plants. The fabric undergoes a unique tie-dye process where
it is tied in specific knots measured by finger or knuckle length, and
dipped in dyes in order to create ornate patterns that indicate precision
in craftsmanship. This is denoted by a distinctive tri-color scheme; the
background is painted black while the pattern is white, which is then
tinted predominantly with shades of red. However, it is not unusual to
see creative variations in such a traditional pattern.
In addition to marking major life events, the cloth also conveys class
and individual status, often signifying the warriors within a community.
T’nalak weaving was a practice observed by women who were referred to as
“dream weavers,” as it is believed that the designs and patterns were
sourced from images in their dreams, as handed by the spirit of the
abaca, Fu Dalu. The T’nalak woven by the dream weavers were coveted and
inevitably valuable, as the women were famed embroiders and brass
casters. The details required to create the fabric were taught and passed
down through maternal relatives. T’nalak also was bartered in order to
secure food and supplies for a family.

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 Dagmay Skirt
“Dagmay” is a handwoven textile made from abaca. Making it involves a
mud-dyeing technique wherein tribe members soak their tannin-dyed yarns
into iron-rich mud for days. The Mandaya women then weave the fiber
into intricate figures and patterns depicting their folklores and
beliefs. More often, “dagmay” carries the human and crocodile motifs to
their highest expression. The reptile is revered as shown by the
regularity which it appears in their design. This skill and art is handed
down from one generation to the next, where each design made is a showcase
of the weaver’s expressions.

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 Pis-yabit Cloth
Pis-yabit is a head covering by the Tausug of Sulu. This traditional
cloth tapestry is made from cotton or silk.
The most recognized community of Pis Syabit weavers in Sulu are from
Barangay Guimba Lagasan in the town of Parang. This is also where the
late master weaver DARHATA SAWABI, a GAMABA Awardee of 2005 (National
Living Treasure) came from.
The barangay people in this town are well known for their expertise in
the craft, their bold contrasting colors, evenness of their weave and
their faithfulness to traditional designs.
Unlike other traditional weavers, Pis Syabit are intricately woven at
the houses of the Tausugs. Most of the elder weavers devoted their full
time to their craft. They even teach and pass on this tradition to
interested young generation.

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 Seputangan (head cloth)
The seputangan is a head cloth worn by the Yakan tribe of Mindanao. The
warp and primary weft are of cotton and the supplementary weft is silk.
The supplementary weft work is discontinuous, a type of work in which
the various colors are inserted in the proper place by hand.

Inaul Skirt
The inaul is the famous Cotabato City
handwoven fabric in Maguindanao. It is used
by Maguindanaon as a “malong”, a tabular
skirt of “sarong” that wraps around the lower
part of the body and worn as traditional
dress by both men and women. Inaul, is a
treasured cultural tradition as it captures
the Maguindanao symbol of distinction and
royalty. A source of pride and a testament
to the rich cultural heritage of the people
of Cotabato City.

Woodcrafts
The materials primarily used in Muslim or Islamic Art are wood, brass
and cloth, but no less important are silver, gold, iron, horn, ivory,
leather, bamboo and matting materials.

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 Best examples of Maranao brass art are the gabu and gaduaa jar-like
containers with corner; langguay, coverless containers with decorated
rims; kendi, an ornamented teapot; salapa and lutuan-both associated
with betel-nut chewing common among Muslim Filipinos; and talam, the
gorgeous tray often used as modern table top or wall decoration.
Brass art seems to take the place of pottery for the Maranao for even
their cooking pot, the kodon is made of brass. Aesthetic and artistic
intention is always a characteristic of the Muslim art.
Muslim carving is a highly-skilled, well-developed, and broadly-based
art. Sulu artists used instruments like axe (kapa), planes (katam), gauge
(songa) for scouring and knife (lahot). For simple carving, sometimes
chisel and knife are used.
Although, non-figurative art is predominant among Muslim Filipinos,
there are a number of notable figurative types found among them. The
most obvious is the Maranao Sarimanok where both bird and fish
representation are depicted.
Okir or Okil
This is the term that represents the geometric and flowing designs, often
based on an elaborate leaf and vine pattern, and folk motif which are
usually found in Maranao, Maguindanao and some other places in Southern
Mindanao and as far as Southeast Asia.
The Okir a datu is the ornamental design for men and Okir a bay is that
for women.
An ancient proof of okir’s style of flowering symbols is the torogan,
the ancestral home of the highest title holder in a Maranao village. It
is a symbol of power and prestige usually adorned during festivities.
Its prominent part is the panolong, a carved beam that protrudes in the
front of the house and styled with okir motif. The okir design is found
woven or printed in textiles, carved into wooden cemetery markers and
wooden boxes, and it can also be found etched into knife or sword blades
and handles, and cast or etched into various brass and silver objects.
Variations of the okir involves the use of naga or serpent motif. Maranao
instruments usually are styled with okir. A more prominent variation is
the Sarimanok, a chicken-like figure that carries a fish in its beak.
It was believed that the first Okir was made in Tugaya, Lanao del Sur,
as Tugaya is known as the home of Maranao artisans and the industrial

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 capital of Lanao del Sur. It has been long known as the home of arts and
crafts of Maranao tribe since time immemorial.

ARTS IN THE CORDILLERA REGION

The arts in Cordillera Region must be given a place in the study of
Humanities in the same way we emphasized and gave importance in the
arts of Muslim Mindanao. People in the Cordillera Region appreciate
arts as much as the Muslims in Mindanao are.
Cordillerans are not only peace-loving people; they are also artistic
lovers of nature as evidenced by their art in wood carving. In fact,
many foreign tourists and visitors in Baguio City buy woodcraft
products as souvenirs. Woodcraft products of Cordillera Region reached
as far as Mindanao because of the artistic manner in which they were
produced.
The people of the Cordillera Region, comprised of the Isneg (Apayao),
Tinguian (Itneg), Kalinga, Bontoc, Ibaloi, Kankaney, have a distinct
way of life that influenced their art tradition. The ingenuity and

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 persistence with which the Cordillera Region artists transform raw
material into works of art define them as people.
Woodcrafts
Wood is the raw material of the people of the Cordillera Region in
manufacturing of artistic shields, decorated containers, home utensils,
figurines and religious images. Bamboo is also used, together with clay,
bronze, brass. Iron is a necessary material in making spears and head
axes.

Wood Crafts:
1. The Bulol or Ifugao Rice God
2. Ifugao Priests (Mombaki)

1. The Bulol or Ifugao Rice God

-a carved human figurine into which a certain
class of anito is said to incorporate itself
when worshipped
- is an image of a sitting male person that
protects the rice fields of the Igorots or
Cordillera mountain peoples, especially, the
people of Ifugao.

2. Ifugao Priests (Mombaki)

-They are hand carved effigies of Igorot Mumbaki shaman / priests from
Ifugao in the mountains of Luzon.
-One of the Mombaki has the traditional sacrificial chicken and the other
has a cup of tapuay, the traditional drink at the ceremonies. The rustic
carvings reveal great character. The wood is dense and hard with a nice
grain and may be a variety of ironwood or mahogany. It has a great aged
patina. Wonderful item for the Philippines native culture collector.

The high artistic quality of the Cordillera woodcrafts showing both

human and animal motifs is a characteristic of the area. The need of
other communities for Cordillera woodcrafts serve as an opportunity for
the artists to display their carving skills and techniques.

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 THE INDIGENOUS ARTS

Indigenous arts are those native arts that have grown naturally through
the years in a certain locality. Indigenous arts include the Torogan of
Muslim Mindanao (previously discussed), bahay-kubo, bahay bale, bahay na
bato, and other indigenous house. Traditional arts and crafts are not
indigenous arts per se since these arts did not naturally existed in the
particular area from time immemorial.

Indigenous Materials
The materials in indigenous arts come from native materials or local
materials that are found in the locality. Some of these are the sawali,
coco coir, bagasse, abaca, bamboo, palm frond stems, mud bricks, rattan,
rice husks, cogon, wood, and stone.
1. Sawali. This material comes from the outer covering of bamboo
poles. It is woven into mats and ideal for cement backing.

2. Coco coir. This by-product of coconut is used to minimize the use

of cement and as sandwich panels for insulation.

3. Bagasse. This is sugar cane waste used for insulation or cement

backing.

4. Abaca. This is a fiber material obtained from the leaf stalk of a

banana plant. Most of these materials are found in the Bicol region.

5. Bamboo. This indigenous material has low degree of elasticity, low

-concrete adhesion, but wide variable moisture content. It is very
useful in architectural forms and designs, mainly as reinforcement
to concrete.
The use of bamboo materials can lead to substantial savings
and increased employment in the locality.

6. Palm frond stems. This material is often used for non-structural

panels, walls, screens, and bases of houses. Despite being widely
used, it is susceptible to termites and have to be replaced every
4 to 5 years. To raise its life span to 15 years and above, the
material must be treated with anti-termite chemical like solignum
or the structure must be raised above the ground.

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 7. Mud bricks. This material is brittle, has less strength, and cannot
stand up well to tension. However, it is the choice of building
materials in places with hot, dry climates due to its low thermal
conductivity. Indigenous materials are widely used in architecture
such as in the construction of bahay-kubo, bahay bale, bahay na
bato and other indigenous architectural structures.

Bahay-Kubo
Bahay kubo is a cultural icon, a cultural heritage and as a symbol of
togetherness. The Filipino translation of bahay-kubo is “nipa hut”. The
typical nipa hut has no partition for rooms so as to accommodate the
entire family. The inside area is the space for dining, sleeping and
living area in one. This typical hut symbolizes the typical Filipino
family as a closed knit family. This is also an indication that Filipino
families are closely tied.
In other countries, it is the opposite phenomenon. When an individual
has reached the age of 18, that individual is free to move out of the
house and live independently. In the Philippines, even if the children
have already grown up and already married and have children of their
own, generally, parents still prefer their children to live with them.
This phenomenon usually happens in rural areas of the Philippines.
However, this situation have gradually decreased due to the emergence of
the contemporary society where many of indigenous cultural traditions
and customs have been overtaken by globalization and industrialization.
Bahay na Bato
Bahay na bato (Tagalog, literally "house of stone") is a type of building
originating during the Philippines' Spanish Colonial Period. It is an
updated version of the traditional bahay kubo. Its design has evolved
throughout the ages, but still maintains the bahay kubo's architectural
basis which corresponds to the tropical climate, stormy season, and
earthquake-prone environment of the whole archipeybrid of Austronesian,
Spanish, and Chinese architecture. It’s most common appearance that is
organized.
lvanized or other modern roofing. It followed the bahay
kubo's arrangements such as open ventilation and elevated apartments
used as living space with the ground floor used for storerooms, cellars,
and other business purposes. Like bahay kubo, much of this ground level
was reserved for storage; in business districts, some spaces were rented

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 to shops. Horses for carriages were housed in stables
called caballerizas. Bahay na bato had a rectangular plan that reflected
vernacular Austronesian Filipino traditional houses integrated with
Spanish style.
It was popular among the elite or middle-class, and integrated the
characteristics of the nipa hut with the style, culture and technology
of Chinese and Spanish Architecture. The 19th century was the golden age
of these houses, when wealthy Filipinos built fine houses all over the
archipelago.
The same architectural style was used for Philippines' Spanish-era
convents, monasteries, schools, hotels, factories, and hospitals, and
with some of the American-era Gabaldon school buildings, all with few
adjustments. This architecture is still used during the American
colonization of the Philippines. After the Second World War, building
these houses declined and eventually stopped in favor of post-World War
II modern architecture.
Today, these houses are more commonly called ancestral houses, due to
most ancestral houses in the Philippines being of Bahay na
bato architecture.

Ifugao Bale (Native house)

The Ifugao "Bale" or Native House is said to be the "first pre-
fabricated house in the world," according to renowned anthropologist
Otley Beyer. It has been the subject of many scholarly articles as it
is one of the most ingenious and nearly perfect architectural
constructs made by man.
This type of dwelling does not make use of nails thus it is also
called the "No- Nail" House. The house can be dismantled and
transferred to another place of choice without destroying any part of
it. The Ifugao "no-nail" house evolved from a more primitive dwelling
called the "abong" which is less permanent and is not raised.
Banaue Ethnic Village features actual Ifugao native houses that have
been relocated and preserved, which show visitors how the Ifugao
native house evolved throughout time. Ifugao house building is one of
the most admired ethnic architectural designs for having employed an
indigenous system of construction that is more complex than its
seeming simplicity.

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 ACTIVITY 3.1
Summarize your learning about the arts in the Philippines by
completing the table below.
Things I have learned Things I have realized Things I have
and appreciated discovered

ACTIVITY 3.2
Create a miniature of bahay-kubo and bahay na bato. Take a clear
picture of your miniature and submit it in CLMS.

20points 15 points 10 points

Skill/Craftsmanship A (Excellent) B (Good) C (Fair)

The project shows The project shows good The project shows fair skill
outstanding skill, with skill, with good attention and attention to detail.
clear attention to detail to detail and proper use of Student made some
and proper use of materials. Craftsmanship attempt to use materials
materials. Craftsmanship was very good, with care properly as demonstrated.
was excellent, with great taken in design and Craftsmanship in design and
care taken in design and construction. construction was adequate.
construction.

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 10 points 7 points 4 points

Understanding A (Excellent) B (Good) C (Fair)

The project was planned The project was planned The art project is planned
carefully; student carefully; understanding of adequately; understanding
understood all concepts most concepts and of some concepts and
and instructions. instructions are shown. instructions are shown.

Effort A (Excellent) B (Good) C (Fair)

The student made an The student put forth a The student made some
excellent effort to good effort to complete effort to finish the project
complete the project to the project with creativity. with some creativity.
the very best of their
ability and creativity.

Work Attitude A (Excellent) B (Good) C (Fair)

Student was totally Student was enthusiastic Student rushed through the
engaged in the project about the project and project in order to get done.
and very enthusiastic enjoyed the process of
about working on it. working on it.

ACTIVITY 3.3
Draw your own version Mindanao’s Sarimanok in a 1/8 illustration
board. (100 points)

5 points 10 points 15 points 20 points

Craftsmanship Art work is messy and Art work is somewhat Art work is neat and Art work is impeccable
shows smudge marks messy and shows either shows very little and shows no
and rips, tears, or smudge marks or rips, evidence of smudge evidence of smudge
folds. tears, or folds. marks, rips, tears, or marks, rips, tears, or
Erasure lines Some erasure lines folds. A few erasure folds. No erasure lines
showing. showing. lines showing. showing.

Technique/Art Art work lacks Art work shows some Art work shows good Art work shows a
Concepts technique and/or technique and technique. All objects mastery of advanced
understanding of art understanding of art are placed in correct techniques in
concepts. Paper is left concepts. Average use space. Negative and composition. All objects
mainly blank, little of negative and positive positive space is almost are placed in correct
area drawn on and space. Paper is half filled balanced. Paper is space. Negative and
does not show a and foreground and drawn on leaving some positive space is
background, mid- area undone and shows balanced. Paper is

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 ground and/or background is clearly a background, mid- completely drawn on
foreground. shown. ground and foreground. and shows a
background, mid-ground
and foreground.

Creativity Art work shows little Art work shows some Art work reflects Art work reflects a high
or no evidence of evidence of originality. originality. level of originality.
original thought. Student uses line, Student uses line, Student uses line,
Student does not use shading or form in a shading or form in an shading or form in a
line, shading or form slightly original manner. original manner. highly original manner.
in a creative manner.

Shading/ Proportion Completed art work is Completed art work is Completed art work is Completed art work is
not shaded or half shaded showing almost fully shaded fully shaded showing
incorrectly shaded. average placement of showing good placement excellent placement of
Still life objects are light and darks using of light and darks using light and darks using
incorrect in average drawing good drawing technique. excellent drawing
proportion with real technique. Some still life Still life objects are technique. Still life
life objects. objects are in proportion mostly in good objects are in excellent
with real life objects. proportion with real life proportion with real life
objects. objects.

Documentation It can’t be easily It is quite organized and It is well-organized and It is well-organized and
interpreted and easily interpreted. There easily interpreted. There easily interpreted. There
unorganized. There are some captions and are some captions and are captions and all the
are no captions and some instructions given most of the instructions instructions given by the
the instructions given by the teacher was given by the teacher was teacher was presented.
by the teacher was presented. presented.
not presented.

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 References:
Textbooks
 Ariola, Mariano M. (2018) Art Appreciation. Unlimited Books Library
Services & Publishing Inc.
 Leano, Roman D., (2018) Art Appreciation for College Students.
Mindshapers Co., Inc.
Websites
 The art of Philippine embroidery. (2018, July 31). Our 7107
Islands. https://www.our7107islands.com/the-art-of-philippine-
embroidery/
 Arts of cordillera region - Pdfcoffee.com. (2019, October 13).
pdfcoffee.com. https://pdfcoffee.com/arts-of-cordillera-region-pdf-
free.html
 Bahay Na Bato. (n.d.). Historic Houses Wiki. Retrieved April 4, 2022,
from https://historic-houses.fandom.com/wiki/Bahay_na_Bato
 David, A., & Everett, S. (2020, April 27). T’Nalak: The land of the
Dreamweavers – Critical Filipinx American histories and their
artifacts. University of Washington Libraries – Pressbooks Publishing
Platform. https://uw.pressbooks.pub/criticalfilipinxamericanhistorie
s/chapter/tnalak-the-land-of-the-dreamweavers/
 Mendoza, M. (2020, August 2). Philippines handicrafts: An overview.
Batik Atbp. https://batikatbp.com/blogs/articles/philippines-
handicrafts-an-overview
 Meneses, J. (n.d.). Module 6 visual elements in Philippine
traditional motifs and crafts.
StuDocu. https://www.studocu.com/ph/document/university-of-la-
salette/art-appreciaton/module-6-visual-elements-in-philippine-
traditional-motifs-and-crafts/24153252
 NARRA STUDIO. (2019, September 27). Weaving traditions: A
history. https://narrastudio.com/blogs/journal/weaving-traditions
 Reviving the Mandaya's 'dagmay'. (2019, May 31). Mindanao
Times. https://mindanaotimes.com.ph/2019/06/01/reviving-the-
mandayas-dagmay/
 Weaving. (2002, May 12). Wikipedia, the free encyclopedia.
Retrieved April 4, 2022, from https://en.wikipedia.org/wiki/Weaving

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 Links
 https://twitter.com/1noblecreations/status/1168171266634739712
 https://steemit.com/music/@juvyjabian/the-musical-instruments-of-
traditional-filipino-music
 https://bluprint.onemega.com/galo-ocampo-manila-cathedral/
 https://www.google.com/url?sa=i&url=https%3A%2F%2Fstartsomegood.com%2Fproj
ectbamboo&psig=AOvVaw2yyV3RVwFlTOGQTPavmPR2&ust=1649130070039000&source=im
ages&cd=vfe&ved=0CAsQjRxqFwoTCKDim7e--fYCFQAAAAAdAAAAABAK
 https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.thetextileatlas.com%
2Fcraft-stories%2Ftnalak-weaving-philippines&psig=AOvVaw2XTjbaYi5NiwE-
SPAsqu82&ust=1649136104227000&source=images&cd=vfe&ved=0CAsQjRxqFwoTCOCWyf
LU-fYCFQAAAAAdAAAAABAD
 https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.pinoyadventurista.co
m%2F2013%2F08%2Ftausug-baluy-and-pis-siyabit-jolo-
sulu.html&psig=AOvVaw3W04_-
aVPw7qLqFQxFFBoT&ust=1649136886961000&source=images&cd=vfe&ved=0CAsQjRxqFw
oTCPi8lufX-fYCFQAAAAAdAAAAABAJ
 https://www.google.com/url?sa=i&url=https%3A%2F%2Flangyaw.com%2F2014%2F10%
2F11%2Fwhere-to-buy-tribal-woven-products-zamboanga-
city%2F&psig=AOvVaw1WHAt5-
8GMTfmRIzEldM41&ust=1649136954812000&source=images&cd=vfe&ved=0CAsQjRxqFwo
TCNjSworY-fYCFQAAAAAdAAAAABAV
 https://www.google.com/url?sa=i&url=https%3A%2F%2Fshop.ayalamuseum.org%2Fp
roducts%2Fyakan-seputangan-8-eyes&psig=AOvVaw1WHAt5-
8GMTfmRIzEldM41&ust=1649136954812000&source=images&cd=vfe&ved=0CAsQjRxqFwo
TCNjSworY-fYCFQAAAAAdAAAAABAb
 https://www.google.com/url?sa=i&url=https%3A%2F%2Fcocoandtres.com.ph%2Fsho
p%2Fproducts%2Flinen-wrap-skirt-inaul-
weave&psig=AOvVaw1M2rM5fiHmSJFu1KGub3Gn&ust=1649137101992000&source=images
&cd=vfe&ved=0CAsQjRxqFwoTCLD1zc7Y-fYCFQAAAAAdAAAAABAD
 https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.leocunanan.com%2Fima
ge%2Fdigital%2Fsarimanok&psig=AOvVaw1EWm5I18rqb9-
qWTp_g35B&ust=1649138678819000&source=images&cd=vfe&ved=0CAsQjRxqFwoTCNCyx
7ve-fYCFQAAAAAdAAAAABAD
 https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.metmuseum.org%2Fart%
2Fcollection%2Fsearch%2F626371&psig=AOvVaw1Q09MtCMKsdtp8gvg1lGoc&ust=16491
39590708000&source=images&cd=vfe&ved=0CAsQjRxqFwoTCLjOsO_h-
fYCFQAAAAAdAAAAABAD

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