CRAFT DESIGN USING INDIGENOUS MATERIAL

A Project Proposal Submitted to the

Faculty of the College of Industrial Technology of the
President Ramon Magsaysay State University

In Partial Fulfillment of the Requirements for the

Drawing Subject

Austin Mora Delamarca

July 2021
 Abstract

It cannot be denied that indigenous people have traditional knowledge

which is the source of rich cultural expressions in the form of writings,
songs, designs and other literary or artistic works. These are works
handed down from generation to generation through the passage of
time. However, when the “outside world” visits the indigenous people
there is a risk that these indigenous works may be appropriated by the
and used for commercial purposes without permission. Worse, once it
is exposed to the outside world, it may be prone to abuse by
unauthorized sale, copying or distribution. How can indigenous art be
protected and the cultural heritage of the indigenous people be
preserved? The aim of this paper is to show that the indigenous people
produce rich artistic cultural expression that should be protected
because they should be preserved for future generations to come . To
protect indigenous craft, there is a need to (1) identify them, (2) survey
the legal environment to determine if there are sufficient laws that
protect them, and if current laws are lacking; (3) Propose ways on how
to sufficiently protect them. The paper will show that (1) the current
legal protection afforded to indigenous craft and art is lacking as there
is no specific process and substantial provision in the law about
protecting indigenous art as an intellectual property; (2) The traditional
means of protecting indigenous art through the intellectual property
code and relevant laws and regulations are insufficient; and (3) There is
a need to increase awareness of the existence of indigenous art and
the need to protect them to expose the benefits and risks in exposing
indigenous art. In conclusion, the paper will propose that a sui generis
(custom-made) law in protecting indigenous art is necessary to fill in the
gaps of the current system of protection of indigenous art.
 TABLE OF CONTENTS

Page

Abstract

1.0 Problem Rationale

1.1 Introduction x
1.2 Background
1.3 Statement of the Problem x
1.5 Significance x
1.7 Definition of Terms x

2.0 The Project Proposal

3.0 Project Methods

3.1 Project Design and Techniques X

4.0 References
 Into the Woods
Title

Chapter 1

THE PROBLEM RATIONALE

1.1 Introduction

Throughout Philippine history, craftsmanship and its different forms have always been prevalent.
The Filipinos have an innate inclination to create, exemplifying the state of being engaged in
their craft and taking a sense of joy and pride in their work. The Filipino craftsman dedicates
himself to his art and telling the story of the Philippines, bearing its truest essence-its soul for the
world to see.

Blessed with natural resources, Filipino craftsmen are able to come-up with a magnificent
product that tells a million story not just about their lives but the culture of their place. Clearly,
this reflects Filipino crafts that magnify labors of love and patience. These are evident in the
products of their skillful hands and imaginative minds. Creative crafts in the Philippines do not
only satisfy our senses, but each artwork speaks of the passion and active involvement of the
artists in visualizing, connecting, and appreciating the culture and the creative manipulation of
the objects around.

Do you have what it takes to become a craftsman? In this chapter you will learn the brief
overview of Philippine Arts and Crafts and its significance and relationship to the Hospitality
Course. It is then expected that you will be able to find yourself become an agent of this culture-
filled journey. As you will come to know more of these arts and crafts, be ready to become your
most creative self for you will be creating your own handicraft. This journey transcends beyond
“knowing” history or “applying” discussed topics, rather, it is an “awakening” of your soul in
taking responsibility to promote, conserve, and develop Philippine indigenous creative crafts.

Are you ready to take these responsibilities?

a. Concept.

I choose to use “Plywood” specifically “Bamboo stalks” to create this one of a kind creative art
master pieces.

b. Feasibility.

It refers to the creative arts and craft that I’ve seen in the side walk of our Public Market selling
by our Indigenous People.

c. Design.

This was composed of Guava branches and Bamboo stalk openly found on our backyard,
putting together gives me a sophisticated and elegant look of creative craft made up of
Indigenous materials.

d. Prototype.
d. Production.
1.2 Background of the Study

Philippines’ rich culture and tradition do not lack when it comes to arts and crafts. Although we
are conquered by different countries, we have our indigenous crafts that serve as our nation’s
identity. Philippine Indigenous creative crafts are handicrafts that is either made with the
materials and inside the premises of the Philippines or using traditional techniques of our
predecessors to make a certain product, or the combination of the two.

Long before the Spaniards came in the archipelago, we already had traditional crafts in different
tribes and regions of our country. The techniques of our ancestors include cloth making,
looming, pottery, etc. Some of the indigenous crafts of the Philippines are the cloth & basket
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weaving in the cordillera tribes and Piña cloth looming in Antique . Pottery is also one of the
indigenous craft in the Philippines, evidenced by the world-famous Manunggul Jar which serves
2
as our cultural link in the pre-colonial Philippines . The traditional clothing of different tribes and
textiles in the Philippines is also considered as an indigenous craft. It includes the T'nalak cloth
3
that comes from the T'boli, The Igorot Cloth and the Malong of the Maranao . These indigenous
creative crafts represent the culmination of the artistic talent of our predecessors and the
traditional and cultural significance of the pre-colonial era in the Philippines.

We, as a country, are a mix of different traditions and arts, but we need to remember that our
real indigenous creative crafts are the ones that our people made long before the colonial
period. We must continue to preserve and enrich our indigenous arts and crafts for future
generations to come.

1.3 Statement of the Problem

In return, as students will “explore different culture, examine different form of arts, and portray
appreciation to craftsmanship”, a certain indigenous art can be known throughout the world that
will inevitably pave the promotion of culture and other products of a certain locale.
Art and craft is considered to be an integral part of the tourism business, since it plays an
important role as souvenirs and mementos, thereby spatially and temporarily expanding the
visitor experience. It is also increasingly looked upon as an opportunity to diversify the
tourism sector offerings, as well as the broader economic base. It links directly to the tourism
sector as a source of supply of functional items used in the hospitality sector.
Indigenous arts and crafts served to enhance the intrinsic value of local art and craft to
international visitors. This is because local art and craft maintain the quality of uniqueness,
and represent an innate connection to the heritage and culture of the destination, as well as
the indigenous knowledge and craftsmanship of local artisans.
In many places, crafts such as textiles and art contribute greatly to the culture of a
destination and the travel experience. Crafts can be an important contributor to a country’s
economy, employing artisans that are preserving cultural heritage, while generating an
important source of income through the informal sector. The tourism industry provides an
important export market for a host of craft products. For example, hotels and restaurants
demand diverse craft products in order to furnish and equip their establishments. Tourists
often set a budget for themselves expecting to buy different products to take home as
souvenirs. These souvenirs then serve as tourism marketing tools by telling a story of the
destination and adding to the travel experience.

1.4 Goals and Objectives of the Study

To create a Indigenous creative craft of “Portrait Reindeer Head” the project aims
to :

1.) Identify the different types of traditional Arts and Crafts in the Philippines

2.)Be a creative individual that can overcome the use of Polymer products in
creating design to make an art.
3.)Make a presentation on any of the sub-topics of the brief overview of Philippine
Arts and Crafts; and

4.)Develop a sense of hard work and craftsmanship through a simple craft creation.

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 1.5 Significance of the Study

Arts and Crafts in the Philippines 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.
The traditional arts in the Philippines encompass folk architecture, maritime
transport, weaving, carving, folk performing arts, folk (oral) literature, folk graphic
and plastic arts, ornament, textile, or fiber art, pottery, and other artistic expressions
of traditional culture.
Its aim is poverty alleviation and sustainable use of non-timber forest resources by
providing an income from marketing handmade products. The project also fosters
the participation of both men and women. Next to a sustainable income, the
communities get training to improve their products and to match them

1.6 Scope and Limitation of the Problem

• This Project will focus Indigenous creative craft.

• It will concentrate on the raw materials that can be found in nearby place of me.
• The project’s aim is to produce output base on Portrait art made up of Ply board and Bamboo
sticks.
• The project is also limited to the go beyond the boundaries and provide unnecessary products made
by others and create by others to fulfill the lack of man power upon creation.

1.7 Operational Definition of Terms

• 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
• 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

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• No rigid standards dictate materials, forms or techniques
• Process of creation is valued over the work of art • Conceptualization and realization is simultaneous
(De Leon, 2011)

Chapter 2
THE PROJECT PROPOSAL

2.1 TITLE.

“INTO THE WOODS”

What I know about Indigenous Philippines arts and crafts is they are quality masterpiece
representing one’s tradition and a one way in preserving the culture. These are made manually
by the local Filipinos and turns out to be a product that cannot be thought that they are just made
out just through the use of their hands.
The interesting and dominant features of our own Filipino artisans is that they are very creative
and have a great mind in a way that they are not just simply do arts and crafts with the use of
available materials in the store but they are usually use some of the materials that are discarded
objects but once they lay their hands on it, they can make the best arts and crafts out of those
objects.
Of course the Philippine traditional motifs is our very own and that is also the design that we are
known at and represents the Philippines native that’s why these are used for a long time and that
would make easier for us to be recognizable and influence other fellow Filipinos.
As a Filipino Youth, I will just begin in taking care of our nature for the source of the materials
used in Philippines arts and crafts is our nature also. Second is by enjoying our local products,
use and buy them, and show globally that I am so proud with the indigenous products here in
the Philippines by the use of social media platforms. And lastly, we should also

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 Chapter 3
THE PROJECT METHODS

THE CREATION PROCESS

1. Concept

Product concept is the understanding of the dynamics of a product in order to showcase

the best qualities and maximum features of a Indigenous creative craft that I created. This craft
show case the future of Filipino crafting that made by raw materials that easy to find and popular
in the Philippines and widely recognize by people.

2. Feasibility

3. Engineering Design

Engineering design is the method that engineers use to identify and solve problems.

4. Prototype

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 .

5. Production

Production is the process of combining various material inputs and immaterial

inputs in order to make something for consumption.

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Phase 1. Developing Ideas.

In this phase, the craft that I made were became possible in the help of my family and
providing ideas from various IP’s that I know where they share there stories that make me
inspire to develop what I made and be possible in reality afar from the image of imagination.

Phase 2. The Construction of gathered Materials.

After an Idea I came up to gather the possible available materials I could have around me and to
my neighbors, so I find and look for Bamboo and woods as well as the Ply board and other craft
materials that I could use for this.

Phase 3. Evaluation of results.

Finally, this creative master piece were truly be form and ready for posting and evaluating due to
some demands and delay because of this Pandemic but now I present to you this one of a kind as
a Drafting student of President Ramon Magsaysay State University.

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 BIBLIOGRAPHY

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https://www.rcampus.com/login.cfm?&fltoken=1596688264112&
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