Lesson-1-4-arts-1

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UNIT

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Suggested time allotment: 18 hours PHILIPPINE INDIGENOUS CREATIVE CRAFTS

LESSON 1. WHAT ARE INDIGENOUS ARTS I. LEARNING OUTCOMES: • Explain when to consider a person or group as true indigenous people. (U) • Conclude how indigenous arts and crafts survived through the signs of times. (AN) • Conclude how indigenous arts became beneficial to the wellness and economic aspect of the indigenous people. (AN) • Create their own definition of indigenous arts. (C) II. INPUT Who are the indigenous people? Before we go directly on what is indigenous arts all about? Let us first define what is an indigenous people really is. Dictionaries define indigenous as "originating in a particular region or country; native; innate; inherent; natural.” The word dates back to the Latin indigena, meaning native or original inhabitant. The word indigenous has many meanings. In every region of the world, many different cultural groups live together and interact, but not all of these groups are considered indigenous or native to their particular geographic area. In fact, it is those groups who claim a shared sense of identity who are internationally recognized as “indigenous peoples.” Throughout human history, peoples have migrated to various regions of the Earth, and cultures have mingled and exchanged influences. For these reasons the identification of indigenous peoples is not always straightforward and simple (Indigenous People, n.d.). And it is estimated that there are more than 370 million indigenous people spread across 70 countries worldwide. Practicing unique traditions, they retain social, cultural, economic and political characteristics that are distinct from those of the dominant societies in which they live (UN, n.d.) Indigenous or aboriginal peoples are so-called because they were living on their lands before settlers came from elsewhere; they are the descendants according to one definition of those who inhabited a country or a geographical region at the time when people of different cultures or ethnic origins arrived. The new arrivals later became dominant through conquest, occupation, settlement, or other means an through those events when they settle in an area their purpose on living expounds. Indigenous people not only live for survival but for other purposes like engaging to arts. And their product in arts becomes an artwork which are mostly integrated to their culture, tradition and beliefs which makes it uniquely different to other point of view to arts (Indigenous People, n.d.).

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Artwork created by the Indigenous people who come from the land is indigenous arts. Connection to four elements of wind, water, air in nature, fire, and references to physical, spiritual, and intellectual realms are the common themes (Stranan, 2018). Indigenous Philippine Art is an art made by the indigenous peoples of the Philippines through their crafts and artworks which are influenced and inspire by their lifestyle, culture, belief, traditions, ethics etc. It is made from raw materials which include extract from trees, fruits, and vegetables. In addition, some of the art treasure of the Philippines is found on rock in caves, tress, and woods (Limcango, 2010). Indigenous Philippine arts and crafts In Cebu, Philippines weaving is still one of the most precious traditional livelihoods that are kept and practice. The art of weaving of the Cordillera tribal groups in the Philippine North still exists despite the threat of the more practical, mass production of cloth it originated in the pre-colonial times. To produce blankets and articles of clothing the natives use backstrap loom. Throughout the province of Antique pina cloth is produce in looms, Fibers are obtained from the leaves of the pineapple which makes a delicate and exquisite hand-woven cloth. It is popularly used in Barong Tagalog, the country's traditional formal menswear. The ‘barong’ is now already popular around the world because of the organic and airy textile being used. Abaca fiber come 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 Cordilleran’s 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 (Freeman, 2016). Benefits of Indigenous Arts: Economic benefits Profits gained by the indigenous people are just one financial benefit from selling of their arts and craft. Nevertheless, compliance noted that indigenous artist necessarily translates into major economic benefits or better living standards in terms of their success (Smith, 2018). Social benefits Social benefits are provided to indigenous people in the sector of visual arts and crafts. It provides a range of benefits across many sectors of indigenous society, promotes health and well-being and through participation in the visual arts it enhances social cohesion within communities. The function of art and craft extends beyond aesthetic pleasure – it is embedded in daily life, family connection, and traditional law as well as in dreaming lore and spirituality. For many Indigenous artists, visual art and craft is not seen as a commodity but rather as something akin to a family member – it represents a multi-layered connection to the past, present and future. The social role of

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creating visual art and craft is also primary to the social benefit and meaning of art and craft activity in the community context (Smith, 2018). Benefits to Indigenous groups Within indigenous groups or community mediums of visual arts has been successfully used as a form of expression and a gate to spread and cultivate their culture. The visual arts have provided an avenue for the advancement of Indigenous women in personal development and self-esteem, financial independence and empowerment within their communities (Smith, 2018). Health benefits Engagement in arts activities can have a positive impact on the health and wellbeing of indigenous. Art has been used for healing Indigenous patients suffering from a range of physical and mental ailments. One example is the Art Therapy class in Sydney (Smith, 2018). Cultural benefits Indigenous artists express their culture, identity and connection to the land and their community through their art. The practice of art making within communities is part of the continuum of ceremonial practice, reinforcing people's connection with traditional lands, ancestral beliefs and ritual. It also provides opportunities for the transmission and reinforcement of cultural knowledge to younger members of the community (Smith, 2018). PRACTICE EXERCISE 1. Write your own definition of Indigenous arts based on what you have read. Limit your answer in 3-5 sentences only. ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ 2. Defend how art becomes beneficial to indigenous art. Limit your answer in 3-5 sentences only. ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________

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ASSESSMENT # 1 WHAT ARE INDIGENOUS ARTS Name: _____________________________________Program/Year: _______________ Subject: Arts 1: Indigenous Creative Crafts CP No.: ____________________ Instructor: Johnfer Ramil A. Magparo A. Instructions:  Compare and contrast the following.  Write down your answer in a separate sheet of paper (short bond paper) if there are tables or graphic organizers kindly copy them and fill it out with your answer on the other sheet of paper.  Submit your output either through schoology, messenger, or schools drop box.  Copy the heading format used above. Then fill out the needed informations. 1. Benefits of Indigenous arts (10 pts.) Economic benefits

Social benefits

2. Benefits to Indigenous groups (10 pts.) Health benefits

B. Answer the following questions.

Cultural benefits

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Write down below two (2) reasons that a person or group of people considered as indigenous groups. Expound each reason in 3-5 sentences only.

1.1) 1.2) 2. Cite three (3) reasons (it could be events, ethics, or etc.) on how indigenous arts and crafts survive until now even if majority of our lifestyle is already modernized? Expound each reason in 3-5 sentences only. 2.1) 2.2) 2.3)

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How did indigenous arts and crafts become beneficial to indigenous groups in terms to economic and wellness? Limit your answer in 3-5 sentences only.

C. Task: Indigenous artwork Instructions:  Look for an artwork (painting, song & accessories, etc.) from any of the IP group in the Philippines.  Have a picture/copy of this art from the net and give its full description.  Discuss the significance of this artwork to the IP community.  Write down your answer in a separate sheet of paper (short bond paper) if there are tables or graphic organizers kindly copy them and fill it out with your answer on the other sheet of paper.  Submit your output either through schoology, messenger, or schools drop box.  Copy the heading format used above. Then fill out the needed informations.  It will be rated based on the rubrics in Appendix A, number 1.

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REFERENCES Encyclopedia Britannica, (n.d.). Ainu people. Retrieved from https://www.britannica.com/topic/Bari-people Esri, (n.d.). The Miao and Hmong of southern China, Laos and Thailand. Retrieved from https://www.arcgis.com/apps/Cascade/index.html?appid=897330b1c8a04541b2 344a335edbcfa Freeman, (2016). Cebu Lifestyle. Indigenous Philippine arts and crafts. Retrieved from https://www.philstar.com/the-freeman/cebulifestyle/2016/06/30/ 1598122/indigenousphilippine-arts-and-crafts Indigenous Peoples of the World (n.d.). Retrieved from https://www.edu.gov. mb.ca/k12/cur/socstud/foundation_gr8/blms/8-5-2b.pdf Jarus, O. (2016). Live Science. Who are the Assyrians? Retrieved from https://www.livescience.com/56659-assyrians-history.html Limcango, T. (2010). Indigenous Philippine Art. Retrieved from https://en /Indigenous_Philippine_Art Smith, J. (2018). Chapter 3- The benefits of indigenous art. Retrieved from https://www.aph.gov.au/Parliamentary_Business/Committees/Senate/Environm nt_and_Communications/Completed_nquiries/2004-07/indigenousarts/report/c03 Stranan, J. (2018). Recycled Mats. What is Indigenous Arts? Retrieved from https://www.recycledmats.com.au/What-is-Indigenous-Art United Nations Permanent Forum on Indigenous Issues, (n.d.). Indigenous Peoples, Indigenous Voices. Retrieved from https://www.un.org/esa/socdev/ unpfii/documents/5session_factsheet1.pdf

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LESSON 2. PHILIPPINE INDIGENOUS ART I. LEARNING OUTCOMES: • Infer concepts that differentiate the Philippine indigenous art from western arts.(U) • Argue that Philippines is not illiterate before the arrival of the Spanish. (EV) • Conclude where did indigenous people gather inspirations in making their various indigenous arts. (AN). II. INPUT Philippine indigenous arts 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 (Romero, 2013). In addition, Philippine indigenous art is different from the western understanding and standard of art. Art is not separated from its other values and functions such as “religious, moral, spiritual, social and ecological concerns”. Sensory modes are cultivated holistically and have to be developed together. Basically, for indigenous communities, art is assimilated into life. There is no dichotomy of the artist and society nor rigid standards that dictate materials, forms or techniques. The process of creation is valued over the work of art and conceptualization and realization is simultaneous (De Leon, 2011) On the other hand, the term ‘Western art’ or western indigenous arts largely describes the art of western Europe but is also used as a general category for forms of art that are now geographically widespread but that have their roots in Europe. Art historians describe the history of Western art in terms of successive periods and/or movements, including classical, medieval, Byzantine, Romanesque, Renaissance, baroque, rococo, neoclassicism, Romanticism, realism, Impressionism, modernism and postmodernism. Definitions of these periods are often debated, as it is impossible to pinpoint where they begin and end, or to account for the wide array of art produced within them. Nevertheless, such terms are indispensable in navigating the complex history and stylistic shifts of Western art across time. As conclusion western indigenous and other forms of art is different to Philippine indigenous arts in terms of setting, purpose and depth of integration to indigenous groups way of life (Art gallery NSW, 2000). Indigenous communities can be found in various regions in the Philippines. These communities have their own unique arts and crafts. Whether it be visual arts,

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song and dance, handicrafts, 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 (This is also known as the art vs. crafts controversy) (Racette and Robertson, 2009). The earliest art forms in the Philippines that have not yet been somewhat penetrated by Western influences are music and dance (Ortiz, 1976). In addition, in Cordillera their ethnic or indigenous dances still exist because kinds of dances like the war dance of now being toned down 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. (Panizo and Rustia, 2003). An example of a song that represents the daily affair of planting rice is the traditional folksong Magtanim ay di biro (Ortiz, 1976). In addition, there is always an impression or misconception that Filipinos were illiterate before the arrival of Spanish. That we didn’t have our own culture is a big misconception and needs to be corrected. The truth is that Cordilleran were not conquered by colonizers like the Spanish is the enough reason why Filipinos should preserve, give more importance, and always protect the culture and traditions of the highlands (Mangilog, 2018). Ethnic dances in the different municipalities of Mountain Province have differences and commonalities in terms of steps, attire or costumes, purposes. These dances are part of the people’s customs and traditions that have become part of the Igorots’s identity (Fiar-od, 2014). In any festive gathering among Igorots, be it a ritual, barrio or town fiesta, wedding celebrations, people’s assembly, the gongs are played according to its rhythm appropriate to the specific purpose of the occasion. Such purpose could be for entertainment, socialization, or in more serious cases, as part of an Igorot ritual (Fiarod, 2014). Similar to performance art, sculpture and visual arts are practical in nature in indigenous communities. Everyday implements and accessories are adorned and decorated with such handiwork. In the Mountain Province, “shields, spoons, ladles, bowls” and figurines are infused with art through woodcarving. In Mindanao, on the other hand, original Muslim art can be recognized through certain motifs, colors and patterns. These stylized elements are evident through brass work, tools, weaponry and musical instruments. (Ortiz, 1976). A Filipino person’s characteristic of being relational or communal is evident in his or her art. Traditional indigenous art reflects this orientation as well. In essence, Philippine indigenous art is not separated from its other values and functions such as “religious, moral, spiritual, social and ecological concerns”: art is assimilated into life, the community is involved in the work of art; thus, one artist is rarely, recognized and remains anonymous most of the time, there is no dichotomy of the artist and society, no

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rigid standards dictate materials, forms or techniques, the process of creation is valued over the work of art, and conceptualization and realization is simultaneous (De Leon, 2011).

PRACTICE EXERCISE 1. How does the Philippine indigenous art differ from the western understanding and standard of art? Limit your answers to 3-5 sentences. ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ 2. Does the Philippines have its own forms of art before the colonization of Spaniards take place? If yes, what are these forms of art? And why do you say so? Limit your answers to 3-5 sentences. ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________

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ASSESSMENT # 2 PHILIPPINE INDIGENOUS ARTS Name: _____________________________________Program/Year: _______________ Subject: Arts 1: Indigenous Creative Crafts CP No.: ____________________ Instructor: Johnfer Ramil A. Magparo A. Instructions: Answer the following questions in 3-5 sentences. 1. Did the Philippines have its own forms of art even before the colonization took place? Cite an article from magazine, internet or books to support your claim. (5 pts.) ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ 2. Write down the three (3) factors that is being considered and bcame the source of inspirations of the designs of the different indigenous arts and crafts. Expound each factor in 3-5 sentences only (5 pts. each) 2.1) ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ___________________________________________________________________ 2.2) ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ 2.3) ______________________________________________________________________ ______________________________________________________________________

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______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________

REFERENCES Art gallery NSW, 2000, Western art. Retrieved from https://www.artgallery.nsw.gov. au/discover-art/learn-more/western-art/ Fiar-od, (2014). Igorot Cordillera BIMAAK Europe. Ethnic Dances in Mountain Province. Retrieved from https://www.icbe.eu/mprovince-articles/677-ethnic-dances-in mountain-province Mangilog, P. (2018). War Dances in the Cordilleras. Pinay Traveller. Retrieved from https://pinaytraveller.com/archives/3008 A manual of visual arts workshops for the environment. Baguio: Cordillera Green Network. De Leon, F. M. (2011) In focus: The cultural matrix of traditional arts. Accessed through: http://ncca.gov.ph/aboutculture-and-arts/in-focus/the-cultural matrix-of-philippinetraditional-arts/ Ortiz, M.A., Erestain, T. E., Guillermo, A.G., Montano, M.C. and Pilar, S.A. (1976). Art: Perception and appreciation. Makati: Goodwill Trading Co., Inc. Panizo, A. and Rustia, E.F. (2003). Art appreciation and aesthetics: An approach to the humanities. Manila: Rex Book Store. Romero F. (2013). Philippine indigenous arts. Skubikowski, K., Wright, C., Graf, R. (2009) Social justice education: Inviting faculty to transform their institutions. Virginia: Stylus Publishing, LLC.

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LESSON 3. BRIEF HISTORY OF DAVAO AND ITS TRIBES I. LEARNING OUTCOMES: • Identify the different individuals and indigenous groups crucial to Davao’s history. (U) • Distinguish the different contributions of the different indigenous groups mentioned. (AN) • Conclude how rich Davao is in terms of history and as a city. (EV) II. INPUT May 8, 1967, the undivided province of Davao where Davao del Sur belonged and Davao City which is the capital of old Davao shared the same history. The province of Davao Del Sur was created by the defunct Congress on May 8, 1967 under Republic Act No. 4867. It started functioning as a province on July 1, 1967 which was comprised of only ten (10) municipalities where Digos as the capital. The elective provincial positions were filled by appointments by the President of the Philippines until the time when the officials were duly elected and qualified in the 1967 election (Dejeto, 2018). The province derived its name from the word “Daba-Daba”. This is a bagobo word which used to refer to a “Sacred Brass” that belonged to the legendary bagobo chieftain named Datu Duli. Datu Duli lived at the rolling hills of the famous Sandawa Mountain, the ancient name of Mt. Apo. Later on, the letter “O” was added to the word which meant justice to the bagobos. It was added to describe the fairness with which justice was dispensed with by Datu Duli among his people. As years went by, the word “Daba-Daba” was shortened to Daba-o which later on was pronounced Davao (Dejeto, 2018). The early inhabitants of Davao del Sur were the Bagobo-Guinggas who occupied the places at the foot of Mt. Apo, the Bilaans of the Hagonoy Valley, the Manobos in Malita and Jose Abad Santos and other ancient tribes. One of the highlights of this indigenous group is its political structure which is composed of the Chieftains called “Matanum,” the Council of Elders, the Magani’s, the Babaylans and the slaves called “Al-lang” in the native dialect. Even today political structure is still being used especially here in Davao City. The political structure established order and constant progress through having designate roles which comes with different powers and responsibilities. On the other hand, the Datu can have as many wives as he can but upon the recommendation and approval of the first wife.  In marriage, age is not an issue for as long as arrangements and settlements are reached, agreed upon and complied with by

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both parties.  All conflicts and problems are finally addressed and resolved by the Chieftain with the Council of Elders. Food is abundant enough to be able to supply the community for the next harvest season.  the weavers can supply the needs for clothing.  In fact, a Bagobo weaver, Salinta Monon, won this years’ Gawad sa Manlilikha ng Bayan (GAMABA) for her handloom weaving, a proof of the Bagobo artistry and craftsmanship.  Environmental preservations and utilization of natural resources are properly dealt with by the people according to their tradition, practices and culture. The aboriginal tribes are believed to belong to the second wave of Indonesians who came to the island from Southeast Asia years before the birth of Christ (BC), probably between 1,000 and 2,500 years ago. These early settlers lived a peaceful life, developed a rich culture unaffected by outside influence until the end of the 14th century when the Muslim Malays from Java and Sumatra introduced the Arabic strain into the ways of life of the early Davaoweños, The Muslim influence became an established fact with the famed Mohammedan leader Shereef Kabungsuan of Arab as its first sultan. Muslim tribe like the Maranaos and Maguindanaos occupied certain places of Davao Del Sur. The original inhabitants remained unconverted to the new faith (Dejeto, 2018). The introduction of the Christian religion in Davao del Sur occurred after the colonization of the northern islands. Here is the account of Zaide: “In 1847, Jose Uyanguren, a wealthy soldier adventurer, offered to the Spanish government a proposition that he would pacify and colonize Davao at his own expense. Governor Claveria approved Uyanguren’s proposal on February 27, 1847. In two years of hard fighting, he was able to pacify the warlike tribes and founded a settlement which he called Nuevo Vergara in honor of his natal city in Spain. It is now Davao City “(Zaide, History of the Philippines, Mc.Cullough Printing Co., Manila 1957, p. 72). However, the Spanish entry into the province dates even before Uyanguren’s pacification drive. The early excursion of Spain in Davao del Sur occurred during the period of exploration. Alip accounts that one of the early Spanish expeditions landed in one of the islets in Sarangani. This is the Villalobos expedition in 1542 (Intellectual Reserve, 2020). The Spanish were the first Europeans to discover Davao, when in 1528 they arrived at the coast and encountered groups of the native people.   But it wasn’t until the middle of the nineteenth century when the Spanish began populating the area and gaining control of Davao ’s ports, when permanent European settlements began being built. Control of the ports meant valuable trade leverage in the vastly expanding world trade market.   Although they tried, the Spanish were unable to gain complete control of the Mindanao Island, as the native people fought back and resisted (Tripadvisor, n.d.) At the turn of the 20th century, other tribes from the Visayas arrived who later became the leaders of the province in government, particularly the Cebuanos. Soon they were joined by the pioneering Ilocanos and Ifugaos who occupied the municipality of Magsaysay. Others came captivated by the promise of Mindanao all of whom built together what is now the province of Davao Del Sur (NEDA, n.d.).

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Before World War II the city was developed as a Japanese colony, which owned extensive abaca plantations, but it was razed during the war. The rebuilt city is an attractive blend of Spanish, American, and Moorish influences. Largely rural outside its urban core, Davao City is one of the world’s largest cities in land area, sprawling among coconut groves and rice lands. The regional headquarters for commercial and administrative activities, Davao City is served by a major airport and highways. The city’s industries include the production of abaca fibres, textiles, cement, and plywood. Davao City is the site of the University of Mindanao (1946), the Philippine Women’s College of Davao, and other colleges. Talomo Beach, the Bago Iñigo fish farm, and the pearl farm on Samal Island are nearby. Inc. city, 1936. Area 854 square miles (2,212 square km) (NEDA, n.d.) The Land The western part of the province is dominated by Mt. Apo which is the country´s highest peak. Mount Tanglao and Mount Latian are two other landmarks in the hinterlands. Wide fertile valleys are found between the mountain ranges and the narrow coastal plains in the east. The weather is basically warm with no marked seasons. Rainfall is evenly distributed throughout the year (NEDA, n.d.) The People Most of the population are Visayan migrants. Cebuano is the most widely spoken language. Other prominent migrant groups are the Ilonggos and the Ilocanos. Several ethnic groups exist in the province, among them B´laans, Bagobos, Manobos and Tagacaolos. These early settlers occupied the slopes, and base of Mt. Apo, and have developed their own cultures which have been preserved to this day. The Bogobos, for example, are known for their colorful dresses woven from Abaca fiber and ornamented with beads, shells, metal disks and embroidery in geometric patterns. They also wear bells as anklets or costume accessories, so they jiggle when the walk or dance (NEDA, n.d.) On the other hand, the B’laan are composed of three subgroups from Koronadal, Sarangani, and Davao. Many B’laans speak Cebuano aside from the B’laan language. Their means of livelihood are swidden farming, weaving (the males weave baskets and the females, mats), fishing, hunting, food gathering, and tool- and weapon-making. B’laans have kept themselves culturally, politically, and economically distinct from their Muslim neighbors; they have never succumbed to the rule of the datuships. Thus, most of B’laan traditions, customs, and way of life have remained intact. It is not unusual to see B’laans still eating their mama (betel nut). The sound of bells hanging on the women’s sabitan galing(a belt of brass rings) can still be heard as they go about their daily chores. Elders continue telling stories of old times to the next generation (Wapano, 2007). Another is the Manobo which simply means “people” or “person”; alternate names include Manuvu and Minuvu. The term may have originated from “Mansuba,” a combination of man (people) and suba (river). Manobos are concentrated in Agusan, Bukidnon, Cotabato, Davao, Misamis Oriental, and Surigao Del Sur. The Manobo usually build their villages near small bodies of water or forest clearings, although they also opt for hillsides, rivers, valleys, and plateaus. The communities are small,

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consisting of only 4-12 houses. They practice slash-and-burn agriculture (Indigenous People, 2020). The Ubo are a Manobo sub-tribe who inhabit the more isolated mountains of Southwest Cotabato in the area known as Datal Tabayong, as well as, more southerly Davao del Sur. As of last count, they numbered close to 17,000 (OSCC, 1987); a follow up on their numbers in subsequent years has proved difficult (Indigenous People, 2020). Known for their intricate casting, the Ubo fashion fine weaponry and jewelry that they believe possess souls, making it harder for the maker to part with them. Agriculturally, they practice swidden, a slash-and-burn farming, oft planting and harvesting rice, root crops, and vegetables for consumption. Like the Bagobo, the Ubo believe in multiple deities headed by a central figure, Diwata (God); they're animist, they also believe in ancestral spirits and unseen beings inhabiting the animate and inanimate objects found throughout their environment. In civic matters, the political leader and Datu (Filipino chieftain) of the village attains his position by virtue of wealth; speaking ability and knowledge of customary law, known as fendan. The primary obligation consists of settling disputes among members of a family, neighbors, and the community. When a fine is set and/or imposed by the Datu, the accused has to pay it to the aggrieved party; if he's unable to, then he will become servant to the one who pays for him, otherwise known as dok (Indigenous People, 2020). Commerce and Industry Because of its favorable climate and fertile soil, Davao del Sur is primarily an agricultural province. It is popularly known as Coconut Country since coconut is its major commercial crop. Its rice and corn production is more than sufficient for its population. Other crops grown are bananas, cacao, ramie, coffee, fruits and vegetables. Davao City is the commercial center of southern Mindanao. Foreign and domestic vessels load and unload goods at its port. Davao Gulf is the major fishing grounds of the city. There are eleven coastal municipalities facing the Philippine Sea. Logging has supported a wood-processing industry, but rapid forest depletion is a cause of concern (NEDA, n.d.). Read more about this topic at https://www.familysearch.org/wiki/en/Davao_del_Sur_ Province, _Philippines_Genealogy PRACTICE EXERCISE 1. Give 2 roles of the people inhabiting the land? Elaborate your answer in 3-5 sentences per role. Role 1: ___________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ Role 2: ___________________

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______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________

ASSESSMENT # 3 BRIEF HISTORY OF DAVAO AND ITS TRIBES Name: _____________________________________Program/Year: _______________ Subject: Arts 1: Indigenous Creative Crafts CP No.: ____________________ Instructor: Johnfer Ramil A. Magparo A. Indigenous Crafts. (5 pts. each indigenous group) Instruction:  List down four (4) indigenous groups with each of their crafts beside it.  Write down your answer in a separate sheet of paper (short bond paper) if there are tables or graphic organizers kindly copy them and fill it out with your answer on the other sheet of paper.  Submit your output either through schoology, messenger, or schools drop box.  Copy the heading format used above. Then fill out the needed informations. Indigenous group

Crafts

B. Answer the following questions in 3-5 sentences. 1. Does the geographical formation of a land affect the lifestyle of the people living in that area? If yes, give a real-life example to support your claim. 2. What would be the reason that most of the indigenous people are bowing their head facing the ground when they dance? Why do you say so?

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3. Do you consider Davao City a city of diversity? Why do you say so? 4. Today, we enjoy a generation of progressive technology. Most of our ways are already integrated with technology like in farming, vegetation and fisheries which make our life easier and more efficient. With this, should we dump our old and traditional ways and further move forward to dominant technology enhancement? Why do you say so?

C. Task: Research Work Instructions:  Choose one IP group to be the focus of your investigation.  Get to know of their culture by readings from the different sources (internet, newspapers, magazines etc.).  But if you belong to your chosen IP group. You can talk and ask your elders on the things about your community that you do not know yet as a member.  Focus your investigation/discussion to the following: a. origin of the tribe b. people (what makes them different from other tribes) c. politics (ways of governance) d. ways of living e. religious activities  Make a narrative report containing the information related to those mentioned in the 4th bullet.  It will be rated based on the rubrics in Appendix A, number 2.

REFERENCES Dejeto, M. (2018), Retrieved from https://www.rappler.com/life-and-style/travel/ph travel/209798-photos-davao-city-culture-kadayawan-village Ethnic Groups of the Philippines, (n.d.). Indigenous People. Retrieved from http://www.ethnicgroupsphilippines.com/people/ethnic-groups-in-the philippines/manobo-obo/ Intellectual Reserve, (2020), Retrieved from https://www.familysearch.org/wiki/en/ Davao_del_Sur_Province,_Philippines_Genealogy National Economic and Development Authority, (n.d.). Davao del Sur. Retrieved from http://nro11.neda.gov.ph/davao-region/davao-delsur/#:~:text=

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Davao%20City%20was%20founded%20by,city%20on%20October 2016%2C%201936.&text=The%20majority%20of%20the%20population%20ar %20Visayan%20migrants. Tripadvisor, (2020). Davao City Traveler Article: Davao City History. Retrieved from https://www.tripadvisor.com/Travel-g298459-s203/Davao City:Mindanao:History.html Wapano, R. (2007). Ethnic Groups of the Philippines. A Close Encounter with the B’laans: a primer. Passionist. Retrieved from http://www.ethnicgroupsphilippines.com/people/ethnic-groups-in-the philippines/blaan-davao/ LESSON 4. TOP 6 INDIGENOUS ARTS I. LEARNING OUTCOMES: • Identify the Philippine top indigenous arts. (R) • Distinguish the different indigenous arts. (U) • Examine the different pieces of art or outputs from the different indigenous art. (AN) II. INPUT Cloth weaving Weaving is the textile art in which two distinct sets of yarns or threads - called the warp and weft - are interlaced with each other at right angles to form a fabric or cloth. The warp threads run length-ways on the piece of cloth, while the weft runs horizontally. Cloth is woven on a loom, a device for holding the warp threads in place while the weft threads are woven through them, back and forth. Weft is an old English word meaning "that which is woven". Woven cloth can be plain (in one color or a simple pattern), or it can be woven in decorative or artistic designs (Hamam, 2013). One of the most precious living traditions that are still kept until today is weaving. Originating in the precolonial times, the art of weaving of the Cordillera tribal groups in the North still exists 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 handwoven cloth that is made from the fibers which you can get in the leaves of pineapple plants. It is popularly used in Barong Tagalog, our traditional clothes. Having its organic and airy textile, it is becoming more popular now around the world. Abaca fiber come from the abaca plant that is endemic and grown in the country. It is woven chiefly to make sinamay fabric. Abaca is popular in making a rope, specialty papers like vacuum bags, currency, and tea bags. There are also handcrafts like bags, furniture, carpets and clothing made of abaca. Basket weaving

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Baskets are mainly used by the Cordilleras for their occupation. They use them as a storage for their food when they need to go to mountain terraces to cultivate their lands. A basket is needed for carrying grains, hunting animals, and fishing in the streams. Baskets made of bamboo become their fish traps; the shape and size of baskets are according to the kind of fish they want to catch. Jewelry making Since the early 16th century, jewelry making in the country has been in existence. It is believed that the skill of our early Flipino in making jewelry are adopted from their Asian neighbors like the Chinese. Jewelry-making is a source of livelihood for the family and it is traditionally a home-based industry. The government gives their support and attention in this industry. By this support, the country became the top producer of gold. These are the two major product categories that the fine jewelry industry in the Philippines are engaged for production: The first one is the precious metal jewelry, which are made of gold and silver. It can be in the form of rings, earrings, bracelets, brooches, pendants, necklaces, tie pins, and cuff links (with or without gemstones). Decorative items like spoons and forks, and office items such as pen and pen holders are also included in this category. Another production in the jewelry industry are the pearls, precious stones, and semiprecious stones. These are unworked or worked pearls. Colored gemstones like emerald, rubies, and sapphires are also in this group. Pottery Pots in the Philippines have different sizes, shapes, and designs. Their designs are usually geometric with stylized nature motifs. Pottery became more functional as the time pass by (Caparas, 2014). Pottery is made up of ceramic materials and encompasses major types of pottery wares such as earthenware, stoneware and porcelain. To be considered pottery, a piece must be a fired ceramic ware that contains clay when formed (Grimm, 2015). An example of this is palayok, which is used for cooking. Banga and tapayan are used for storing liquids. There is also the clay-made stove or "kalan". The making of burnay pottery in Ilocos Sur is still a lively tradition that continues up to the present. Woodcarving Philippine sculpture is the most familiar art form among Filipinos.  The most popular woodcarving in the Philippines are carvings of the anitos (nature gods), santos (saints), and statues of Christ and the Blessed Mother. Philippine sculpture has undergone changes in terms of shape, size, and the medium used. Tattoos Filipino tattoos have a rich history, dating back to before the Philippine Islands were colonized by Spaniards. When Spanish ships first arrived there, they were greeted by the heavily tattooed Visayas tribe and they called the islands "La Isla De Los Pintados" which meant "The Island of the Painted Ones".

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In the Philippines, tattoos were a source of accomplishment and rank. Men bore ink on their chests and heads as signs of their strength as warriors. Women wore detailed lines on their arms and wrists (Visays and Mindanao tribes) or full chest and arm tattoos (Luzon mountain tribes) and they were seen as marks of beauty. Most tattoos were earned through the passage of rites ceremonies, or for accomplishing tasks. The styles varied depending on the region and tribe that the people came from (Caparas, 2014). If there is one person who could best represent the rich culture of Kalinga, a province located in the far north of the Philippines, it is none other than Whang Od, the oldest Filipino tribal tattoo artist. Some even say she put Kalinga on the  Philippine map of must-visit places for local and foreigners alike. In fact, many people brave the cold weather and the 10-hour trip to the mountains just to get inked by her (Dumaraos, 2017). Whang-od Oggay is known as the last mambabatok (Kalinga tattooist) from the tribe of Butbut in Buscalan, Kalinga. She has been tattooing for the past 80 years including headhunters of the indigenous tribe, at the beginning of her long career. These headhunters were the warriors of their tribe, who protect their villages, to the extent of killing their enemies. For them, it is a symbol of bravery and courage. She also inked the skin of women from the tribe, the tattoos are considered as a sign of beauty and elegance (Dumaraos, 2017). Whang-od is living proof of the tribe’s batok (hand-tapping) culture. Covering her body are tattoos with different meanings and designs. Each of her arms, she said, took a day to be inked completely. After her body was covered, she related how her father rejoiced and killed a pig to celebrate the feat. Now, after 80 years of tattooing, Whang-od is inking foreign and Filipino visitors who visit her (Dumaraos, 2017). Read more about this topic at https://theculturetrip.com/asia/philippines/articles /meet-apo-whang-od-the-last-hand-poke-tattoo-artist-in-the-philippines/ PRACTICE EXERCISE A. Fill in the blanks the correct words to make the sentence complete. (1 pt. each). 1. Since the early _____________, jewelry making in the country has been in existence. 2. Piña cloth is also produced in looms throughout the province of _____________. 3. __________________ is the oldest Filipino tattoo artist. 4. __________________ is popular in making a rope, specialty papers like vacuum bags, currency, and tea bags. 5. _____________ mainly used by the Cordilleras for their occupation. B. Cite 2 specific products (whether a craft or artwork) of an indigenous group. Then examine and fill out the blanks with the information of your chosen product.

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Name: _________________ Indigenous group origin (artist): _______________________ Indigenous art: _______________________ Components (made of): _______________________ Purpose/Function: ________________________________ ________________________________ ________________________________ ________________________________

Name: _________________ Indigenous group origin (artist): _______________________ Indigenous art: _______________________ Components (made of): _______________________ Purpose/Function: _________________________________ _________________________________ _________________________________ __________________________________

ASSESSMENT # 4 TOP 6 INDIGENOUS ARTS Name: _____________________________________Program/Year: _______________ Subject: Arts 1: Indigenous Creative Crafts CP No.: ____________________ Instructor: Johnfer Ramil A. Magparo A. Compare and contrast cloth weaving from basket weaving. (10 pts.) Cloth weaving

Basket weaving

B. Instructions:  Make a comprehensive report about the 6 indigenous arts discussed in this lesson.  It will be rated based on the rubrics in Appendix A, number 3.  Research more on it origin and purpose through time.  On each indigenous art, reflect on what skill is being developed for him who used to do it.  Use any graphic organizer to organize your entries or you may use the one presented below.  Write down your answer in a separate sheet of paper (short bond paper) if there are tables or graphic organizers kindly copy them and fill it out with your answer on the other sheet of paper.

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 

Submit your output either through schoology, messenger, or schools drop box. Copy the heading format used above. Then fill out the needed informations.

REFERENCES

Caparas, K. (2014). Indigenous Arts and Crafts, Retrieved from https://www.vigattintourism.com/tourism/articles/Indigenous-Arts-and-Crafts Dumaraos, G. (2017). Culture trip. Meet Apo Whang-Od, the Last Kalinga Tattoo Artist in the Philippines. Retrieved from https://theculturetrip.com/asia/Philippines /articles/meet-apo-whang-od-the-last hand-poke-tattoo-artist-in-the-philippines/ Grimm, A. (2015). Pottery. Pottery: What and how it is made. Retrieved from https://www.quora.com/What-is-pottery-and-how-is-it-made Hamam, J. (2013). Jennifer’s Hamam. What is Weaving?. Retrieved from https://www.jennifershamam.com/post/healthy-cooking-is-a-must-for-families

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