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Basket Ry

This document provides an overview of basketry making in the Philippines, highlighting its historical significance, techniques, and materials used by indigenous communities. It discusses the social and economic roles of basketry, the challenges faced by these communities, and the importance of preserving traditional crafts. Additionally, it emphasizes the environmental benefits of basketry and the efforts of organizations to support indigenous artisans and promote sustainable practices.

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cinnamongirly557
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

Topics covered

  • artisanship,
  • traditional techniques,
  • community economy,
  • indigenous communities,
  • basketry art,
  • historical origins,
  • cultural significance,
  • basketry heritage,
  • environmental impact,
  • basket making
0% found this document useful (0 votes)
76 views9 pages

Basket Ry

This document provides an overview of basketry making in the Philippines, highlighting its historical significance, techniques, and materials used by indigenous communities. It discusses the social and economic roles of basketry, the challenges faced by these communities, and the importance of preserving traditional crafts. Additionally, it emphasizes the environmental benefits of basketry and the efforts of organizations to support indigenous artisans and promote sustainable practices.

Uploaded by

cinnamongirly557
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

Topics covered

  • artisanship,
  • traditional techniques,
  • community economy,
  • indigenous communities,
  • basketry art,
  • historical origins,
  • cultural significance,
  • basketry heritage,
  • environmental impact,
  • basket making

UNIT 4: Basketry Making, Materials and Design

Lesson 1: History of Indigenous Makers in the Philippines


Learning Outcomes: At the end of the lesson, students should be able to;
1. Discuss the history of basket making in the Philippines.
2. Identify the social and economic purpose in identifying the cultural group.
3. Explain the manner of creation and the preparation of the materials used.

Introduction
Basketry exemplifies the creative use of materials for the environment and implies
extensive knowledge of different materials and their natural properties. Methods include: bamboo
method, large leaves method. Basketry has a communal meaning and function: mediate between
humans and nature.

Basketry
3 kinds of baskets: carrying, storage, and trapping baskets
Basketry
Used for carrying
Cordillera pasiking ,
grain

Basketry
Storage Basket
Bontoc akob , used
As a lunch basket

Basketry
Trapping Basket
Salakab, used for trapping fish in rice paddies

Basket Making: A Brief History

The content of this lesson is a discussion on the teaching of making basket. The
discussion is based on actual observations in the preparation of materials and techniques used.
It is to be noted that the discussion is given in the link provided for your reference.
([Link]

Basket making (also called weaving, coiling, twining depending on the technique) is a craft
nearly as old as human existence. It’s hard to tell exactly how long people have been making
baskets as the natural materials they used haven’t lasted the test of time. Stone carvings suggest
that baskets were used as a tool to carry objects from as early as 20,000 years ago BC. What we
do know, is that people have been learning to make baskets and using them within their
communities for thousands of years, it is one of the widest spread crafts in the history of
humankind.

Before basket making kits and online basket making courses were a thing, people - usually,
women - would teach others in their community to weave or sew materials into 3D shapes. They
would teach beginner basket makers their craft that would have been passed down for
generations, using techniques and materials local to them. They would look to their surroundings
for basket making supplies – using plant materials sourced from local flora such as raffia, which is
made from the raffia palm.

The idea of handmade baskets as interior decoration is relatively new. As is the idea of
basket making as a widely revered art form. Somehow, over time, we have become to appreciate
just how beautiful basket making as a craft is.

In a world of 9-5 work and rushing from this to that, taking time, and using patience to make
something with your hands seems like a kind of beautiful act of rebellion against the stresses of the
daily grind

Techniques
Basket weaving is often used as a blanket term to describe all types of basketry, but there
are different basket weaving techniques you can use: coiling, twining, weaving, random weave.
Cordage is the art of making rope, which is used in basket weaving also.

Basket coiling is a technique that suits beginner basket makers up to advanced basketry
artists. The distinctive feature of this type of basketry is its central coil, or what we call a ‘starter
circle’. If you look at the Craft School Oz logo you will see what a starter circle looks like - your
starter circle is the beginning of this magical craft process. Once you have this foundation, you
then coil your material around it, gradually making your basket. I will show you how to create your
starter circle and build your own DIY basket in a way that will have your basket coiling like a pro in
no time.

Materials

Plant Materials

Traditionally baskets have been made from natural materials such as reeds, flax, and native
grass. Cordage (rope) can be made from plant material and woven together to create structure. In
my Baskets from the Garden workshop, I teach my students what plants to look out for.
Traditionally, basket weaving was all about what plants were local to you; finding basket making
materials that you didn't have to search far and wide for. I've made a list of helpful plants on my
natural basket weaving page.

Textile baskets
Another great material to use is anything you have in your craft stash! Most crafters will
have a craft stash they can dive into - most fabrics are useable. Even if you're not a crafter, you'll
likely have some clothes you've wanted to get rid of that you can use (see pic below of a textile
basket I made from some old jeans).

Other materials you will need

 A large needle - with a big eye


 Scissors
 A measuring tape or ruler (to cut your material into strips)
 Twine, thread or yarn

Basketry helps fight the War on Waste!


Basketry is an environmentally conscious craft, an eco craft in-fact, it's all about following in
the traditional footsteps of our ancestors who used what they had at the ready. Australians
alone currently dispose of 6,000 kilograms of textile waste every 10 minutes - using old clothes
and spare fabrics for your craft stash is a lovely way to do your bit for the planet -and have some
creative fun in the process!

Learn to Make Your Own Baskets


Basketry is a wonderful craft - it is fun and relaxing, and good for the soul! The beauty of
basket making specifically is that it's so forgiving; even when you are learning you'll make beautiful
work. In my one day workshops, people that have never made a basket in their life love their
results. There's always so much pride in the room. It's my favorite part of teaching. It's also why I
decided to make my workshops accessible online. It means I can teach people far and wide about
the beauty and benefits of learning the art of basketry.
For many years I’ve seen incredible baskets from the Philippines— mostly at Cost Plus
stores, yard sales, or at Goodwill. But after visiting indigenous basket making communities in
Indonesia and Malaysia, I realized that many of the baskets woven in their communities had a lot
in common with those of the Philippines. It turns out that many native communities in all 3 countries
have similar historical origins.

Bontoc backpacks on dancers in Mountain Province Lang-Ay festival

Last year, after seeing an amazing exhibit in downtown San Francisco of indigenous textile
from Mindanao Island in the Philippines, I was inspired to pursue the Philippine connection. Mary
Connors, of the Textile Arts Council of San Francisco’s DeYoung Museum had organized a
2016 tour of the Philippines for textile weavers, but also had her own extensive collection of quality
Philippine baskets. She put me in contact with the Non- Timber Forest Projects (NTFP) group
based in Quezon City, near Manila, and through them I was able to make the connections for the
journeys to the remote basketry communities I visited.
In the Philippines, wages are low. The government minimum wage is approximately $10
daily in urban areas, and only $5 in the countryside. But in the most isolated rural areas—primarily
upland indigenous communities—the minimum wage is meaningless; in these subsistence
economies, virtually the only employment is on the family farm.
Kamantian house of thatched palm and bamboo

During a recent three week trip, I visited four indigenous communities on two islands: the
Pala’wan on the island by the same name, and the Ibaloi, Tingguan, and Ifugao of the Luzon
Cordillera ( Mountains). Three of the four villages were only accessible by hiking. Kamantian, the
Pala’wan village, required a steep 4 hour mountain trek from the nearest dirt road.

These ethnic groups are culturally distinct, but share the experience of having been largely
unaffected by four centuries of Spanish colonialism, and only marginally affected by the 5 decades
of U.S. colonialism which followed. However, in the past century, indigenous communities have
struggled to secure ancestral land rights and access to the very natural resources that have made
their continued subsistence possible—including the rattan, bamboo, & various palms and vines
used for basketry.

Still used rattan storage baskets in Ifugao village

In these agricultural communities, rice and root crops are raised with swidden (slash and
burn) methods, and homes are built and furnished primarily with bamboo.
Ifugao basketry village outside of Banaue
Basketry and the weaving of textiles often provide the only cash income for necessities
like cooking oil, soap, & school clothes. A beautifully crafted traditional basket of finely sliced and
plaited bamboo may earn the weaver only $3.00, but this is essential income.

Tingguan tourist baskets of Bamboo.

The most striking basketry art in the villages I visited was in Pala’wan. Using bamboo, nito
vine, and a softwood called enapung, the weavers create tourist trade miniature baskets with
exquisite designs.

Pala’wan Tingkep basketry


These covered baskets, called tingkeps, were historically used for rice storage, as a
hunter’s burden basket, and as spirit houses during animist rituals.

Now intricately plaited with smoked black and natural color bamboo, and lashed with the
threads of the nito vine, the baskets come in symbolically significant & varied patterns. All the raw
materials are found no more than a 5-minute walk from the center of the village!
Not surprisingly, it takes far more time to harvest and prepare the materials, than it does to
weave the basket. Using only knives to split the 3” diameter bamboo stalks into dozens of 1/16”
sized & finely smoothened strips requires enormous skill.

Tiny Tingkep basket

Pala’wan weaver and her trays


Basketry plays such a large role in the economy of the Ibaloi village of Banayakeo, that the
local government and an NGO recently constructed a two room concrete block building as a
meeting place for the Banayakeo Basket Weavers Association. In this building a “training on
Banayakeo traditional bamboo crafting” was recently held to introduce a new generation of
weavers to this important source of income, complete with awarded certificates and a speech by
the provincial governor.
Ibaloi basketry tools

The weavers here have modified the size and shape their traditional bamboo burden
basket, and modified the size and shape to create twined and plaited plant holders for market
sales, as well as plaited baskets and helmet shaped sun hats.

Web Source: [Link]

Ibaloi Banayakeo weavers studying pattern book


As with the Pala’wan weavers I worked with in Kamantian, the Ibaloi Banayakeo weavers
were eager to see & learn new styles of basketry, and asked me detailed questions about my
materials and techniques. They pored over the photos in the book I had brought, Basketry of the
Luzon Cordillera, & asked that I teach them the technique I had used to make my coiled earrings.
In her minutes, the association secretary particularly noted the materials I used— embroidery
thread and paper rush— which, being store-bought goods, were unfamiliar. When I suggested they
could attach beads to their coiled basketry, one weaver ran out & came back shortly with local
bead-able seeds so that I could demonstrate. Like any group of U.S. basket makers, the
Banayakeo weavers were looking for further artistic inspiration for their work, and I left promising
to send them detailed instructions and further patterns for coiling.
In a typical instance where a traditional art form was transformed through cross-cultural
exchanges, the basket weavers in villages outside Bangued city in Abra province were weaving
plates and hats of finely cut bamboo with complicated & visually striking plaiting techniques that I
had only previously seen in Japanese basketry. With a bit of research, I learned that Japanese
volunteers had come to the region over a 15 year period beginning in the 1970’s to share their
weaving techniques.
!

Tingguan tray and hat with Japanese wheel weave (rinko) technique.

Where the continuing geographical isolation of indigenous basket and textile weavers
secures a ready supply of raw materials (which often must be prepared within a week of
harvesting), it also means these communities lack access to markets, and must depend on
intermediaries—tribal chiefs, mayors, or less altruistic business agents) to sell their goods.

This is why non-governmental organizations like Non-Timber Forest Products—the NGO


that assisted me in my research— really make a difference. Their goal is to empower indigenous
communities to be stewards of the forest, with continued access to both raw materials and
markets. The work of groups like NTFP can take many forms.
For instance, in Pala’wan, the almaciga tree produces a resin used in smoking and blackening
their bamboo for basketry. But the resin is also used widely used in lacquer, plastics, and paints,
and can be profitably harvested, like maple syrup, on a sustainable basis. (Yes, the encaustic
many basket weavers use to preserve their baskets contains this resin, commercially known as
Manila copal.)

Thus, Pala’wanese NTFP community organizers are assisting resin harvesters to regain
control of their lands and to obtain a needed government license for harvesting and sale.

Through the encouragement of the NTFP’s designing and marketing subsidiary, Custom
Made Crafts, basketry and textile products which incorporate traditionally used forest materials,
techniques, and patterns are promoted.

Pala’wan tingkep baskets in Custom Made Crafts display with basketry from Mindoro Island
And in weaving communities where basketry material has become scarce due to deforestation and
climate change ( e.g. rattan), villagers are provided with the resources and technical assistance
to re-introduce and cultivate them.
I was privileged to have made this Philippine journey, and profoundly impressed by the
dedication of NTFP’s community organizers. My goal now is to assist with finding and shaping new
markets for the basketry that is essential for the continuing survival of these indigenous
communities. If any readers have ideas, I would love to hear from
you!

Although basketry has been my focus here, textile arts, including the traditional weaving of
pineapple ( pina), banana & Manila hemp (abaca), & cotton fibers using ikat, tapestry, or shuttled
techniques, & natural dyes, remain essential to the subsistence economies of many other
indigenous Philippine communities—and are also supported by the NTFP. Please see the links
below:
If in Manila, be sure to visit the National Museum of the Filipino People which has full
floors of basketry and textiles exhibits, excellent explanations of the processing of natural
materials and dyes, and a “Living Tradition” hall featuring the work and life stories of
contemporary textile and basketry artisans. (Mary Connors, of the Textile Arts Council of San Francisco’s
DeYoung Museum, Tour in the Philippines (2016)

Web Sources: [Link]


[Link]
[Link]
Mary Connors, of the Textile Arts Council of San Francisco’s DeYoung Museum, Tour in the
Philippines (2016)

Common questions

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Traditional basketry practices in the Philippines have mostly been environmentally sustainable, as they rely on natural, locally-sourced materials such as bamboo, rattan, and vines . These practices reflect a long-standing knowledge of ecosystem management and sustainable harvest techniques, being attuned to the seasons and growth cycles of the plants used . However, contemporary challenges such as deforestation and climate change threaten the availability of these resources, leading to the need for interventions like reforestation efforts and sustainable harvesting to ensure basketry's continuity . NGOs and community efforts to reclaim land rights and foster sustainable resource management highlight the ongoing balance between maintaining traditional practices and addressing modern environmental concerns .

In Philippine indigenous communities, the availability of natural resources is a pivotal factor shaping basket weaving practices. Communities traditionally source materials locally, using plants such as bamboo, rattan, and palms which are readily available near their villages . For instance, Pala'wan weavers craft their tingkep baskets using bamboo, nito vine, and enapung wood found within a short walk from their homes . However, deforestation and climate change are now threatening these resources. In response, NGOs provide technical assistance to reintroduce scarce materials, such as rattan, fostering sustainable practices . The access to these resources ensures that traditional basketry can continue to be both an economic activity and a cultural expression .

Basketry contributes significantly to the preservation of indigenous cultural heritage in the Philippines by facilitating the transmission of traditional knowledge and skills across generations. The craft embodies communal and cultural meanings, as seen in the creation of baskets with symbolic designs used in traditional practices like rice storage or animist rituals . Communities such as the Pala'wan and Ifugao preserve their cultural identities through basket weaving, which employs locally-sourced materials and traditional weaving techniques passed down through informal community education . By maintaining these practices, communities not only uphold their cultural narratives but also adapt and innovate within traditional frameworks to sustain their livelihoods in a modern context .

Socio-economic factors deeply influence the evolution of basket weaving in indigenous communities. Economically constrained populations often rely on basket weaving as a primary source of income due to limited opportunities outside agriculture . Low local wages in rural Philippine areas, around $5 daily, place financial burdens on these communities, making basketry a vital economic activity . As modern markets develop, there's growing demand for new and varied basket designs, pushing weavers to innovate while maintaining traditional techniques . Cross-cultural exchanges, such as adopting Japanese plaiting techniques, reflect this adaptation to meet market demands . This underscores basket weaving's adaptive nature in response to socio-economic shifts, ensuring its continuity as a crucial livelihood strategy.

Basketry plays a crucial role in both the daily lives and economies of Philippine indigenous communities. Economically, it often provides the only source of cash income for these communities, as indigenous people like the Ifugao and Ibaloi primarily subsist on agriculture and their family farms . For example, a well-crafted basket may sell for only $3, but this income is vital for purchasing necessary goods like cooking oil and soap . Culturally, basketry is intertwined with traditional practices and rituals. In Pala'wan, baskets like tingkeps possess historical significance, being used for rice storage, as burden baskets, or in animist rituals . Basketry also fosters a sense of community through shared techniques and craftsmanship passed down across generations .

Tourism has a multifaceted impact on the traditional basket weaving industry in Philippine indigenous communities. Positively, it introduces indigenous craftsmanship to a global audience, potentially increasing demand for authentic, culturally-rich products, as seen with the Pala'wan tingkep baskets marketed for the tourist trade . This can lead to increased income and economic benefits for weavers. However, tourism can also drive commodification, where traditional methods and cultural symbolism may be compromised for mass-market appeal . To balance these, some NGOs emphasize sustainable tourism, encouraging visitors to understand and appreciate the cultural significance of the craft, ensuring that economic gains do not erode cultural heritage .

NGOs play a pivotal role in supporting basket weaving communities in the Philippines by enhancing both the environmental and economic sustainability of their practices. Organizations like the Non-Timber Forest Products (NTFP) group assist communities in securing ancestral land rights, ensuring sustainable access to essential raw materials like rattan and bamboo . They also provide technical assistance for sustainable resource management and promote traditional practices through design and marketing initiatives, which help link these communities to broader markets . Additionally, NGOs facilitate market development to foster economic resilience among indigenous weavers, thereby supporting their cultural heritage while addressing issues like climate change and commodification .

Basket weaving communities in the Philippines face several challenges in maintaining sustainable practices and income. Primarily, the availability of natural resources is threatened by deforestation and climate change, which disrupts the supply of essential materials like bamboo and rattan . The geographical isolation of many indigenous communities also limits their access to markets, forcing them to rely on intermediaries who may exploit them . In response, NGOs promote sustainable resource management and help establish direct market links to ensure fair compensation . Additionally, adapting traditional techniques to contemporary market demands presents both an opportunity and a challenge, requiring innovation while preserving cultural integrity .

Cross-cultural exchanges have significantly influenced basket weaving techniques in Philippine villages. The infusion of external techniques into traditional practices is evident in places like the villages outside Bangued city, where the weaving styles show intricate plaiting that resembles Japanese techniques . Japanese volunteers introduced these methods during visits from the 1970s onward, showcasing the exchange and integration of different cultural crafting practices. Furthermore, weavers in these communities actively seek new artistic inspirations and innovations from outside sources, as seen in their eagerness to learn and adapt foreign techniques presented in workshops and pattern books . Such exchanges enrich the cultural heritage and increase marketable diversity in basket products produced by these communities.

The historical origins of basket weaving in Southeast Asian countries reveal profound cultural connections across the region. Similarities in basket weaving practices among nations like the Philippines, Indonesia, and Malaysia suggest shared historical roots and cultural exchanges . For example, indigenous communities in these countries utilize comparable techniques and materials, reflecting a common environmental context and cultural heritage . Such parallels indicate longstanding interactions and exchanges among different ethnic groups that predate colonial influences, manifesting in shared craftsmanship and artistic expression found in their basketry traditions . This interconnectedness informs a broader Southeast Asian cultural identity, emphasizing mutual influences and shared histories.

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