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Chapter 6: VISUAL ELEMENTS IN PHILIPPINE TRADITIONAL MOTIFS AND CRAFTS

Lesson 1: Motifs and Symbols

Decorative Motifs and Symbols Classification

There are times when we do not understand what is being meant by a word, a thought, an
act, or a thing. We need other things to describe them in order to properly understand their
meanings. This is particularly true when we are dealing with works of art and in the literary world.
This is why symbols and motifs are created: to help us understand.

Motifs

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 developed 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 a theme in a work of art. It relates
more to thought which is used to support a theme.

Motifs typically are used in one of three ways:

o A single object that appears multiple times throughout the work with most of the
emphasis placed on the item.
o A collection of related objects that appear multiple times to emphasize the theme.
o A collection of seemingly unrelated items that serve to draw attention to the theme
in a subtler manner.

Classification of Motif:

The motifs or units of a textile design may be classified as: Geometric, Realistic
or Natural, Stylized, and Abstract.

1. Geometric Motif. These motifs include lines in various forms, such as vertical,
horizontal, diagonal, and curved. They form fabric designs, such as stripes,
plaids, checks and circles and their associated designs. Geometric designs lead
the eye in the design or pattern that is created by them.

2. Realistic or Natural Motif. Natural motifs portray as direct replica of things as

they exist in nature, such as flowers on trees, animals in jungle, human figure
and other natural things. They are also called novelty patterns. As these motifs
lack a designer's creativity and require three-dimensional platform to copy reality,
they do not find wide acceptance in apparel designing.

3. Stylized Motif. These are simplified variations of natural or man-made objects

that are no longer recognizable. These motifs are full of creativity, as they are the
result of a designer's interpretation of naturally existing things. Stylized motifs are
obtained by rearranging the real objects either by simplifying or exaggerating
them to achieve the purpose of the design.

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4 Abstract Motif. These are combinations of color, size, and shape without
relationship to natural or man-made objects. They are full of color and interest to
the fabric. Abstract implies an element of impression and a greater freedom that
is found in most geometric designs. This type of design is used in modern art.

Symbol

The term 'symbol comes from the Greek word 'symbolon" which means contract, token,
insignia and means of identification (Encyclopedia Britannica, 1997).

Through symbols, ideas and meanings are represented. In a symbol, there is both
concealment and revelation. Symbols facilitate communication by giving a common reference
point for a variety of original disparate ideas. Symbols are universal, in the sense they transcend
history.

Symbols depicted on objects allow us to decode some of the meanings behind them and
understand better the cultures that made and used them. On some occasions, the object itself,
such as an item of clothing or a piece of regalia, becomes the symbol. The motivations behind
the use of symbols are varied: to impose power, to assert position, to protect the wearer or as
identification with a family or community. Where not all members of a society are literate, symbols
are crucial in communicating ideas or affinities. They can be representational or abstract,
individual or repeated.

A symbol is an object, a picture, a written word, or a sound that is used to represent

something else either by resemblance, convention, or association. Every language has symbols;
in fact, our names are symbols that represent us as individuals. Words and language in a broader
sense are created by symbols by which humans communicate with each other. Through our
experiences and from different sources we create symbols in order to explain and understand
something that we have to interpret.

As symbols can be used to change the meaning of a word or phrase, they can change the
way we view things. To get the meaning of a word, it is necessary to use symbols so that it can
be understood well. The meaning of a symbol depends largely on its usage, its history, and
purpose.

A very fine example of a symbol is the cross. It is used to symbolize Christianity, the
religion which is based on the teachings of Jesus Christ who was crucified. The cross is also used
to remind Christians about how Christ suffered in order to save them.

Types of Symbols

1. Iconograms are illustrative representations. They are iconic signs which, as an illustrative
representation emphasize the points in common between the signifier and the signified.

2. Pictograms are pictorial representations, such as ISOTYPE. Pictograms are iconic signs which
represent complex facts, not through words or sounds but through visual carriers of meaning.

3. Cartograms are topographical representations with complex functions (statistics, etc.) and
iconic facts, for example an atlas or the ground plan of a house.

4. Diagrams are functional representations. They are visual signs which are partly iconic
representations, but are more functional carriers that illustrate, for example, a sequence of facts
or functions.

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5. Ideograms represent a concept. Typically, ideograms correspond to the sign as a symbol

which relates to the object or concept referred to, independently of any format identification with
it. (Note that many symbols can fall into multiple categories, but the context and intention will help
us understand how to "read" them).

6. Logograms are conceptual representations like writing. They are visual, referential linguistic
signs that do not take the phonetic dimension into consideration.

7. Typograms are typographical representations. A typogram is a sign that is also composed of

a sign, derived from a written repertoire such as the alphabet.

8. Phonograms are phonic representations. A phonogram is a sign that is used to signify linguistic
or other sounds.

Indigenous Philippine Arts and Craft

One of the most precious traditional livelihoods that are still kept until today is weaving.
Originating in the pre-colonial times, the art of weaving of the Cordillera tribal groups in the
Philippine North is still existing despite the threat of the more practical, mass production of cloth.
The natives use backstrap loom to produce blankets and articles of clothing.

Piña cloth is also produced in looms throughout the province of Antique. It is a delicate
and exquisite hand-woven cloth that is made from the fibers obtained from the leaves of pineapple
plants. It is popularly used in Barong Tagalog, the country9s traditional formal men9s wear. With
the organic and airy textile being used, the "barong= is now becoming more popular around the
world.

Abaca fiber derived from the abaca plant is widely grown in certain regions in the country.
It is woven mainly to make <sinamay= fabric and abaca rope, as well as specialty papers like
vacuum bags, currency, and tea bags. There are also handcrafts like bags, carpets and clothing
made of abaca.

Baskets are also made by the Cordillerans as livelihood. They also use these as storage
for food when they need to go to mountain terraces to raise crops. Certain types of baskets also
serve for carrying grains, for hunting animals, and for fishing in the streams. Bamboo baskets are
used as fish traps; the shape and size of baskets determine to the kind of fish to be caught.

Filipino potters make pots of different sizes, shapes, and designs, which are usually
geometric with stylized nature-themed motifs. Functional pieces are made as the need would
arise.

An example of this is the "palayok=, which is used for cooking. <Banga= and <tapayan= are
used for storing liquids. There is also the clay-made stove or <kalan=. The 'burnay pottery in llocos
Sur is still a lively tradition that continues up to the present.

Philippine sculpture is the most familiar art form among Filipinos. The most popular
woodcarvings are those of the anitos (nature gods), santos (saints), an statues of Christ and the
Blessed Mother.

Since the early 16th century, jewelry making in the country has been practiced in the
country. It is believed that the skills of the early Filipino jewelry-makers are adopted from their
Asian neighbours like the Chinese.

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Jewelry-making is traditionally a home-based industry. With government support, the

Philippines has come to be known for its exquisite gold jewelry. The most popular jewelry pieces
are actually made of gold and silver. Rings, earrings, bracelets, brooches, pendants, necklaces,
tie pins, and cuff links (with or without gemstones) of these' precious metals are common. The
Philippines is also known for pearls and semi-precious stones (FREEMAN).

Lesson 2: Soul, Space and Symmetry Art

Art and Space

Art and Space is at times idealistic and redundant - after all, what is sculpture but an
exploration of space, volume and three-dimensionality. The inclusivity of its broad premise feels
nearly too vast. Yet besides its attention to art history there is something about the selection of
art work that feels specific, current and necessary.

Space is found in nearly every piece of art created. Painters imply space, photographers
capture space, sculptors rely on space and form, and architects build space. It is a fundamental
element in each of the visual arts.

Space and Perspective

Creating perspective in art relies on the judicious use of space. In a linear perspective
drawing, for instance, artists create the illusion of space to imply that the scene is three-
dimensional. They do this by ensuring that some lines stretch to the vanishing point.

In a landscape, a tree may be large because it is in the foreground while the mountains in
the distance are quite small. Though we know in reality that the tree cannot be larger than the
mountain, this use of size gives the scene perspective and develops the impression of space.

Likewise, an artist may choose to move the horizon line lower in the picture. The negative
space created by the increased sky can add to the perspective and allow the viewer to feel as if
they can walk right into the scene

The Torogan

The Torogan is the ancestral house of the upper-class Maranao in the Lanao Region of
Mindanao. It is the dwelling place of the datu along with his wives and children. There could not
be any house larger than torogan of the datu within the sultanate, for this signifies rank, prestige
and wealth. The existing torogans were built by the community and the slaves for the datu in
1800s.

The torogan is the traditional residence of the reigning sultan of the Maranao people and
his family. It is where the community traditionally gathers for wedding, thanksgiving rites,
enthronement, and vigils for the dead. It is a masterpiece of Filipino craftsmanship. Carved on the
torogan wooden posts is the niyaga, a stylized mythical snake design that can be found in many
Muslim artworks.

The windows of torogan are slits and richly framed in wood panels with okir designs
located in front of the house. The communal kitchen is half a meter lower than the main house is
both used for cooking and eating. The distinct high gable roof of the torogan, thin at the apex and
gracefully flaring out to the eaves, sits on a huge structures enclosed by slabs of timber and lifted
more than two meters above the ground by a huge trunk of a tree that was set on a rock. The end

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floor beams lengthen as panolongs the seemed to lift up the whole house. The torogan is suffused
with decorations. There were diongal at the apex of the roof, also an intricately carved tinai a
walai, okir designs in the floor, on windows and on panolongs. There were also brightly colored
weaves or malongs hanging from the rafters, it was hung up using ropes around a particular
territory for privacy.

The most noticeable feature of the torogan is the panolong, wing- like house beam with
pako rabong or fern or naga serpent motif. These are ends of the floor beams that project and
splay out like triangular butterfly wings on the façade and side elevations.

The interior of the house is a cavernous hall with no permanent wall partitions. Supporting
the kingpost of the high ridged roofs is the rampatan or tinaia walai central beams considered as
the intestines of the house. What serves as the ceiling is a cloth suspended from the rafters to
absorb the heat from the roof. A carabao horn ornament at the roof apex of the rumah adat in
Batak, Indonesia is distinguished from the Maranao dongal.

The Ifugao Bale

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 subject of many scholarly articles
as it is considered to be 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.

Structural Frame

The Ifugao house is sturdily crafted of timber from amugawan trees raised on four posts,
which was buried 50 centimeters below the ground and locked in with stones. It reveals a complex
technology that renders it a tensile strength capable of withstanding devastating typhoons,
torrential rain, and violent earthquakes.

The four wooden posts that rest upon the pavement and support two wooden girders,
which also support three wooden transverse joists.

The floor joists, floor silts, vertical studs and horizontal beams rest on the post and girders
at about head level from a cage. The floor boards were fitted between the joists.

The wooden sides of the house slant outward and rise up to the waist, this forms the lower
half of the wall. In its entirety, no nails and bolts are used for all connections.

The upper half of the wall is formed by the inner side of the roof. This creates a dark,
windowless chamber which suggests a womb.

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The roof system rests on the "house cage." The steeply pitched pyramidal roof is covered
with thick layers of thatch or cogon, this insulates the house from the heat of the sun and from the
torrential rain.

The Ifugao house has a square floor plan. Although the size of the house is determined
by the socio-economic status of the people, an average Ifugao house is approximately 12-14 feet
wide and 12-14 feet long.

The parts of the house is composed of the posts (tukud). The house is erected on four
strong posts which are usually made of large round logs having an approximate size of 8-12
inches wide by 6-10 feet in length. These are buried about 2-3 feet below the ground and locked
in with stones as foundation. Some posts have intact roots. These are simply set on the ground
with the truncated roots acting as footing

Wooden Discs (lidi). Around the four posts are wooden discs to prevent rats from entering
the house. The discs are about 2 to 14 inches thick and 36 to 40 inches in diameter. Either a
square opening or a bore.

Bahay Kubo

The Nipa hut, or Payag, Kamalig or Bahay Kubo, is a type of stilt house indigenous to the
cultures of the Philippines [Lee, 2011). It often serves as an icon of Philippine culture or, more
specifically, Filipino rural culture. [Cruz, 2013) Its architectural principles gave way to many of
Filipino traditional houses and buildings that rose after the pre-colonial era. These includes the
Colonial era "Bahay na Bato" which is a noble version of bahay kubo with Spanish and some
Chinese main architectural influence. And the contemporary buildings such as the Coconut
Palace, Sto. Nino Shrine, Cultural Center of the Philippines and National Arts Center which are
modern edifices that used bahay kubo as a major influence.

The name of the primitive Nipa hut is actually based on the Spanish phrase Cubo, meaning
cube, probably because of its rectangular appearance and Bahay is the Filipino word for house.
By tradition this type of village dwelling is constructed out of organic materials, a perfect example
of a totally green structure, a showcase of extreme simplicity and sustainability that has been
around for a very long time.

The construction of a bahay kubo is totally based on the local needs and conditions.
Fabricated with the ever dependable bamboo or kawayan and banded together by tree strings
with dried coconut leaves or cogon grass. Walls are made or nipa leaves or bamboo slats and
the floor is made of finely split resilient bamboo. The typical structure is raised with thick bamboo
poles, one to two meters above round, depending on the area where the shelter is constructed,
providing the inhabitants a safe shelter from wild animals, snakes and protecting them against
torrential rains and floods. Bamboo is strong, lightweight and flexible; it has diverse, functional
and traditional uses. It holds and mirrors much of the Philippine culture and it is part of many
ceremonies, beliefs and traditions

Life in a bahay kubo is not restricted by the walls of the house; it includes the lives of
neighbours and friends who often are considered as relatives. Solid communal ties will bring them
together in giving aid to a family if a new house has to be constructed. It takes a reasonable large
number of people to transfer the nipa hut, if the family wants to move to another place. This is
done by putting bamboo poles lengthwise and crosswise under the house, forming a strong frame
to lift the stilts from the ground and literally carry it to its new destination. Each man carries a piece
of the weight of the bahay kubo and becomes a hero for all the others because he lightens the

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burden for them. This event holds a social and festive atmosphere, after the house arrived at its
new site; the moving family shows their appreciation by hosting a modest fiesta for all volunteers
that helped them. This collective activity is known as bayanihan, meaning unity and harmony; it
demonstrates the unique culture and lifestyle of the Philippine community.

The Architecture

Also known as nipa hut, this architecture can still be found along the countryside. It is
constructed of indigenous materials that can easily be found in their local surroundings wood,
planks, grass, bamboo and large logs. Normally cubic in shape, this shelter is raised on stilts or
posts of one to two meters depending on the area where the said shelter is constructed-it may be
on solid ground, on hillside or mountainside, or in shallow water. Raising the interior from the
ground safeguards the shelter's inhabitants from flood, and from snakes and other wild animals.

A typical bahay kubo only has one, large, open, multi-purpose room for dwelling called
bulwagan. It has a cellar, called silong where most household chores are done. This area serves
as the area for livestock pens, storage space, workspace and granary. The walls are made of
nipa and cogon leaves or sawali or woven bamboo and there are large windows on all sides,
which keep the interior well-ventilated. The windows have tukod or "legs" that hold the swinging
shades open during the day, and secure it back in place at night. Another feature of the bahay
kubo is ladder or hagdan which can easily be removed at night or when the owners are out.
Likewise, some huts have an open back porch or batalan where household chores are done and
where the jars of water are placed.

Bahay na Bato

Bahay na bato 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 archipelago of the
Philippines and fuses it with the influence of Spanish colonizers and Chinese traders. Thus,
created was a hybrid of Austronesian, Spanish and Chinese architecture.

Its most common appearance is that of an elevated overhanging wooden upper story Nipa
hut (with balustrades, ventanillas and capiz shell sliding windows) that stands on Spanish style
solid stone blocks or bricks and posts as foundation instead of just wood, bamboo stilts or timber
posts. Roofing are either Chinese tiled roof or thatch (Nipa or Cogon) which many today are being
replaced by galvanized roofing or other modern roofing. It followed the bahay kubo's
arrangements such as open ventilation and elevated apartments used as living space with ground
floor used for storeroom, cellar and other business purposes. Like bahay kubo, much of this
ground level was reserved for storage; in business districts some spaces were rented to shops.
Horses for carriages were housed in stables called caballerizas. Bahay na bato had a rectangular
plan that reflected Austronesian Filipino traditional house integrated with Spanish style.
[Wikipedia)

In general, the bahay na bato may be described as a house with wooden legs and a stone
skirt, a style of construction which makes the house a sure survivor of earthquakes. The wooden
frame gives it both flexibility and stability, while the one-storey high stone wall is less likely to
collapse. Large wooden posts are sunk into the ground but stand high enough to carry the roof.
The posts are independent of both stone wall below and wooden walls above. Because they are
exceptionally precious hard wood, they are worth displaying

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The bahay na bato represents the apex in the development of indigenous Filipino
architecture, because it expands the prototypal structure of the ethnic house from a one-room
dwelling to a multi-roomed house of grand scale, while preserving the basic features and because
it adapts Western cultural influences to form a synthesis of native and immigrant art. The bahay
na bato is a product of economic progress and cultural adaptation, and as such is a symbol of
affluent westernized Filipino. It stands as a reminder of the social situation which has not
significantly changed even with the introduction of democracy, public education, and free
enterprise.

Other Indigenous Houses in the Philippines

Bahay-kubo is the first thing that comes to mind when you hear traditional Filipino houses,
but there are other traditional houses that protected our ancestors from harsh elements. Among
them are:

Badjao Houseboat

The houseboats of Badjao, sea gypsies of the Philippines, cruise along the islands in the
Sulu archipelago. These range from 12 - 60 feet long but not more than 6 feet wide. Their unique
ecological setting and fishing economy compel the Badjao to adjust to the limited space of their
floating homes where the prows are carved with okkil design. Strong platforms are made on both
ends of the boat for the fish, kitchen utensils and fishing gadgets with the kitchen area usually
found at the back.

Architecture

While the public image of architecture is often fixated on the individual, the Badjao
consider design to be a communal practice. Houses for the Badjao (for those who do not live on
their boats) are built almost entirely out of driftwood and debris from coastal cities around
Southeast Asia. When a storm hits a home or community, neighbouring Badjao will spare as much
material of their own as possible, to help fortify damaged homes. Their homes are built on stilts
that are carefully placed in between coastal rocks and coral. This activity is a communal effort, so
as to ensure no wildlife is harmed as they set foundations.

The public image of architecture is often fixated on the individual. Architectural critique
can be skewed based on who designed a building, regardless of quality or appearance. In a
community where all members contribute to each other's work stability emerges in the form of
structural and cultural support.

Adaptability

The term "adaptability has been thrust into the architectural world as part of the ever-
growing "green" movement. Yet the common outcome of this message has been energy efficient
and "eco-friendly" appliances being added on to otherwise unchanging design. What could be
fundamental components to the nature of design are often instead considerations for a checklist
at the end of the design process. The solution then may not come from our design process, but
from us. The Badjao show how it is possible for human beings to adapt productively to their
environments.

Fragility is a word that is often combated in architecture today. We generally aspire for
solidity, thick and immovable construction, and maximum fortification. What this results in though
is an opportunity for disaster to strike should our infrastructure fail. The ocean, being a naturally
tumultuous place, made the Badjao accustomed to loosening the reins on their construction so to

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speak. Where we ride the bull so tensely that we are occasionally knocked off, the Badjao people
have learned to love the ride. They build short term, and live long term. This is rather antithetical
to modern notions of immediate satisfaction and safety. When every home and bridge is built with
the goal of eventually becoming parts to fortify other bridges and homes, then there really isn't
ever any truly failed infrastructure.

The Higaonon Tree House

In the hinterlands of Agusan and Misamis Oriental, the Higaonon build their tree houses
of lashed sapling, nipa or Cogon grass, split bamboo, rattan and bark of trees. The low root, at
times, also serve as walls. Wobbling catwalks connect the smaller houses of about 6 feet by 8
feet wide to a central communal room where a square box of earth serves as a fireplace and a
kitchen. Such breezy and swaying complex structures sufficient for 60 people are held together
by split rattan and were traditionally built as defenses against enemy attacks.

Ivatan House

The Ivatan house is made primarily of lime, stone, wood and thatch. It commonly consists
of two structures, the house proper and the kitchen or storage area. The main house has the
larger area and is usually made of lime, stone, wood and thatch. The heavier materials (lime and
stone) provide better shelter from the constant rains. The kitchen or storage area is usually made
of wood and thatch.

Compared to the bahay kubo and the bahay na bato, the Ivatan House has significantly
lower ceilings (around 1.60- 2.00 meters high only) and smaller door and window openings to
keep the interior warm. Plus, there are Ivatan houses that have an attic.

Mandaya House

The Mandaya house is wholly made of carefully selected bamboo flattened into slats and
held together by horizontal bamboo strips or a rattan. Ascent to this single room with a small
kitchen area is through a removable single-notched trunk of a tree. Traditionally, its elevated floor
line served as one of the safety measures against attacks of other ethnic groups in the periphery
of Davao Oriental. These warring conditions made the bagani or warrior class a high and most
coveted social ranking.

Symmetry Art

Symmetry in art is when the elements of a painting or drawing balance each other out.
This could be the objects themselves, but it can also relate to colors and other compositional
techniques.

It is a balance that is achieved by the arrangement of elements on both side of the center,
in other words, the image would look identical on either side, formed through horizontal or vertical
division. Because of its very structured and equally proportioned nature, symmetrical balance is
best suited for if the desired effect requires a sense of order, clarity, and consistency. For the eye,
the idea of balance and repetition that follows an identical rhythm is a place of rest and this type
of image is easy to follow.

A balanced composition feels right. It feels stable and aesthetically pleasing. While some
of its elements might be focal points and attract your eye, no area of the composition draws your
eye so much that you can't see the other areas.

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Balancing a composition involves arranging both positive elements and negative space in
such a way that no area of the design overpowers other areas. Everything works together and fits
together in a seamless whole. The individual parts contribute to their sum but don't try to become
the sum.

An unbalanced composition can lead to tension. When a design is unbalanced, the

individual elements dominate the whole and the composition becomes less than the sum of its
parts. In some projects, unbalanced might be right for the message you're trying to communicate,
but generally you want balanced compositions.

Okir

The Okir (motif) is an exclusive artistic cultural heritage of the Maranaos of Lanao,
Philippines. It is as an artistic design of the Maranao native inhabitants of southern Philippines
beginning from the early 6th century before the Islamization of the area. Okir is a design or pattern
often rendered or curved in hardwood, brass, silver and wall painting in curvilinear lines and Arabic
geometric figures.

The Okir Motif is an art depicting the indigenous originality and skill of the Maranaos. It is
a fine art of figuring, painting, curving and sculpturing depicting the social and psychological
identity of Maranao Society. It is being patronized long time ago, until today and possibly in the
coming generations of Maranao people. Every artifact or Maranao made ornament or device or
decoration is designed with authentic okir revealing that the Maranaos have a distinct and original
culture and civilization not being imitated from other culture.

In the book of Dr. Nagasura Madale, it explains that the Okir has patterns which are used
by the Maranao artists. They call them: (1) Matilak (circle), (2) Potyok (bud), (3) Dapal (leaf), (4)
Pako (fern or spiral form), (5) Todi (fern leaf with spiral at upper edge, (6) Pako lungat (fern leaf
with a cut at one edge). Another elements found Dr. Madale are: Naga, obid-obid binotoon,
kianoko, pakonai and tialitali.

The terminology used by artists is not familiar with our common usage because they have
their technical terms in their exclusive use. There is a need for visual display of examples of their
arts to appreciate this artistic originality. It is hereto attached some samples of the okir motif as
best reference.

The Maranaos are proud to preserve their cultural heritage by way of keeping their artifacts
permanently located in their households. In the museum of the Mindanao State University, we
can find the display of different tools, devices and implements of the Maranaos that are being
designed with okir with varied kinds and samples (tugayaartefactswordpress.com).

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