GROUP 3: LIVING WITH THE ARTISTS

The following are some of the significant contributions of the artists through
their arts.
1. Unique Identity.
Traditional arts reflect our diverse heritage and cultural traditions. This is evident
in all arts created by the artists who receive the GAMABA award. One of these
arts is weaving. Though weaving has long been part of our traditions, the use of
different materials and the different tedious process make each art unique.
Haja Amina Appi of Ungos Matata, Tawi-Tawi shows how pandan can be
weaved into mats with vibrant colors, beautiful geometric designs and fine
symmetry. These mats are usually used by their people for prayer or as a gift to the
newly-weds.
In Luzon, weaving is preserved through Magdalena Gamayo who used
traditional patterns. Her work is marked by her ability to replicate designs with
excellence and consistency.
Another artwork of the same kind is t’nalak (a fine abaca cloth) by Lang
Dulay of Lake Sebu, South Cotabato. She worked on traditional designs like
bulinglangit (clouds), kabangi (butterfly), crocodiles, and flowers.
As you can see, though these artists worked on the same art (weaving), their
artworks in their community is still uniquely created showing the identity of their
community (Estrella, 2020).

2. Exemplary Skills.
The artwork of Eduardo Mutuc from Pampanga shows how his skills
developed from being a farmer to one of the furniture carvers. To earn an income,
he really practiced his skills and became one of the most respected creators of
religious and secular arts today. He was awarded in 2004 for his detailed and
lifelike pieces of varying sizes: altars, mirrors, retablos, and carosas made with
wood, silver, and bronze.
 Uwang Ahadas, on the other hand, shows his exemplary skill in music. At a
young age, he learned to play music with his siblings. Though kwintangan was
usually played by a woman, he mastered playing it. It is made of logs used to call
abundant harvest of grains.
Another musician who has shown superb skills is musician Samaon
Sulaiman who was a master of the kutyapi, a two-stringed lute. He was also
proficient in playing other instruments such as the kulintang, agong (a suspended
gong with a wide rim), gandingan (agong with a narrow rim), and tambul.
3. Way of Life
Alonzo Saclag of Lubuagan, Kalinga mastered local musical
instruments, along with dance patterns associated with rituals. These
performances are performed during celebrations or communal agreement
such as peace pacts. To pass this tradition, Saclag took a formal education
reaching radio stations and creating Kalinga Budong Dance Troupe.
Hearing the tales as told by his mother, epic chanter Federico
Caballero of Calinog, Iloilo learned Suguidanon, a Central Panay epic.
Though Central Panay is located in the mountains, the epic tells about
characters and settings that reflect that his people might have lived once in
seashores in the past. Also, this epic was usually chanted by a binukot, a
woman of high status. Regardless of education and social status, women
were not given authority. Instead, they were trained for embroidery and
memorization of epic. Caballero is known to keep the local oral traditions
through his chants (Gowey, 2016).

4. Enduring Values
Values are usually reflected in literary arts such as poem. Thus, the
Mangyan script is one of the four remaining syllabic scripts in the country which
was preserved through Ginaw Bilog of Mansalay, Oriental Mindoro. He was most
popular in writing ambahan (a metaphoric poem comprising seven-syllable lines)
on traditionally used bamboo tubes. His poems about advising the young, bidding a
friend goodbye, and asking for a place to stay show how Filipinos express their
affection to their family and friends.
 Values is not only reflected in the art product but also on the process in
which it is created. In textile weaving, we can see the artists’ dedication to their
work as they intricately put different elements of arts such as color, harmony and
shape to create a distinct and vibrant 3 design. Spirituality is also evident among
Filipino artists as they use subjects related to their faith such as the textile designs
by Darhata Sawabi of Sulu and carvings by Eduardo Mutuc.
There are countless values that are reflected on the artists’ work but one
thing that is evident To their works is their unselfish desire to share their
knowledge and skills to the next generations to enjoy and to see as part of their
beings as Filipinos.
5. Vision.
The traditional art shows the artist’s vision. Moreover, it also inspires us to
make the existing art as an inspiration to enhance the art or create our own artwork.
Teofilo Garcia is a gourd hatmaker from San Quintin, Abra. Since he is a farmer,
he sees the need of gourd casques. He used the tabungaw (gourd) plant for useful
protective hats to help the farmers overcome heat during farming. Because the hat
was made creatively and finely, he joined a festival to show his artwork. Who
would have thought that a simple hat to help our farmers would soon become a
recognized art? He did.
Also, Salinta Monon, a respected textile weaver from Davao Del Sur,
isolated herself from her family for months to finish her art. She once dreamt of
establishing the art through teaching new would-be weavers.
In conclusion, the artworks of our GAMABA awardees are indeed living
treasures. Their arts do not only express an idea or feelings but they also carry
significant contributions that are imbibed through generations. and inspired the
contemporary arts that we use and see today.
 GROUP 4: PROMOTIONS OF ARTS FROM THE REGIONS

The traditional and contemporary artists’ mode of production continues to be

affected with the dynamics of change in the environment. Nonetheless,
environment is considered of its utmost importance – this is where resources are
gathered and shared, and where culture is performed. So, let’s recognize some
factors that affect the traditional or contemporary artist’s production process.

THE PRODUCTION PROCESS AND THE CHANGING

ENVIRONMENT
1. Tourism
Land areas are converted into sites for tourist consumption. In this situation,
ecological domains may become more vulnerable to damage with the combined
forces of natural disasters and tourist mobility. Moreover, tourist mobility might
influence the community’s observance of tradition and tend to diminish the quality
of native art forms. Removed from their original context, the works are
transformed into mass produced souvenirs in order to meet the demands of the
tourist trade. Neon colors and designs woven from synthetic fibers have been made
available in recent years to create appropriations of traditional textile designs for
commercial purposes.
2. Militarization
The insecurity and tensions brought about by militarized zones apprehend the
people’s ability to create art. It prevents people from having communal gatherings,
where exchanges and passing of knowledge can take place.
3) Christianization
The influence of Christianity and the conversion of the natives to a foreign
religion have affect the preservation of their indigenous rituals and traditions.
However, in some cases, the community finds a way to harmonize their indigenous
ways with traditions of Christianity. For example, the Manobo community of Mt.
Apo initiated a “culture regeneration movement.” As Christian converts, they
sought the revival of their traditions by holding clan reunions, employing native
wedding rites, and recalling narratives of their culture through painting.
 GROUP 5: DIFFERENT CONTEMPORARY ART
TECHNIQUES AND PERFORMANCE

An art is always created with a technique. A technique is the way the

artist uses and manipulates the materials to express an idea or feeling through
an art. This lesson will discuss the traditional art techniques, their
descriptions, and applications to contemporary arts. This lesson will guide you
to easily identify the evident techniques used in the contemporary artwork.

II. Techniques Used in Contemporary Arts

A. Application of Traditional Techniques to Contemporary Arts
The table shows how traditional techniques are applied to contemporary
arts. In these examples you will see how the techniques are modified to create
another artwork.

Traditional Art Application to Contemporary Arts

Puni (Bulacan) - This is a Straw Folding. In this art, the straws are
popular Bulakenyo’s way folded by rolling elongated sheets of wax
of decorating using leaf coated paper into cylindrical, hollow tubes.
fronds folding which has a Origami is from ori meaning “folding”, and
Malayan origin. kami means “paper”. Origami is the art of
 paper folding that is associated to Japanese
culture.
Singkaban (Malolos, Bamboo Art. To use bamboo for
Bulacan) It is a decorated decorations, it must undergo some processes
bamboo arch to welcome such as cleaning and cutting, peeling,
signage of a town, city or splitting, stripping or weaving it. For more
village in the country. detailed designs, artists use incising, burning,
carving, and dyeing.
Saniculas (Pampanga) Polvoron Molder. This kitchen tool can help
Saniculas cookies made you mold the powder for polvoron into
with imprint of San Nicolas perfectly oval or round shapes (biscuit
de Tolentino, the miracle molder, doughnut molder)
healer according to
Pampanga’s local legend.
Pabalat (San Miguel, Packaging. The packaging design can be
Bulacan) The art of simple and straight forward, or colorful and
making the pabalat or complex (decorated packaging).
pastillas wrappers has
transformed in recent
years from being a local,
folk tradition into a
popular art.
Taka (Paete, Laguna) Paper Maché. Using molds, paper pieces or
Taka refers to the paper pulp are put together with a glue or other
maché using carved adhesives.
wooded sculpture used as a
mold.
Pagbuburda (Taal, Stitching. Stitches are the basic elements of
Batangas and Lumban, sewing, knitting or embroidery whether by
Laguna) Taal hand or machine.
embroideries are Loom Bands. These are also called as
characterized by fine rainbow looms which are a plastic tool used to
design with delicate, weave
embossed, durable and colorful rubber and plastic bands into
colorful patterns. decorative items such as bracelets and
 charms.
Nylon Bracelets. A tough light weight
elastic synthetic polymer ornament band
hoop or chain worn on the wrist.

B. Common Techniques in Contemporary Arts

There are three techniques that are commonly used today in contemporary
arts today.
1. Minimalism. This is an artistic movement that seeks to take away
unnecessary and leaving only the essential. The artworks that usually use this
technique use a well selected material that is indispensable in art production.
2. Found Objects. This means taking something that people seem to find
useless and use it in a unique way in order to make an artwork. When people
seem to think that something must be thrown away as junk, it is used to tell a
story and create a diverse perspective that we are looking for.
3. Large-Scale Art. This is an art that accounts for the creation of
something huge to express diverse perspectives in artwork. This art is created
for public view.

II. Medium Used in Contemporary Art Forms

Often, artists will most likely use materials available to them. This
means that the resources their locality have is important for their art. The
“local” can refer to material that is easily available in the community. It can
be any materials such as woods, materials, paper that are easily produced
and available in the community. The local can also refer to wherever the
artist finds himself or herself.
In discussing the use of materials, it is important to discuss medium. A
medium is defined as the material or substance used to create an artwork.
Using these materials, the artists express his feelings or thoughts. The
medium used in each artwork varies based on the artists and their art forms.
 A. CLASSIFICATION OF ART FORMS ACCORDING TO
MEDIUM

Classification Description Art Form Medium

Musical use of music, poetry,
rhythms, song, dance, musical instruments,
sounds, theatre artist traditional musical
instrument, instruments made by
human voice local materials, body
and movements,
integration of stage,
design, performance
elements and script
Practical art with designs, cement, paper,
immediate architect, bamboo, wood, bricks,
use in daily sculptor stone, concrete, metal,
life wood, stone, clay,
glass
Environmental An art that installation, wires, junk, recycled
occupies public art materials
space
Pictorial uses shapes, painting, camera,
Works pictures, drawing, celluloids/negatives,
graphics design, processing chemicals
photography prints
Narrative based on drama, language
story novel,
music and
dance

B. Contemporary Techniques and Materials in Contemporary Arts

Contemporary Arts Techniques
Mark Salvatus' Secret This art was created for a small room at the
Garden 2 Vargas Museum to show a site -specific work.
Being able to accommodate the audience and
 experience the "garden" makes the art
interactive. It is also important to note that this
secret garden was created with inmates who
used plastic spoons, forks and other materials.
minimalism, found objects
This artwork is composed of set of trump card
with images of Philippine car wrecks, its body
parts and details of accident. These cards are
installed on the table with chairs for the
Interactive Games by players.
Ikoy Ricio found objects
Untitled (Mirrors) by This artwork used traditional medium of
Maria Taniguchi acrylic on canvas and traditional modern style
of abstraction. Instead of typical painting, the
artist used diligent brushwork that the painting
encourages meditations apart from viewing.
large – scale Art, minimalism
This space in Museum of Contemporary art
and design is a simulation of a waiting room
with real digital clocks and metallic
Felix Bacolor's Waiting immovable chairs.
(2012) large - scale art, minimalism
Anonymous Animals in The excavated animals were presented with
Mariyah Gallery in specific and scientific names and other
Dumaguete 2013 important details for a real animal. Invented
(Taguchi, Teves, stories by curator make the animals seem to
Sollesta, Vanlenzuela exist with embedded journalist/photographer.
and Ranada) large- scale art, found objects

GROUP 6: LOCAL MATERIALS USED IN CREATING ART

 The choice of art materials is a vital part of the artist’s approach to his
or her work and it is important to pick the right kind of materials. As a new or
budding student-artist, any artwork that you will be creating is considered as
contemporary art provided that it is an original concept. It should be
conceived by the artist him or her self. Call it reproduction or personal
rendition, copying somebody else’s work is short of making some kind of
artistic plagiarism. It’s duplicating an original artwork with or without
insignificant changes.
In creating a unique and original contemporary artwork, many artists
rely on the appropriate and adequate supply of art materials. Local art
materials are locally available materials from the region, province, city or
town. The availability and accessibility of local art materials make them
convenient and easy to use in creating art. Local art materials in combination
with the tools and equipment used to create art are referred to collectively as
art media. For example, paint and brush, paint is the material, and brush is the
tool, together they make art media.

Local and Indigenous Art Materials

It is important to distinguish the difference between indigenous art
materials and local art materials. Anything indigenous naturally comes from
the place or locality. It is not introduced to the place or imported from
somewhere else. Whereas, anything local also comes from the place or
locality but may or may not be originally part of that place or locality. It
could have been introduced to the place or locality by colonists or settlers
from other places.
Indigenous art materials are materials that are natural or inherent
from the place or locality. It has been there right from the start. All
indigenous art materials are local materials but not all local art materials are
indigenous. Local art materials could be a mix of indigenous art materials
and introduced art materials.
Kinds of Local Art Materials
The use of local art materials in creating various types of arts has
become the showcase of Filipino creativity, resourcefulness, and artistry. The
following are kinds of local materials that can be found in the different
regions and provinces of the country:

1. Abaca, also called manila hemp, is extracted from the leaf sheath around
the trunk of the abaca plant known scientifically as Musa textilis, which is
related to the banana plant. Initially used as material for rope, the abaca
found its way in
the arts. The plant can be found in plantations in the Bicol Region and in
the different regions of Mindanao.
2. Coconut Shells or bao, are actually used for wood carving, improvised
cooking utensils and myriads of other uses. Laminated coconut shells are
considered as almost the same as the quality and appearance of turquoise
shells or ivory. Coconut shells are bountiful anywhere in the country
where coconut palm trees, scientifically known as Cocos nucifera, are
planted. These shells are byproducts of coconut fruit processing.
3. Bamboo or kawayan, mistakenly identified as a tree, is actually a kind of
grass. Classified scientifically as a plant of the subfamily Bambusoideae
of the grass family Poaceae. It is found almost throughout the
archipelago. The bamboo stem has plenty of uses and one of its prominent
use is in creating art.
4. Capiz or kapis shells come from the windowpane oyster, a bivalve
marine mollusk in the family of Placunidae. They are abundant in the
Philippines, commonly found along the coastal waters. Cleaned and
processed capiz shells are used for various artistic applications like
windows, lanterns, and walling.
5. Rattan is a naturally renewable palm belonging to the subfamily
Calamoideae of climbing palms. It is widely used as furniture,
handicrafts, and building material. It is grown in plantations in Western
Visayas and Mindanao.
6. Small or Cowrie shells or sigay, scientifically named Cypraea chinensi,
measure about 2 centimeters each. They are often used in shell jewelry
 and shell craft work. They are popular for their vibrant color. They are
found on sandy seafloor around the Philippine islands.
7. Junk, which are old or discarded articles, are considered useless or of
little value but for the creative eyes of an artist they are essential in
creating a wellknown art form called junk art. The discarded materials
stored or hidden away inside homes or thrown in garbage bins are usually
made up of plastic, wood and metal.
8. Dried leaves falling off from branches of trees and plants are
inexhaustible. Ranging from pale yellow to dark brown, dried leaves are
plentiful throughout the year. Dried leaves art is already considered a craft
of its own. Palm, pandanus, or sea grass leaves are used to create artistic
mats or banig.
9. Plant seeds can be acquired from farms and rural areas. Others can be
bought commercially like corn, sorghum, mung beans, sunflower and the
like. Seed art can be found in certain localities. They are distinct for their
creative and colorful designs.
10. Rocks and sand of various types are abundant. They vary in size and
color, allowing for varied art forms.
Local art materials can be classified as traditional and non-
traditional. Traditional art materials available locally are those that are
usually bought from department stores and bookstores. They include crayons,
oil pastel, watercolor, colored pencils and other usual materials used in
school. Non-traditional art materials are materials that are not usually used
in creating art like coffee, plastic bottles and recyclable materials that are
similar to those used in junk art.

GROUP 7: CRITIQUING AVAILABLE MATERIALS AND

APPROPRIATE TECHNIQUES
Being choosy with and discriminating in the choice of art materials cannot
regarded as an overzealous act of meticulousness on the part of the artist. This is
proof of the artist’s dedication and sincerity in creating art. A dedicated and sincere
artist takes his or her choice of art materials and artistic technique seriously.
 The artist makes a thorough evaluation and assessment of the art materials
available at his disposal as well as the art technique he or she will be applying
using these available art materials. The artist has his or her personal criteria in
evaluating the kind, quality and amount of the art materials at hand. The artist, as
an aesthete, shows special appreciation of art and beauty. This is expressed in the
careful preparations the artist makes before embarking on the creation of the
artwork. These show the need to critique the available art materials and the
appropriate art techniques.

The way an artist critiques the available art materials and the appropriate
techniques as one of the tasks in creating an artwork gives a purposeful interest and
sense of direction to what the artist is doing. With this understanding, critiquing
imparts value on the effort of the artist to come out with a worthwhile artwork.
However, critiquing should not be relegated to criticizing which entirely different
and potentially discouraging as it imparts disapproval. It is important to know the
difference between critiquing and criticizing. The artist critiques, not criticizes.

Critiquing Versus Criticizing

Taking note of the process of creation, paying attention to the kind art
materials and the way they were used, considering the art technique that was
applied, are some of the ways of critiquing.
However, relying on feelings for evaluation, depending heavily on the visual
appeal of the artwork, judging the finished product of the creation as either
beautiful or ugly, nice or not nice, are some of the gauges used for criticizing.
Critique is taken from the Greek kritike tekhne, which means "the critical
art“. It is somewhat a formal word that typically refers to a careful judgment. It
refers to the detailed analysis and assessment of something. On the other hand,
criticism refers to a sharp or severe disapproval of something, generally based on
perceived faults or errors. It is judging with disapproval. It is negative in nature.
 Critiquing Criticizing
Thought more than felt Felt more than thought
Concerned with the process of Concerned with what is
creating art perceived through the senses
Considered the artist’s technique Considered the artist as good or
not good
More objective than subjective More subjective than objective
Critiquing Available Art Materials
In using available art materials, they have to undergo evaluation for them to
be deemed really useful. The usefulness of these art materials is dependent on
certain factors. Each art material has to be examined in certain ways. Some of the
basic considerations in critiquing available art materials are availability,
accessibility, and affordability.
Availability. An art material has to be obtainable, ready for use, at hand. Simply
put, the art material exists or is physically present for the artist to use. It is already
there; this is the quality of being able to be used or obtained.
Accessibility. An art material has to be within the artist’s reach, easily acquired
without much effort or difficulty for the artist. It is the quality of being acquired or
used easily.
Affordability. An art material has to be within the financial capacity of the artist to
be purchased or bought. The artist can bear or meet the expense of acquiring the
needed art material. Though a cheap good quality art material is good but an art
material acquired for free is still the best.

Critiquing Appropriate Art Technique

Art Technique is the manner and ability by which an artist employs the
technical skills of a particular art. It is the means, process or methods of using art
materials in a manner that the artist wants to use in order to create an artwork. It is
also important to assess art technique that is going to be used in creating an
artwork. Some of the considerations in critiquing the appropriate art technique are
appropriateness, mastery and practicality.
Appropriateness. The manner by which the artist is going to apply in creating an
artwork should be suited to the kind of art materials that will be used as well as
suited to the kind of art technique.
Mastery. It is expected that the artist is skilled and highly knowledgeable of the art
technique. The right art materials are there and the suited art technique is
appropriate to the art form but if the artist is not adept with the use of the specific
technique to be applied, the outcome might run contrary to what is expected.
Practicality. Art technique should be functional and sensible for the objectives or
purpose set by the artist for the creation of the artwork. Practicality makes the art
technique truly appropriate when it is indeed useful for the artist and when it is
understandably fit for the kind of art materials and for the conceived artwork.
GROUP 8: MATERIALS AND APPLICATIONS OF TECHNIQUES

Garbage are scattered around our environment, especially by those people

living in the National Capital Region (NCR). This trash from our surroundings or
community can be recycled to produce something new and transform it into a local
product or a piece of art.

The Philippines has been blessed with a lot of local materials according to
previous discussions. Some of these are Abaca, Bakbak, Bamboo, Buntal, Buri,
and many others that are constantly being developed by talented Filipinos.

But in the long run, our skilled Filipinos have gone through various trials
especially on the scarcity of the materials used and the growth of technology that
hinders the development of our existing methods in the development of local
materials so that new generations are gradually forgetting the materials used and
the application of techniques of our past.

In this lesson, we will go back to the local materials and the techniques of
yesterday that are gradually being forgotten.

Singkaban Based on the book (Sandagan, 2016), Singkaban is

a type of Filipino art of shaving a bamboo for home
decors and bamboo arches for weddings, mass
gathering, fiesta, and as welcome signage of a
 town, city, or village in the country. It is broadly
utilized as enrichment amid town celebration in
Bulacan. Experienced workers who strive to shave
bamboo, layering to make curls and sensitive twirls
to reach the unique art in this field. Perhaps, it is an
art form ensuring that art is acknowledged and is
open to everybody within the community and their
(Tope110383, 2013) visitors.

Puni According to (Flores, 2018), Puni is a traditional art

of leaf folding. It is an ancient art of weaving that
uses elongated leaves. It starts with preparing the
leaf, folding the leaf, tightening the package, and
trimming the garnish. It is one of the recognized
crafts in the weaving industry. In the history of
Bulacan, they use these leaves in making “Kubol”
as a resting place, as a wrapper for their foods, and
most of all as a creative toy for children. It was
only during 1998 when it was called Puni.
(Malolos, 2010)
These leaves were widely used then but now, it's
becoming obsolete and become a dying art. With
the cooperation of the local governments of
Bulacan, it is gradually being introduced to the new
generations. Today it continues to be used to create
woven baskets, bags, fans, and most of all as
"Palaspas" by Catholic believers at the beginning of
Holy Week. Currently, these leaves are imported
from Sampaloc, Quezon. The leaves dry and
crumbled within a few days. It is more common to
use that are dried treated and dyed for strength and
color.
Pabalat As featured by Galvez in 2016, the province of
Bulacan is known for making Pastillas de Letche
one of the Filipinos' favorites. It is made from
carabao’s milk and sprinkled with white sugar.
After this is done, it is wrapped in plain white
paper and then placed in packages to be released to
the market.
(Bulakenyo.ph, 2020)
Due to the unique mindset and creativity of the
Filipinos, they had a unique approach in making
pastillas. In the town of San Miguel, the unique
production of paper used to wrap pastillas first
emerged. This art was soon transferred to the town
of Malolos, Bulacan.

Mrs. Luz Ocampo was only eleven years old when

she became fond of making designs on pastillas
wrappers. When she was a child, they had a
business on sweetened products and one of them
was the pastillas that she later loved to make its
cover that we still recognize until today.

This kind of art is what we called borlas de

pastillas, the intricately-designed wrapper is made
from papel de hapon or Japanese paper. First, Make
a design on the tracing board. Trace the design on
the papel de Hapon or Japanese paper. The real
challenge comes with cutting the paper where the
design is traced. The designs include Bahay kubo
(nipa hut), rice field, farmer/farmers, Maria Clara,
flowers, landscapes, figures, or specific activities
and scenarios.

Wrapper-making used to be folk art, but the

tradition is slowly diminishing. Today, Ate Naty
Ocampo Castro continues the legacy of her mother
– offer her borlas de pastillas- to keep this culture
alive and to be recognized by the current generation
(Amaia, n.d.).
Taka Paete, Laguna is one of the most colorful and
creative places in the Philippines. The name Paete
is derived from the word chisel which is an
important tool used for sculpture.

Taka or Paper Mache was first recorded in the

1920s when Maria Bangue made a paper toy. The
(Hariboneagle927, papers were molded from wood carving and glued
2017) with paste. After drying, the paper was removed
from the molder and reassembled, dried, and
painted in a decorative pattern that eventually
becomes toys and ornaments. Unfortunately, no
one knows if her artworks were saved after her
town was consumed by fire and almost all traces of
Takas she made are gone.

Every April the Paete people are busy making

Christmas characters like Santa Claus, Rudolph the
red nose Reindeer, and Frosty the Snowman in
preparation for the upcoming holiday season.

Within the town, almost all the shops sell various

Filipino-inspired designs carabao figurine, Maria
Clara dolls, and horses in a variety of options.
Some new designs are cherubs, toy soldiers,
giraffes, rabbits, and a variety of fruits — all in
different colors and sizes (Baldemor, 2020).
Pagpapalayok or Pottery - Kare-kare, Paksiw, Sinigang, these are only
making some of the Filipino dishes we love to feast on.
Of course, they're only more appetizing served
hot off the fire, in a clay pot. Our use of clay
pots is one of the things that highlight the
Filipino trademark of our dishes.

Despite many changes, the people of Pasig still

preserve one of the oldest and most important art
forms of the city the pottery-making.

The tradition of Pottery-making lives on in Pasig

until now. Where the products include not only
(Valenzuela, 2015) ornamental jars but also those used in everyday
living.

Some pottery makers in Pasig import clay in San

Mateo, Rizal. The first step is passing the clay
through the mill. Then, they shape it in a mold
made from "Plaster of Paris." Next, they put the
clay on the potter's wheel. After it's done on the
wheel, it will be buff and smoothen the pot.
Drying takes one or two days depending on the
climate. When it rains, the pots can take one
week to dry. When it is sunny, it can take only
one day. When the pots are dry, they can be
baked in the kiln. The ideal time is eight hours of
baking. In baking, if you heat it too suddenly, the
pots break, so you have to heat it slowly. At first,
keep the heat low. When the pots turn red, that
means they're almost done so turn up the heat
until the embers spark. Today, they used old
pieces of wood and plywood as fuel in their
ovens. However, potters before used carabao
dung and hay. That's what they used back in the
1950s. When the pot is tapped and sounds like a
bell it is cooked then it must be inspected once
more. Finally, it will be painted with latex or
acrylic paint, or coated with a glaze to make it
 shine (Castro, 2020).

Sanikulas Cookies or News featured in Youtube last 2018, considers

Panecillos de San Nicolas Pampanga as the culinary destination of the
Philippines.

Atching Lillian Borromeo is one of the famous

food historians and experts in Pampanga. Her
recipes are handed down from her grandmother
whom she called “Impo”.

Atching Lilian also makes Panecillos de San

(Judgefloro, 2017) Nicolas, whom Filipinos believe to possess
healing properties. Arrowroot is the main
ingredient in baking the said cookies. The
arrowroot plant was inherited from her ancestors.
They had to plant the arrowroot and wait
eight months for the roots to mature. The roots are
then processed. It is pounded and soaked in water.
It is sun-dried and ends up as powder. That's the
flour they used for San Nicolas cookies. Unlike
these days you can easily buy ingredients from the
store. But at that time, they didn't even have flour.

Combine all the ingredients in a bowl – cornstarch,

baking powder, salt, sugar, egg yolks, coconut
milk, softened butter, lemon zest, and oil. Blend
well with a wooden spoon. Slowly add the cake
flour and the rice flour, knead it into the mixture till
it resembles a thick dough, and has a smooth
surface. Mixing by the hand should take about 10
minutes till it is smooth and all ingredients are
incorporated.

Place the dough into an airtight container and

freezer for 2 to 4 hours or overnight. When ready to
bake, take the dough out of the freezer and thaw on
the counter for 8 to 10 minutes. Keep the dough
very cold so it is easy to roll out and handle on the
heirloom cookie molds.

Grease with baking spray or shortening the surface

of the San Nicolas mold which has the design.
Make sure to grease the inner crevices and corners
so that dough can be removed easily after shaping.
Place a chunk of the dough, about 4 tablespoons
over the San Nicolas mold, on the hand-carved
portion. Flatten with your hand to spread it around
evenly. Place a piece of parchment or wax paper
over the dough, which is over the wooden mold.
Using a rolling pin, roll and flatten the dough so it
gets embedded in the design.

Place a round or oval cookie cutter over the San

Nicolas mold, to cut the dough to the appropriate
shape needed. Trim the edges of the cookie if
 needed, whether round or oval. Quickly transfer the
molded dough onto a baking sheet that has
parchment paper or a silicone baking sheet.

Bake Pan de San Nicolas at a preheated oven of

325 F degrees for 10 to 12 minutes or till top is
brown. When done, cool the cookies on a cookie
rack. They will be crisp on the outside but will
have a slightly soft shortbread texture inside. It will
take at least 30-40 minutes for the cookies to cool
on the rack. When Pan de San Nicolas cookies are
cooled, wrap in white cellophane wrappers to show
off the intricate designs. Store in an airtight glass or
plastic jar.

San Nicolas cookies are quite bland in taste. People

say it's good for people with diabetes. The absence
of sweetness makes it excellent when it is paired
with hot chocolate (Sison, 2017).

Pagbuburda Embroidery is an art of decorative stitching,

especially by hand. The high quality of embroidery
in the Philippines is partly due to its history and
partly due to native talent.

The town of Taal and Lumban, Laguna had a long

tradition of hand embroidery since the arrival of the
Franciscan Missionaries. They started teaching
women embroidery. This is probably one of the
most formal studies that have happened to women
(Barongsrus, 2019) folks.

During the Japanese era, the culture of embroidery

was forgotten. It only goes back to the American
era.

Piña and Jusi are traditional fabrics used by the

bordadoras. But Piña is more special because it is
 decent, soft, refined, durable, and not hot. Ang Jusi
(Chiese term for raw silk), on the other hand, is a
lightweight, flimsy, and ecru colored fabric
regarded by the bordadoras as the best material for
embroidery (News, Youtube, 2019).

The first process starts with a “magdidibuho”

(designer) who is in charge of stamping design on
the cloth. After making the design the cloth is then
passed on to the “burdadera” (embroiderer) it who
embroiders the cloth which the designer has
stamped. After embroidering it will be passed to
another person called “magbabakbak". She pulls
each thread to form a design. After that, another
person will do the next process which is
“pagkakalado” (calado). It is done to avoid the
cloth from being frayed. In calado you will lock the
threads from which you have pulled from the cloth
before you have to make sure you look at each
thread. “Calado” is a very tedious process. Those
are the process from embroidery, “pagbakbak” and
“pagkakalado.”

GROUP 9: PRODUCTION PLANNING

Read and learn!

 Have you ever wondered how artist came up to the idea of creating their
masterpiece? What inspires them to create the certain subjects? What are the
reasons behind every painting, sculptures, architectural plans, etc.? Well, in this
module you will learn how to come up to an idea that will soon others will look up
to.
SUBJECT
According to Sandagan and Sayseng (2016), subject refers to anything that
represented in an artwork. It can be an object, person scenery, colors and etc. even
though subject can be the center of an art some masterpiece do not have subjects.
When we are talking about subject, there are two types of arts. Arts that have
subject are called Representational or Objective Arts. These arts present stories,
images, representations, symbols, etc. Examples are graphic arts, literature,
sculpture, painting, and theater arts. While art works without subjects are called
Non-Representational or Non-Objective Arts. These arts attract straight through
the senses. Examples are musical arrangement, architecture, weaving and other
functional art
MEDIUM
Medium refers to the materials used in an artwork. It is the instrument of every
artist to convey message in an artistic manner. It can be colors and brushers for a
painter; sounds for a musician; movements of the body for an actress or dancer; it
can also be the words for every writer; wood or clay for a sculptor.
When creating an art, it does not mean an artist should have the expensive
medium for creating a masterpiece, it can be anything available. As long as it can
conveys the artists’ message it can be used.
FORM
Form refers to the physical characteristics of an art. It is about the utilization of
the elements of art such as line, shape, form, space, color, value, and texture. And
these elements are arranged based on the principles of design in creating
masterpiece.

After understanding the concepts artists considered in creating art, you are now
ready to leap to a bigger step of producing an art production. According to
Quipper (2018), there are 4Ms to consider:
METHODS
Methods refers to the framework of the production. It provides the skeletal plan
that will serves as the guide for the whole production. It contains the objectives or
goals, material, procedures, manpower assignment, target date of finish.
Objectives or goals are the expected output or result of the production. Objectives
must be SMART; specific, measurable, attainable, relevant, and time bound.
Title or name of Production refers to the name of productions. The name of
the production should be the one to catch the audience’s attention.
Target Audience refers to the group that is the primary target of the production.
Procedures are the activities that need to be done.
Venue or Platform refers to the space you will use to execute your production. It
can be physical space or an online platform.
Date of Implementation or Target date of Finish is the expected of production’s
launching date.
MATERIALS
Materials refers to the artwork presented on a production such as the script on a
drama, music and lyrics, or choreography. It is the center of the production that
consist the concept that is expressed through art.
MACHINE
Machine refers to the mediums, machinery, tools, or equipment to be used in a
production. On a theater production machines are the physical materials such as
stage lighting, sound systems, or any technical medium.
MANPOWER
Manpower refers to the team of people assigned to a specific role. It can be the
director, producers, choreographers, dancers, artist, or crew. Because of them the
whole process of creating the production can be fun and it will be easier to
accomplish.

There are many different things to consider in putting up an art production.

This may vary according to the resources, type, and other things. In general, here
are the Four Methods (4Ms) to consider:
Methods
Methods will determine the standard procedure of a production. This is the step-
by-step procedure of the production. This provides the structure or framework
which will be its foundation. We also call it the production plan. The method shall
contain the following:
● Objectives or goals - the end-result or the outcomes of the production
● Materials - the main concept and/or storyline
● Procedures - the activities that need to be done
● Manpower assignment - the person assigned for a particular activity
● Target date of finish - the activity’s date of finish
Materials
This refers to the artwork to be produced and presented to the audience such as the
script, playwright, music, and choreography. A material must have a concept. A
concept is the main idea, message, context, or story that needs to be conveyed.
Machine
These are the materials, machines, or equipment to be used in the production.
These may refer to the physical materials in a production design such as the stage,
lighting, sound systems, or any technological medium.
Manpower
Manpower refers to the production team. Each will be assigned to specific
activities in the plan.
● Concept writers - create and write the storyline and/or script
● Researchers - research to ensure a properly contextualized and well-informed
production
● Director - the head of the production; the one whose vision manifests the most in
the
production
● Producers - produce machineries and manages the manpower
● Choreographers - produce the act and the motions in the storyline to be executed
by the artists
● Performing artists - lead the roles in the storyline
● Crew - the associates in the production