Arts 7 Quarter 1 Module 5: Luzon Highlands and Lowlands Attire, Fabrics, and Tapestries

Arts Quarter 1 – Module 5: Arts and Crafts of Luzon (Highlands and Lowlands) Attire, Fabrics, and Tapestries

7

Arts

Quarter 1 – Module 5: Arts and Crafts of Luzon (Highlands and Lowlands) Attire, Fabrics, and Tapestries

[illustration: students studying outdoors and at a desk with a globe and a lantern, with a boy in a red patterned shirt writing on paper]

CO_Q1_Arts7_ Module5

Arts – Grade 7 Alternative Delivery Mode Quarter 1 – Module 5: Creation of Arts and Crafts of Luzon (Highlands and Lowlands) Attire, Fabrics, and Tapestries First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this module are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them.

Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio

Printed in the Philippines by ________________________

Department of Education – MIMAROPA Region Office Address: Meralco Avenue corner St. Paul Road, Pasig City Telephone Number: (02) 6314070 E-mail Address: mimaropa.region@deped.gov.ph

Development Team of the Module

Author: Louie J. Cortez Content Editor: Emmanuel C. Alveyra Language Editors: Cherrie Rose L. Desaliza, Gladys F. Cantos Reviewer: Emmanuel C. Alveyra, Nikka G. Javarez, Norman G. Pereira, Orlando P. Puno, Jumar.L. Nolasco, Nathaniel M. Badenas Illustrator: Reymark L. Miraples, Louie J. Cortez, Richard Amores, Pablo M. Nizal, Jr., Jan Christian D. Cabarrubias Layout Artist: Reymark L. Miraples, Jhunness Bhaby A. Villalobos, Ransel E. Burgos Management Team: Benjamin D. Paragas, Mariflor B. Musa, Melbert S. Broqueza, Freddie Rey R. Ramirez, Danilo C. Padilla, Annabelle M. Marmol, Florina L. Madrid, Norman F. Magsino, Dennis A. Bermoy, Emmanuel C. Alveyra

7

Arts

Quarter 1 – Module 5: Arts and Crafts of Luzon (Highlands and Lowlands) Attire, Fabrics, and Tapestries

Introductory Message

This Self-Learning Module (SLM) is prepared so that you, our dear learners, can continue your studies and learn while at home. Activities, questions, directions, exercises, and discussions are carefully stated for you to understand each lesson.

Each SLM is composed of different parts. Each part shall guide you step-by-step as you discover and understand the lesson prepared for you.

Pre-tests are provided to measure your prior knowledge on lessons in each SLM. This will tell you if you need to proceed on completing this module or if you need to ask your facilitator or your teacher’s assistance for better understanding of the lesson. At the end of each module, you need to answer the post-test to self-check your learning. Answer keys are provided for each activity and test. We trust that you will be honest in using these.

In addition to the material in the main text, Notes to the Teacher are also provided to our facilitators and parents for strategies and reminders on how they can best help you on your home-based learning.

Please use this module with care. Do not put unnecessary marks on any part of this SLM. Use a separate sheet of paper in answering the exercises and tests. And read the instructions carefully before performing each task.

If you have any questions in using this SLM or any difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator.

Thank you.

What I Need to Know

[icon: hand pointing with a finger, beside the title]

In our past lesson, you learned about the Elements and Principles of Arts present in the arts and crafts of Luzon (highlands and lowlands). Let’s make a review before we proceed to the next lesson.

The ingredients for great composition of a masterpiece are the elements of art. The first element which is considered the most important among the elements is line. It is a mark produced by a tool like pencil, pen, or paintbrush as it moves across a paper or surface. Lines can be characterized as long or short, thick or thin, oblique and diagonal, horizontal or vertical, broken or solid, waving or zigzag, straight or curve.

[illustration: geometric shapes (a triangle, a rectangle, and a square) and organic shapes (two leaves)]

Geometric shapes Organic shapes

Another element which created when a line becomes connected and encloses a space is called shape. There are two types of shapes, the geometric and organic shapes. Geometric shapes are measurable like square, circle, triangle and rectangle while organic shapes have more complicated edges like leaves, stone, flowers, etc.

[illustration: samples of form, a cylinder and a box]

Samples of form

A Form is a three-dimensional (3-D) object. It has height, width and depth and NOT flat like shapes; its depth shows the thickness of the object.

Color adds interest to artwork and make it more realistic. When light is reflected through a prism, colors can be seen. These colors are: Red, Orange, Yellow, Green, Indigo, Blue and Violet. Blue, red, and yellow are said to be primary because they can’t be mixed to be made and they make all the other colors on the color wheel. When you mix 2 primary colors together, you get a secondary color.

Value is the lightness or darkness of a color and makes objects appear more real because it imitates natural light. LIGHT SOURCE is needed when showing value in a work of art.

[illustration: application of value, a shaded pencil drawing of a sphere]

Application of value

How the surface of an object actually feels is called texture. In the artistic world, we refer to two types of texture–tactile and implied. Tactile or real is the way the surface of an object actually feels like texture of sandpaper, cotton balls, tree bark, puppy fur, and the like. Implied Texture is the way of artists that is used when they draw and paint objects and these objects portrayed look like as it feels in person. It may look rough, fuzzy, gritty, or scruffy, but can’t actually be felt.

[photo: tactile texture, a cut tree stump with rough bark]

Tactile Texture

[illustration: implied texture, a pencil drawing of peanuts in their shells]

Implied texture

The last element that refers to the distance around, between, above, below, and within an object is called space. There are two types of space, the positive and negative. Positive space is the space used or the space where the object is placed. Negative space is the unused space.

Principles of Art are tools to make elements of art organized. The first principle is balance. It is the arrangement of the elements or objects to create a feeling of stability in a work. Its forms include symmetrical, asymmetrical, and radial balance.

[illustration: symmetrical balance, a house with matching towers; asymmetrical balance, uneven buildings; radial balance, a flower]

Symmetrical Asymmetrical Radial

Rhythm and movement are the regular repetition or duplication of elements to produce the look and feel of movement while pattern is the repetition of design.

[illustration: rhythm and movement, a swirling tree and landscape drawing]

Rhythm and movement

When one area or thing stands out the most or serves as the focal point of an image, it is called the emphasis.

[illustration: proportion, a street with buildings and trees receding in perspective]

Proportion

Another principle that shows large difference between two things to create interest and tension is contrast.

Proportion comes when there is a comparative relationship of one part to another with respect to size, quantity, or degree (scale).

Variety refers to the changes and differences of the elements used to the work and thus, increase visual interest.

Unity is obtained when all the elements and principles are placed organized and work together to create a pleasing image.

After reviewing the elements and principles of arts, let us see how it applies to the arts and crafts of Luzon.

In the Philippines, textiles have unique designs, characteristics, materials, functions and uses. The process of making their textiles, tapestries, attires and fabrics is called weaving. It is a tradition that dates back several centuries and is an intrinsic part of the Filipino culture.

Our ancestors make their own design using their knowledge and techniques in making textiles and fabrics. It is important for them to preserve their traditional styles in creating the said crafts.

In this module, you will learn how to make attires, fabrics and tapestries using local materials and techniques of some tribes and groups in highlands and lowlands of Luzon.

Learning Objectives

In this module, you will be able to:

a. determine the different materials and techniques used in attire, fabrics, and tapestries production in the Highlands and lowlands of Luzon; b. make/create attire, fabrics and tapestries using local materials and techniques; and c. appreciate the weaving techniques of Luzon by determining the proper used of elements and principles of art and how it reflects their culture.

What I Know

[icon: hand holding a pencil, beside the title]

Multiple Choice

Directions: Choose the best answer from the given choices. Write the letter and word/s on your answer sheet.

1. It is a hand weaving technique of Ilocanos that is produced using traditional wooden looms.
   A. Yakan
   B. Inabel
   C. Bontoc
   D. Pawekan

   
   

2. Their textiles are very symbolic, from plain to intricate floating warps, “eye” designs and beautiful colorful twills. They are woven by the women from homegrown cotton and are dyed in bright natural colors
   A. Kalinga
   B. Inabel
   C. Bontoc
   D. Gaddang

   
   

3. They are also skilled weavers; their method used in weaving is called ikat.
   A. Kalinga
   B. Inabel
   C. Bontoc
   D. Yakan

   
   

4. This technique which put textures on the striped bands is being used by the Kalinga weavers who live in the upper area of Benguet and Mountain Province.
   A. Twirl- weaved technique
   B. Ikat technique
   C. Inabel technique
   D. Tying technique

   
   

5. It is a long textile or fabric measuring about ten to fifteen inches wide and three to five feet long and is used to cover private parts of the males of Kalinga.
   A. Ginaspalawanes
   B. Ikat
   C. Bahag
   D. Inabel

   
   

Matching Type

Directions: Match the statements in column A with its corresponding answer in column B. Write your them on your answer sheet.

Column A	Column B
6. Tiny motifs, patterns and embellishments have characterized Kalinga textiles, including miniature lattice, continuous lozenges pattern, locally called __________.	A. Geometric shapes
7. The Bontoc motifs include __________ of humans, lizards, mountains, rains, and flowers, and other forms of plants, animals and land forms found in every surroundings.	B. White
	C. White beads accents
	D. Green
	E. Red
	F. Pawekan

[transcriber’s note: table continued from the previous page]

Column A	Column B
8. Its designs are inspired from natural elements: patterns that depict different land forms, the colors of flowers and vegetation, paid zigzags, animal patterns, the ocean waves or glittering night sky.	G. Inata-ata
9. It is considered the mother of pearl platelets.	H. Inabel
10.The color that signifies bravery for the Kalinga weavers.	I. Black
11.The color that signifies soil and land.	J. Yellow
12.The color that signifies the flowers of the coffee tree.	K. Pink
13.This color signifies sand.
14.This color signifies the mountains.
15.The central part of Bakwat is commonly decorated with _______ embellished in patterns which represent rivers and mountains.

Lesson 1: Creation of Arts and Crafts of Luzon (Highlands and Lowlands) Attire, Fabrics, and Tapestries

Learning Competencies

The learner:

1. creates crafts that can be locally assembled with local materials, guided by local traditional techniques (e.g., habi, lilip, etc). – (A7PR-Ic-e-1)

   
   

2. discusses elements from traditions/history of a community for one’s artwork. – (A7PR-If-2)

   
   

3. shows the relationship of the development of crafts in specific areas of the country, according to functionality, traditional specialized expertise, and availability of resources (e.g. pottery, weaving, jewelry, baskets). – (A7PR-If-3)

   
   

4. shows the relationship of Luzon (highlands and lowlands) arts and crafts to Philippine culture, traditions, and history (Islamic influences, Spanish heritage, and American legacies in education, business, modernization, and entertainment, as well as in indigenous practices, fiestas, and religious and social practices) (A7PR-Ih-4)

   
   

What’s New

Directions: Based on the discussion in the previous modules, describe and identify the uses of the following textiles. Accomplish this in your activity notebook.

Textiles	Description/Uses	Techniques (habi, lilip,etc)	Materials used
Ex.: saya	An ordinary woman’s skirt covering the body from waist to feet
kain
lufid
kadangyan
bakwat
ginaspalawanes

1. How were you able to describe each textile?
2. What clues helped you describe the textile?
3. What tribe or group usually utilizes it?
4. Was it easy for you to identify and describe each textile? Why or why not?

The activity tells us about the different uses of textiles for every group of people in highlands and lowlands of Luzon. Their textiles show its relevance based on the color and designs found on it.

What is It

Highlands and lowlands of Luzon are rich in fabric or textiles, attires and tapestries. Fabric or textile is a cloth produced by weaving, knitting, tufting, knotting or bonding together using natural or synthetic threads, yarns, and other materials. Attire refers to the clothes or outfits worn by the group of people in a specific area or community. Tapestry corresponds to any piece of decorative fabric to where the designs were originally applied through weaving as the fabric is being made. It is used to cover furniture or floors, hang on walls and clothing decorations. There are proper and unique techniques in weaving of raw materials used in highlands and lowlands of Luzon.

ILOCOS REGION

Textile/ Fabric

Inabel fabric is made of cotton and well known for its softness, beautiful designs, and strength. Ilocanos use the wooden or pedal loom or what they call pangablan, applied through several weaving techniques and features different designs or patterns. One of their techniques is the double-toned basket weave or dizzying binakul weave that represents the sea waves. They believe that it protects the one wearing it from evil spirits. Another technique is the suk-suk or discontinuous supplementary weft technique. Among the complicated ones is the brocade weave or pinilian which uses sticks inserted on selected warp threads to create designs that float on the threads. There are two kinds of pinilian: scattered and continuous supplementary weft techniques. The weavers of Pinili, Ilocos Norte are said to be adept in the simultaneous warp and weft-float type of pinilian called the impalagto, a technique unique in the town.1

These patterns depict different land forms, colors of flowers and vegetations, paid zigzags, animal patterns, ocean waves, glittering night sky and the like. These are the designs inspired by natural elements that can be seen on their textiles.2

[photo: checkered woven pattern] Binakul

[photo: diamond-motif woven pattern] Suk-suk

[photo: woven pattern with dotted motifs] Pinilian

1 Franz Sorilla IV, Weaving the Threads of Filipino Heritage, Tatler Asia, 2017, http://ph.asiatatler.com/life/weaving-the – threads-of-filipino-heritage

2 Lourdes R. Siobal et. al “Arts and Crafts of Luzon (Highlands and Lowlands)” in Music and Artrs Learner’s Material-Grade 7, (Department of Education, 2017), 147

Attire

[illustration: plain blouse with short sleeves] kimona

[illustration: cone-shaped striped skirt] Pandiling

The traditional Ilocano dress made from inabel came in a two-piece ensemble – blouse and skirt. The blouse called kimona is either plain white or pastel, usually with a cowl neckline. The full-length skirt called pandiling is cone-shaped with a drawstring around the waist. The designs of the weave are inspired by things in nature such as diamonds, milky way, shells and stripes or checkered. The dress is worn over a full slip called kamison. The tsinelas meanwhile, is a pair everyday footwear made of leather, while the formal footwear called kutso are made of beaded felt and leather which are worn on Sundays and fiestas.3

Tapestries

A hand-woven wrap-around cloth called tapis is a rectangular- shaped, vibrantly colored cotton fabric traditionally worn by Ilocanos. It serves as clothing decoration that compliments to the pandiling.

Another tapestry from Ilocos Region is their blankets. The wasig blankets with striped design are hundred percent originally handwoven by the artistic weavers of Bangar, La Union.They use abel weaving practices on a 2-pedal traditional wooden loom. Each blanket is literally a work of art which continuously preserves the beauty and usefulness of itself for years.

[illustration: striped blanket with fringed edges] Wasig Blanket

3 Franz Sorilla IV, Weaving the Threads of Filipino Heritage, Tatler Asia, 2017, http://ph.asiatatler.com/life/weaving-the – threads-of-filipino-heritage

CORDILLERA ADMINISTRATIVE REGION (CAR)

KALINGA

Textile/Fabric

The natives of Kalinga are skilled in terms of weaving. They exhibit motifs as though they are embedded in the geometry itself. The upper Kalinga weavers put textures on the striped bands using a twill-weaved technique. This technique is made when the weft thread passes over two or more warp threads and repeats that design one warp thread over so that a diagonal or oblique line is formed

[photo: zigzag patterned woven textile in red, yellow, green, black and white]

Some characteristics of Kalinga textiles are tiny motifs, patterns and embellishments, including miniature lattice, continuous lozenges pattern, locally called inata-ata, and pawekan or mother of pearl platelets, among others.

The colors used in their textile have cultural meanings: red signifies bravery; black is for the soil or land; white is for the flowers and coffee trees; yellow for the sand; and green for the mountains.4

Attire

[illustration: standing male figure with feathered headgear, arm bands and loincloth] Kalinga male attire

The attire for male Kalingas is the “bag” or commonly called bahag. It is a long textile or fabric measuring about ten to fifteen inches wide and three to five feet long. It is used to cover their private parts and is firmly secured at the waist to prevent the cloth from falling off. Some of them include their costume a head gear with feathers and some arm bands.

Females of northern Kalingas wear saya, an ordinary woman’s skirt covering the body from waist to feet. In the old times, both male and female have no upper clothing. They only have tattoos which covers their upper body.

4 Lourdes R. Siobal et.al, “Arts and Crafts of Luzon (Highlands and Lowlands)” in Music and Artrs Learner’s Material-Grade 7, (Department of Education ,2017), 148

Tapestries

[illustration: striped cloth draped over a fold] Kagoy Blanket

Southern Kalinga women wear a tapis called kain– a large rectangular woven clothing about three to five feet wide, and three to four feet long. It is worn below the abdomen and reaches below the knee.

Meanwhile, the cotton blanket called kagoy came from malbakan. It is a large rectangular blanket made of three strips of material sewn together. It consists of color white cloth with red, yellow and green stripes.

BONTOC

Textile/Fabric

Bontoc people are skilled weavers too. Their weaving method is called ikat, the process of tying and dyeing the threads to prepare the patterns before they are woven into the textile. A key factor in their life is seen on their textile design that revolves around the idea of ‘centeredness’ which symbolizes permanence, order and balance.

Young Bontoc girls usually start their training with the simplest part of the cloth, the langkit or edging. Next, they move on to pa-ikid (side panels), leaning to simple designs such as fatawil (warp- bands) and shukyong (arrows). After mastering this level, they move on to the most challenging part, the sinangad-am design which represents the Sinamaki weaving.5

[photo: vertically striped woven cloth] Bontoc weaving / cloth

Attire

Bahag or wanes is the traditional attire of men in Bontoc. It is made from long strips of hand-woven loin cloth. The women wear a short and lufid, a narrow wrap-around skirt which covers the navel down to the knees and has a side opening.

[illustration: standing figure in Bontoc attire holding a rolled cloth] Attire of Bontoc female

5 Franz Sorilla IV, Weaving the Threads of Filipino Heritage, Tatler Asia, 2017, http://ph.asiatatler.com/life/weaving-the – threads-of-filipino-heritage

Tapestries

[illustration: belt with zigzag and geometric woven bands and tassels] ginaspalawanes

Bontoc and Kankanay women in Northern Cordillera people wears a type of belt called ginaspalawanes once they get married. It is decorated with continuous zigzag patterns woven in double faced with braided warps that end as tassels.

CAGAYAN VALLEY

Nueva Vizcaya

Textile/Fabric

Gaddangs textiles of Nueva Vizcaya are usually decorated with little seed beads. They also use the twill-weave technique because they are located near Ifugao, Benguet and Quirino. Their textiles are very symbolic, from plain to intricate floating warps, “eye” designs and beautiful colorful twills. These textiles are woven by the women from homegrown cotton, and dyed in bright natural colors.

[photo: vertical bands of woven patterns with beaded motifs] Gaddang textile

Attire

[illustration: Gaddang man and woman in traditional attire]

The attire of Gaddang women is long-sleeve, round-neck, collarless and waist-length blouse. An upper collarless, short garment is also worn, together with headkerchiefs. They have lavishly tasseled and beaded headbands and combs. The traditional costume for the Gaddang male is the G-string, which is held by a girdle, whose flap is weighted on the hem by beaded tassles.6

6 1 Lourdes R. Siobal et.al, “Arts and Crafts of Luzon (Highlands and Lowlands)” in Music and Artrs Learner’s Material-Grade7, (Department of Education ,2017), 154 Tapestries

Tapestries

Another work of art of Gaddang women is “tapis” or skirt. It is a lengthy piece of cotton cloth worn around the waistline down to the knees.

Bakwat is a cloth that serves as belt by the mother after giving birth. The center part of this cloth is commonly decorated with white beads accents embellished in patterns which represent rivers ansd mountain.

[photo: a striped cloth with white bead accents]

Bakwat

Before we continue, let’s see how well you understood the discussion. List down the materials and techniques in making fabric, attires and tapestries given in the first column.

	Materials used	Techniques used
Fabric/Textiles
1. Inabel textiles/cloth
2. KalingaWeave/Cloth
3. Bontoc Weave/ Cloth
4. Gaddang textiles/ cloth
Attire
1. pandiling
2. Bahag
3. Lufid
4. G- string
Tapestries
1. Wasig blankets
2. Kagoy blankets
3. Ginaspalawanes
4. Bakwat

You made it! Good job, You’ve learned a lot from the discussion. Let’s try another activity. Hope you like it!

Describe the following pictures based on their designs. (Elements and Principles of Arts). Explain how the elements and principles of arts reflect the functionality, tradition, expertise, and availability of resources.

[illustration: Inabel textile with diamond and geometric patterns]

Inabel

[illustration: Kalinga textile with zigzag patterns]

Kalinga

[illustration: Bontoc textile with horizontal bands and dotted lines]

Bontoc

[illustration: Gaddang textile with vertical stripes and decorative motifs]

Gaddang

Elements/ Principles	Inabel	Kalinga	Bontoc	Gaddang
Line
shape
color
texture
balance
contrast
emphasis
Rhythm/movement
proportion

Congratulations! You made it. After describing the elements and principles of art used, kindly answer the following questions on another sheet of paper.

1. What are the similarities and differences of the textiles based on the elements of art used/seen in them?
2. How about the similarities and differences on the principles of arts used?
3. Based on their culture and history, how did the elements create distinctive designs of textiles?

Activity 1

Directions: In this activity, you will be able to illustrate your own design. It will enhance your creative imagination in designing weaving pattern from simple to complex ones. You may look to the pattern below as your reference. Draw your weaving pattern design on a separate sheet of paper.

[illustration: checkerboard weaving pattern of black and white squares, six columns by eight rows]

over-under-over-under

[illustration: checkerboard weaving pattern of black and white squares, six columns by eight rows, with a different arrangement]

over-over-under-over

Compare your own weaving design from the given illustrations above. Use the following guide questions.

1. What is/are the special characteristic/s of your design that make/s it different from the other illustrations?
2. Give at least five elements of art used in your design and explain its importance.
3. How will these new set of knowledge you earned be beneficial to you?

Activity 2: FILL ME UP!

Directions: In this activity, you are tasked to choose two among the four textiles as presented below. After you choose, use the given diagram to explain their similarities and differences. Afterwards, respond to the following questions. Accomplish thos in your activity notebook.

• Inabel textiles/cloth
• KalingaWeave/Cloth
• Bontoc Weave/ Cloth
• Gaddang textiles/ cloth

[chart: Venn diagram; Activity 2: FILL ME UP!]

Labels: Similarities; Differences

1. Based on your answer on the given diagram, how would you discuss the elements used in the artworks you have chosen?
2. Why did you choose the two textiles? What do you think are the elements that made the two textiles similar and different? Please discuss.

Congratulations for making it this far! You have almost reached the final part of the module. All you need to do is take the remaining activities. This will determine how much you have learned from the module. Do your best and let’s see if you can remember all that you learned by writing your realization or reflection about the lesson.

What I Have Learned

Directions: Give your insights based on the discussions and activities you’ve made. Accomplish this in your activity notebook.

My Reflections

What I Can Do

MINI-LOOM BOARD WEAVE

In this activity, you will put your imaginative appreciation on weaving of textiles, fabric, and tapestries into realization through creating your own Mini-Loom board weave by following the directions carefully as presented below. You may incorporate the forms, design and the spirit of the highland and lowland object in your creation to make it more realistic and creative.

Take a photo of your artwork and submit it to your facilitator through messenger, e-mail, or other media platforms

Materials:

• cardboard/ illustration board/ carton
• scissors
• yarn/ colored strings/ Shoelace/ other available strings
• popsicle sticks / barbecue sticks
• glue gun and glue stick

Procedures:

1. Cut both sides of the cardboard same as with the picture. This structure will serve as your loom that you will use to give support and tension on your weave.

[illustration: hands cutting notched edges on both sides of a cardboard with a craft knife]

2. Glue the popsicle sticks on both sides of your board.

[illustration: hands using a glue gun to attach popsicle sticks to the cardboard]

3. Using a yarn, string it over the card board vertically. This process will be the backbone of your weave. This yarn is called the warp thread.

[illustration: hands stringing yarn vertically over the notched cardboard loom]

4. With another yarn, known as weft thread, weave it using the over-under-over-under technique. You will see that you are creating patterns and design in the weave. To add aesthetic on your work, you may utilize different colors of yarn.

[illustration: hands weaving weft thread over and under the warp threads on the loom]

5. When you’re done, make sure to knot the end tip of the yarn.

[illustration: hands holding a finished woven piece on the loom with yarn ends]

RUBRICS

	10 POINTS	8 POINTS	6 POINTS	4 POINTS
Creativity/ Elements of Arts & Principles of Design	Artworks contain an original design. Designs should not be copied from other learning resources. Effective use of the Elements and Principles of art were observed in all aspects of the design	Most of the artwork elements are unique, but 1 element was copied from the source material. Elements and Principles of art were observed; however, 1 element do not complement to the over-all design and theme	Most of the artwork elements are unique, but 2 elements were copied from the source material. Elements and Principles of art were observed; however, 2 elements do not complement to the over-all design and theme	Some of the artwork elements are unique, but 3 elements were copied from the source material. Elements and Principles of art were observed; however, 3 elements do not complement to the over-all design and theme
Attractiveness/ Craftsmanship	The artwork exhibited attractiveness and craftsmanship with the following characteristics: a. neatness b. accuracy of the execution of the elements and principles of art c. accuracy of the weaving techniques d. the design obtained high level of difficulty and complexity	The artwork exhibited attractiveness and craftsmanship; however, only 3 characteristics were met.	The artwork exhibited attractiveness and craftsmanship; however, only 2 characteristics were met	The artwork exhibited attractiveness and craftsmanship; however, only 1 characteristic was met
Timeliness	The artwork was submitted on the set schedule	The artwork was submitted one day beyond the set schedule	The artwork was submitted two days beyond the set schedule	The artwork was submitted three days beyond the set schedule

Assessment

Multiple Choice

Directions: Choose the best answer from the given choices. Write the letter and word/s on your answer sheet.

1. It is a hand weaving technique of Ilocanos that is produced using traditional wooden looms.

   • A. Bontoc
   • B. Inabel
   • C. Pawekan
   • D. Yakan

2. Their textiles are very symbolic, from plain to intricate floating warps, “eye” designs and beautiful colorful twills. They are woven by the women from homegrown cotton and are dyed in bright natural colors

   • A. Bontoc
   • B. Gaddang
   • C. Inabel
   • D. Kalinga

3. They are also skilled weavers; their method used in weaving is called ikat.

   • A. Bontoc
   • B. Inabel
   • C. Kalinga
   • D. Yakan

4. This technique which put textures on the striped bands is being used by the Kalinga weavers who live in the upper area of Benguet and Mountain Province.

   • A. Ikat technique
   • B. Inabel technique
   • C. Twirl- weaved technique
   • D. Tying technique

5. It is a long textile or fabric measuring about ten to fifteen inches wide and three to five feet long and is used to cover private parts of the males of Kalinga.

   • A. Bahag
   • B. Ginaspalawanes
   • C. Ikat
   • D. Inabel

Matching Type

Directions: Match the statements in column A with its corresponding answer in column B. Write your them on your answer sheet.

Column A	Column B
6. Tiny motifs, patterns and embellishments have characterized Kalinga textiles, including miniature lattice, continuous lozenges pattern, locally called _____.	A. Pawekan
7. Bontoc motifs include _____ of humans, lizards, mountains, rains, and flowers, and other forms of plants, animals and land forms found in every surroundings.	B. White beads accents
8. Its designs are inspired from natural elements: patterns that depict different land forms, the colors of flowers and vegetation, paid zigzags, animal patterns, the ocean waves or glittering night sky.	C. White
9. It is considered the mother of pearl platelets.	D. Red
10. The color that signifies bravery for the Kalinga weavers.	E. Pink
11. The color that signifies soil and land.	F. Geometric shapes
12. The color that signifies the flowers of the coffee tree.	G. Black
13. This color that signifies sand.	H. Inata-ata
14. This color that signifies the mountains.	I. Yellow
15. The central part of bakwat is commonly decorated with _____ embellished in patterns which represent rivers and mountains.	J. Inabel
	K. Green

Additional Activities

Congratulations! You have reached the end of the module. Your learning endeavor has come to an end and it’s successful. You are now ready for the next module!

At this point, take this activity as you ready yourself in your next journey. To enrich your learning about the lesson in this module. Try to do the task below and make your learning journey more effective and enjoyable!

Activity 1: REASON OUT!

Directions: Respond to the following questions about the Creation of Arts and Crafts of Luzon. Write your answer on your notebook and prepare yourself to share in front of your facilitator.

1. If you were to go to a vacation, which between the Ilocos Region and Cordillera Administrative Region would you go? Why? Explain your answer.
2. What specific crafts would you want to have from your chosen region and why do you want to have it?
3. In your own opinion, how do these regions share common goals in preserving their culture and tradition through their arts and crafts like attires, fabrics and tapestries?

Answer Key

[transcriber’s note: the answer key is printed upside down on the page; the two columns are transcribed below in upright reading order]

What I Know

1. B. Inabel
2. D. Gaddang
3. C. Bontoc
4. A. Twirl-weaved technique
5. C. Bahag
6. G. Inata-ata
7. A. Geometric shapes
8. H. Inabel
9. F. Pawekan
10. E. Red
11. I. Black
12. B. White
13. J. Yellow
14. D. Green
15. C. White beads accents

Assessment

1. B. Inabel
2. B. Gaddang
3. A. Bontoc
4. C. Twirl-weaved technique
5. A. Bahag
6. H. Inata-ata
7. F. Geometric shapes
8. J. Inabel
9. A. Pawekan
10. D. Red
11. G. Black
12. C. White
13. I. Yellow
14. K. Green
15. B. White beads accents

References

Lourdes R. Siobal et.al, “Arts and Crafts of Luzon (Highlands and Lowlands)” in Music and Artrs Learner’s Material-Grade 7, (Department of Education, 2017), pp.147,148,154

Franz Sorilla IV, Weaving the Threads of Filipino Heritage, Tatler Asia, 2017, Accessed December 20, 2019. https://ph.asiatatler.com/life/weaving-the -threads-of- filipino-heritage

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