GE-120 Indigenous Creative Crafts

Indigenous Woodwork
I. Historical Context and Aesthetic Value of Woodworks
Woodworking has a long and rich history in the Philippines, deeply embedded in the
country’s indigenous traditions and evolving through interactions with various colonial and foreign
influences. Indigenous communities have used wood for both utilitarian and artistic purposes,
ranging from furniture, tools, and utensils to intricate carvings and religious artifacts.
History of Woodwork in the Philippines
The art of woodcarving in the Philippines dates back centuries, with many indigenous
groups using wood to create functional items as well as spiritual objects. Early Filipino ancestors,
such as the Ifugao, Kalinga, and Maranao peoples, developed sophisticated woodworking
techniques for practical uses, such as building homes, boats, and household items. These
communities also imbued their works with cultural and religious significance, often carving
symbols of nature, deities, and ancestors.
Pre-colonial Period: Before Spanish colonization, indigenous Filipinos were already skilled in
woodcraft. Wood was used to create the famous bahay kubo (nipa hut), a stilt house made primarily
from bamboo and wood, which was suitable for the country’s tropical climate. Indigenous carvers
also made boats, such as the balangay, showcasing their craftsmanship in marine architecture.
Colonial Era: The arrival of the Spanish in the 16th century introduced Christian iconography,
and Filipino artisans became known for their skill in crafting religious items like wooden saints
(santos), altars, and church fixtures. The influence of European baroque and rococo styles during
the Spanish period led to the creation of highly ornate furniture and religious carvings.
Modern Era: During the American and Japanese occupations, the woodworking tradition
persisted but evolved with new tools, materials, and influences. In the post-colonial era, modern
Filipino artisans have continued to develop the woodcarving tradition, blending traditional
techniques with contemporary aesthetics.

Aesthetic Value
The aesthetic value of Philippine woodworks lies in their intricate craftsmanship, detailed
carvings, and the ability of artisans to reflect both cultural heritage and personal expression.
Traditional motifs often include patterns inspired by nature—floral, animal, and geometric
designs—while modern woodworks incorporate more abstract and experimental styles. Indigenous
woodcarvers are particularly admired for their detailed work, which often serves as a visual
representation of cultural stories, legends, and religious beliefs.
In the mountainous regions, the Ifugao’s bulul figures, which represent rice gods,
exemplify the harmony between spirituality and craft. In the southern Philippines, the Maranao
people are known for their okir wood carving tradition, which features curvilinear designs inspired
by nature and Islamic art. These woodworks serve both decorative and spiritual functions,
showcasing the connection between artistry and everyday life.

II. Cultural Significance of Woodworks in Indigenous Cultures

Woodwork holds profound cultural significance for many indigenous Filipino groups. It
serves not only functional purposes but also as a medium for expressing spirituality, social status,
and cultural identity. The types of wood used, the techniques employed, and the designs carved
into the wood all have specific meanings within indigenous cultures.
 GE-120 Indigenous Creative Crafts

A. Spiritual Significance
Woodworks in indigenous Filipino communities often carry spiritual meaning. Many
indigenous groups, such as the Ifugao and Kalinga, believe that woodcarvings serve as a medium
to communicate with the spirit world. The Ifugao bulul, a wooden sculpture representing rice
deities, is an example of a spiritual woodwork that plays a central role in rituals concerning
agriculture and harvest. The creation of the bulul involves ritualistic practices, and these figures
are believed to protect rice fields and ensure bountiful harvests.
Similarly, the Maranao people of Mindanao carve intricate designs into their boats, homes,
and everyday objects, reflecting their Islamic beliefs and spiritual connections. Their okir patterns
are said to represent the intertwining of human and divine aspects of life, with flowing designs
symbolizing life’s continuity and harmony.
B. Social and Cultural Identity
Woodworking is also a way to signify social status and community identity. Certain
carvings or motifs are reserved for leaders or specific ceremonies. In many indigenous cultures,
master carvers are highly respected figures who pass their skills down through generations. For
example, in the Cordillera region, the craftsmanship of carved objects like shields, spoons, and
furniture demonstrates the artisans' role as keepers of cultural heritage.
The “gadur” or ceremonial urns created by the Maranao people, often made from wood,
are another example. These intricately carved items are used in important life events such as
weddings and other rites of passage, reflecting the elevated status of the individuals involved and
the cultural significance of the occasion.
C. Economic and Cultural Sustainability
In many indigenous communities, woodwork is also a critical economic activity that
sustains traditional practices. In places like Paete, Laguna, known as the "Carving Capital of the
Philippines," woodworking supports both local economies and cultural preservation. Paete artisans
have long produced religious icons, sculptures, and household items, which are sold locally and
abroad. This craft allows the transmission of indigenous knowledge across generations while
adapting to modern market demands.
Indigenous woodworkers often incorporate symbols and themes from their environment
into their works, maintaining a strong connection to nature. For example, the T'boli of Mindanao
carve the hikung, a wooden headdress, and the gono, a ceremonial shield, each item bearing motifs
reflective of their worldview and connection to nature. These items, passed down through
generations, continue to serve as reminders of the cultural significance and artistry of
woodworking within indigenous Filipino communities.

III. Introduction to Indigenous woodworking traditions

Indigenous woodworking traditions in the Philippines have a rich history that reflects the
diverse cultural, spiritual, and environmental landscapes of the country. For centuries, various
indigenous groups have developed unique woodworking practices that are deeply tied to their daily
lives, belief systems, and natural surroundings. Wood, being one of the most accessible and
versatile materials, has been used not only for practical purposes but also for artistic and ritualistic
expressions.
Geographic and Cultural Diversity
The Philippines is home to a variety of indigenous communities, each with distinct woodworking
traditions. These traditions vary significantly across the country's regions, influenced by
geographic features, local resources, and cultural practices.
 GE-120 Indigenous Creative Crafts

Cordillera Region: The Ifugao, Kalinga, and Bontoc people of the Cordillera mountain range are
well-known for their woodcarving skills, particularly for creating functional and spiritual objects.
The Ifugao are famous for their bulul (rice god figures), which are believed to protect the rice
harvest. Their homes, granaries, and ritual items are often adorned with intricate carvings that
depict human and animal figures.
Southern Philippines (Mindanao): In Mindanao, the Maranao people are renowned for their okir,
a style of wood carving that features elaborate, curvilinear patterns inspired by Islamic art and
nature. These designs are often seen in house beams, furniture, and boats. The torogan, a traditional
Maranao royal house, showcases some of the most elaborate okir carvings, symbolizing power and
nobility.
Visayas and Palawan: In the Visayas and Palawan regions, indigenous groups like the Tagbanua
and Palaw'an use wood to craft ritual objects and everyday items such as canoes, furniture, and
agricultural tools. Their woodwork often features geometric patterns that are reflective of their
deep connection to the natural environment.

IV. Utilitarian purpose of Woodwork

Woodwork in the Philippines has long served important utilitarian functions across various
indigenous cultures and regions. The utility of wood-based objects spans from household tools and
furniture to infrastructure and transportation, fulfilling practical needs while often embodying
cultural meanings and aesthetic values.

1. Everyday Tools and Utensils

Wood has historically been used to craft essential everyday items. Indigenous Filipino
communities have utilized various types of wood to create durable tools for daily tasks such as
farming, cooking, and building. For instance:
Spoons and Ladles: Indigenous groups like the Ifugao carve wooden utensils, often with intricate
designs, to use in everyday activities. These include spoons (kudkuran) and ladles, which are
essential for preparing food.
Bowls and Containers: Many communities, including the Kalinga and the Tagbanua, create
wooden bowls, containers, and plates for storing and serving food. These items are often passed
down through generations, reflecting the community’s craftsmanship.
2. Furniture
Traditional Filipino furniture, especially in rural and indigenous areas, is primarily crafted from
wood. These include:
Chairs and Benches: In many indigenous households, furniture like chairs, stools, and benches
are handcrafted from locally available wood. The Maranao’s sarangbang, a carved wooden bench,
is a notable example, combining functionality with aesthetic detail.
Tables and Beds: Solid wooden tables and beds are commonly found in Filipino homes. They are
built to be sturdy and long-lasting, often serving as family heirlooms. For example, the bangkô
(wooden bench) and kama (bed) are essential household furniture made from hardwood like narra
or mahogany.
3. Shelter and Housing Materials
 GE-120 Indigenous Creative Crafts

Wood has played a crucial role in traditional Filipino architecture, particularly in the construction
of homes and communal buildings. Indigenous Filipino communities continue to use wood in the
construction of houses, temples, and public spaces.
Bahay Kubo: The traditional bahay kubo (nipa hut) is a quintessential example of wood’s utility
in providing shelter. Made from bamboo and wood, this stilt house design is suitable for the tropical
climate, offering ventilation and protection from floods.
Ifugao Houses: The Ifugao people build wooden houses that stand on stilts, using pinewood or
other local wood for durability. These homes are not only functional but also reflect the harmony
between the structure and the environment.
4. Transportation
Woodwork has been vital in the creation of transportation, especially in pre-colonial and
indigenous societies.
Boats and Canoes: Many coastal and river-based communities in the Philippines, such as the
Badjao and the Tausug, carve boats and canoes from large tree trunks. The balangay, a traditional
Filipino boat, is a prime example of indigenous boat-building expertise. These boats were used for
fishing, trade, and migration, demonstrating the utilitarian value of woodworking in transportation.
Carts and Wheels: In agricultural regions, wooden carts (karitela) and wheels were used for
transporting goods and people. These carts are still found in some rural areas, showcasing the
enduring utility of wooden craftsmanship.
5. Agricultural Tools
Woodworking is also essential for crafting tools and implements used in agriculture.
Plows and Harrows: Farmers in the Philippines, particularly in rice-growing regions, traditionally
used wooden plows and harrows, drawn by animals, to till the land.
Harvesting Tools: Wooden-handled tools, such as knives and sickles used for harvesting rice and
other crops, are common in indigenous farming practices. The durability and availability of wood
make it an ideal material for such tools.
6. Ritual and Ceremonial Objects
While many woodworks serve practical purposes, they often hold ceremonial value as well. For
example:
Bulul Figures: In the Ifugao culture, bulul figures are wooden statues representing rice deities,
placed in rice granaries to ensure bountiful harvests. These figures serve both a spiritual and
practical function by protecting the community’s food supply.
Musical Instruments: Indigenous Filipino communities create wooden musical instruments, such
as drums, gongs, and flutes, which are used in both everyday entertainment and religious
ceremonies.
7. Fishing and Hunting Tools
Woodwork is central to the creation of fishing and hunting tools in many coastal and forested
regions of the Philippines.
Fishing Traps and Spears: Coastal communities, such as the Tausug and the Badjao, traditionally
use wooden fishing traps, boats, and spears for fishing. These tools are crafted from durable wood
that can withstand the elements.
Hunting Weapons: Indigenous groups from the mountainous regions, like the Aeta, use wooden
hunting tools such as bows and arrows or spears, which are crucial for hunting in the forest.
 GE-120 Indigenous Creative Crafts

V. Carving, Tool Usage, and Safety

Wood carving is a vital aspect of indigenous woodworking traditions in the Philippines.
From creating spiritual symbols to everyday items, carving requires skill, precision, and careful
attention to detail. While the beauty of the finished products can be admired, it is essential to
understand the tools and techniques used, as well as the importance of safety in the carving process.
1. Carving Techniques
Carving involves shaping wood into the desired form using various tools. Indigenous carvers often
rely on traditional methods passed down through generations, combining both artistic expression
and functionality. Key carving techniques include:
Relief Carving: In relief carving, the design is carved into a flat piece of wood, creating a raised
surface. This technique is commonly used for decorative panels, such as the okir designs of the
Maranao people or the intricate patterns seen in the beams and posts of traditional homes.
In-the-Round Carving: This technique involves carving a three-dimensional object, such as a
bulul statue or a wooden figure used in ritual practices. The carver works from all sides of the
wood block to create a fully sculpted object.
Chip Carving: Chip carving is a method of removing small chips of wood to create detailed
patterns. This technique is often used for more delicate and intricate designs, especially for
decorating wooden utensils, boxes, or small religious items.
Whittling: Whittling involves using a knife to pare down wood into a shape. It’s a more casual and
spontaneous method, typically used for crafting smaller items like toys, tools, or simple figurines.

2. Common Carving Tools

Indigenous woodworkers use a variety of tools to shape, carve, and finish wood. While the tools
used today may incorporate modern materials, the basic principles and types of tools remain
consistent with traditional practices.
Bolo: The bolo is a large, machete-like knife used for rough shaping of wood. Its versatility makes
it one of the most important tools in many indigenous woodworking traditions, used for tasks
ranging from clearing land to carving larger objects.
Chisels: Various types of chisels are used to refine details and cut precise lines. Chisels can be flat,
round, or V-shaped, each suited to different carving techniques and design details.
Adze: The adze is a tool similar to an axe but with a curved blade that is used for smoothing and
hollowing out large pieces of wood, such as boat hulls or bowls.
Knives: Carving knives come in many shapes and sizes and are used for detailing, fine carving,
and whittling.
Gouges: Gouges are used to carve out concave areas and are essential for creating rounded shapes
and hollow sections in wood.
Mallet: A wooden or rubber mallet is often used to tap chisels and gouges, providing additional
force for deeper cuts or harder woods.

3. Safety Guidelines for Carving and Tool Use

Working with sharp tools and hard materials requires strict attention to safety to prevent accidents
and ensure the longevity of the tools. Below are essential safety practices for woodworking:
 GE-120 Indigenous Creative Crafts

A. Use Proper Tool Handling Techniques: Always hold tools firmly and make controlled,
deliberate cuts. Avoid using excessive force, which can cause the tool to slip and lead to
injury.
B. Keep Tools Sharp: Dull tools are more dangerous than sharp ones, as they require more
force to use and are more likely to slip. Regularly sharpen blades and edges to ensure
smooth, controlled carving.
C. Work in a Stable Environment: Ensure that the piece of wood you are working on is secure,
either by clamping it to a workbench or holding it in a stable position. Working on unstable
surfaces increases the risk of injury.
D. Wear Protective Gear: Carvers should wear protective equipment such as:
Gloves: Cut-resistant gloves help protect the hands from accidental cuts, especially
when handling sharp knives and chisels.
Eye Protection: Safety goggles prevent wood chips from getting into the eyes during
carving.
Apron or Arm Guards: A sturdy apron or arm guards can protect the body from sharp
tools and flying debris.
Cut Away from the Body: Always carve away from your body to reduce the risk of
cutting yourself. Position your hands and body so that if the tool slips, it won’t cause
injury.
E. Take Regular Breaks: Carving requires focus and precision. Taking breaks prevents fatigue,
which can lead to mistakes or accidents.
F. Tool Maintenance: Keep tools well-maintained. Clean them after use and store them in a
dry place to prevent rusting and dulling. Proper maintenance extends the life of the tools
and ensures they remain safe to use.

4. Traditional Safety Practices

In many indigenous communities, woodworking traditions are closely tied to cultural and spiritual
practices, including those related to safety. For example:
Rituals for Protection: Some indigenous groups perform rituals or prayers before undertaking
large woodcarving projects, especially those related to spiritual or communal items. These rituals
are believed to bring protection and guidance during the crafting process.
Learning from Elders: Traditionally, woodworking skills and safety knowledge are passed down
through apprenticeships, where young carvers learn from elders or master craftsmen. This
mentorship process ensures that new carvers learn proper techniques and respect for the tools and
materials.

5. Importance of Respect for Tools and Materials

In indigenous cultures, respect for tools and the materials they work with is essential. Tools are
often seen as extensions of the craftsman, and wood is considered a living material with its own
spirit or energy. Carvers are taught to approach their work with mindfulness, patience, and care,
recognizing that the quality of their craft is a reflection of their respect for the tools and the
resources provided by nature.
Wood carving is a revered skill among indigenous Filipino communities, requiring not only
artistic talent but also a deep understanding of tools, techniques, and safety practices. Whether
creating ritualistic items, functional tools, or decorative objects, carvers must approach their craft
 GE-120 Indigenous Creative Crafts

with precision and caution. By following safe carving practices and respecting traditional wisdom,
woodworkers can continue to preserve their cultural heritage while ensuring their own well-being.

VI. Crafting a wooden item with Indigenous designs

Crafting a wooden item that incorporates indigenous Filipino designs is a rewarding
process that blends artistry, cultural appreciation, and traditional woodworking techniques.
Indigenous designs from various regions of the Philippines often reflect deep cultural meaning,
with intricate patterns symbolizing spiritual beliefs, natural elements, and historical narratives. In
this section, we will go through the basic steps of creating a wooden item, such as a decorative
panel, utensil, or figurine, while incorporating traditional Filipino designs.
1. Choosing the Item to Craft
The first step in the process is selecting the type of wooden item you want to create. Some common
items that can feature indigenous designs include:
Decorative Panels or Plaques: These flat surfaces allow you to focus on relief carving,
showcasing intricate patterns and symbols.
Utensils: Spoons, ladles, and bowls can feature both functional and decorative carvings.
Figurines or Totems: Crafting a small figurine or bulul-like statue involves sculpting in-the-
round, giving you a three-dimensional medium to explore indigenous art.
Boxes or Containers: Small wooden boxes, often used for storing valuables or ceremonial
items, can be enhanced with carved geometric or natural patterns.
2. Selecting the Wood
Indigenous Filipino carvers traditionally use hardwoods such as narra, molave, kamagong, or
acacia. These woods are prized for their durability, beautiful grain, and ease of carving. For
beginners, it is advisable to choose a softer hardwood or practice on easier-to-carve woods like
mahogany.
3. Designing with Indigenous Patterns
The key to incorporating indigenous Filipino designs lies in understanding the cultural significance
of patterns and motifs. Different regions have distinct design languages:
Maranao Okir: The okir design tradition from Mindanao features swirling, curvilinear
patterns inspired by nature, such as vines, leaves, and the mythical sarimanok bird. These
designs are often used on furniture, beams, and weapons.
Ifugao Geometric Patterns: The Ifugao people of the Cordilleras often carve geometric
patterns into their tools and ceremonial items. These designs are usually symmetrical and
reflect balance and harmony in nature.
Tagbanua Line Designs: The Tagbanua of Palawan use simple, clean lines to depict nature
and ancestral spirits. Their carvings often feature repetitive, minimalist patterns.
T’boli and Manobo Symbols: The T’boli of Mindanao incorporate nature and spirit symbols
in their wooden items, such as birds, fish, and the tonawan (sun symbol). These are often
deeply symbolic and connected to their beliefs and way of life.
4. Transferring the Design to Wood
Once you've chosen a traditional design, it's time to transfer it to the wood. Here’s how:
Sketching: Use a pencil to lightly sketch the design onto the surface of the wood. If you’re
doing a relief carving, ensure the raised areas are clearly marked.
 GE-120 Indigenous Creative Crafts

Stenciling: Alternatively, you can create a stencil of the design and trace it onto the wood if
you prefer more precision.
For more intricate designs, break the pattern into sections and focus on one part at a time.
5. Carving the Design
Now that the design is in place, you can begin the carving process:
Relief Carving: If you are carving a relief design, start by making shallow cuts along the
outline of the design with a chisel. Gradually deepen the cuts to create dimension, ensuring the
background remains smooth. For detailed areas, switch to smaller chisels and gouges for
precision.
In-the-Round Carving: If you’re sculpting a figure or a totem, begin by shaping the basic form
with larger tools like a bolo or adze. Once the rough shape is complete, transition to finer tools
to add detail, such as facial features, symbolic elements, or intricate patterns.
Chip Carving: For smaller items or finer details, chip carving can be used. Use a small knife
or chisel to carve out small triangular chips to create geometric or linear designs, a common
technique for utensils and containers.
6. Smoothing and Finishing
After carving the design, smooth the wood and prepare it for finishing:
Sanding: Use sandpaper to smooth the surface of the wood, starting with a coarser grit to
remove tool marks and gradually moving to finer grit for a polished finish. Be careful around
carved areas to avoid blurring the details.
Staining or Painting: Depending on the desired aesthetic, you can stain the wood to bring out
its natural grain, or paint the carved areas to highlight the design. Traditional indigenous
Filipino wood carvings often emphasize natural finishes to honor the raw beauty of the wood,
but some cultures, like the Maranao, add vibrant colors to their okir carvings.
Varnishing: A final coat of varnish or lacquer can protect the wood and enhance its sheen. For
items used in daily life, such as utensils or furniture, a clear varnish can provide durability
while preserving the natural look.
7. Assembling or Mounting
If your wooden item consists of multiple pieces, such as a wooden box with a carved lid, ensure
that all parts are properly assembled using appropriate joinery techniques like dowels, hinges, or
natural adhesives.
For standalone carvings, consider mounting the finished item on a wooden or metal base,
especially for display items like figurines or plaques.
8. Honoring Indigenous Traditions
When crafting an item with indigenous designs, it’s important to respect the cultural significance
behind the patterns and techniques. Indigenous designs often hold spiritual meanings and are
deeply tied to the identity and history of the communities. Ensure that you approach the project
with cultural sensitivity, learning about the significance of the designs from reputable sources or,
ideally, from indigenous artisans themselves.
 GE-120 Indigenous Creative Crafts

Project: Crafting a Decorative Plaque with Ifugao Patterns

Here’s a step-by-step example project that you can try:
Choose Your Wood: Select a flat piece of softwood, such as mahogany, approximately 12" x 8".
Design: Research Ifugao geometric patterns and choose a simple design that reflects balance, such
as interlocking triangles or zigzag lines.
Transfer the Design: Sketch or stencil the pattern onto the wood.
Relief Carving: Use a flat chisel to carve out the background of the design, leaving the pattern
raised. Take care to carve evenly and slowly to ensure clean lines.
Sanding: Smooth the carved areas and the edges of the plaque with fine-grit sandpaper.
Finishing: Apply a light coat of wood stain to bring out the grain and finish with clear varnish for
protection.
Mounting: Attach a hanging mechanism to the back of the plaque for display.

Criteria Percentage Output Percentage

Creativity/originality 40%

Skill/manipulation of materials 25%

Design choice 15%

Craftsmanship 10%

Cooperation 10%

Total: 100%

References:
Burton, S. R. (2013). Philippine furniture: Evolution of form, function, and style. ArtPostAsia.
Hornedo, F. H. (2000). The aesthetics of woodcarving in the Philippines: A study of Ifugao and
Maranao styles. Giraffe Books.
Llamzon, T. A. (2005). Art and identity in the Philippines: Indigenous wood carving and symbolic
meanings. Ateneo de Manila University Press.
Mercado, M. (2013). The art of carving and woodcrafts in the Philippines. National Commission
for Culture and the Arts.
Okamura, J., & Santiago, L. (2018). Indigenous cultures of Southeast Asia: A comparative study
of Filipino woodcraft. Routledge.
Salvador-Amores, A. (2014). Traditional arts and crafts of the northern Philippines. University of
the Philippines Press.