7

Arts
Quarter 2 – Module 5:
Move! Weave Way!
Attire, Fabrics and Tapestries of
MIMAROPA and Visayas
Arts – Grade 7
Alternative Delivery Mode
Quarter 2 – Module 5: Move! Weave Way! (Attire, Fabrics and Tapestries of
MIMAROPA and Visayas)
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 book 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

Development Team of the Module

Author: Cherrie Rose L. Desaliza
Content Editor: Emmanuel C. Alveyra
Language Editors: Cherrie Rose L. Desaliza, Gladys F. Cantos, Kim Gaylen Q. Ulep,
Juriza G. Jareňo
Reviewer: Emmanuel C. Alveyra
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
Management Team: Benjamin D. Paragas, Mariflor B. Musa, Melbert S. Broqueza,
Danilo C. Padilla, Annabelle M. Marmol, Florina L. Madrid, Norman F. Magsino,
Dennis A. Bermoy, Emmanuel C. Alveyra

Printed in the Philippines by ________________________

Department of Education – MIMAROPA REGION
Office Address : Meralco Avenue, Cor. St. Paul Road, Pasig City, Metro Manila
Telephone : (02)863 - 14070
E-mail Address: : clmd.depedro4b@gmail.com
 7

Arts
Quarter 2 – Module 5:
Move! Weave Way!
Attire, Fabrics and Tapestries of
MIMAROPA and Visayas
Introductory Message
For the facilitator:

The 5th module in Arts 7 (Quarter 2) contains detailed discussions on the attires,
fabrics and tapestries of MIMAROPA and Visayas. This module is patterned on Bloom's
Taxonomy Instructional Design which integrates in its parts the Bloom’s Taxonomy Model
of Learning. The facilitator needs to ensure that the learning objectives were achieved by
monitoring the learner’s progress in accomplishing the different activities. The given tasks
will guide learners to analyze the elements of arts and principles of design in order to obtain
better understanding of the artistic and cultural value of the attires, fabrics and tapestries
being studied. The facilitator may ask follow-up questions if deemed necessary.
Performance task is included in the last part of the module to practice the creativity of the
learners. Remind the learners to use separate sheets in answering the pre-test, self-check
exercises and post-test.
For the learner:

The 5th module in Arts 7 (Quarter 2) will help you understand the artistic
characteristics and cultural background of the attires, fabrics and tapestries of MIMAROPA
and Visayas. Like in the previous modules, you have to review and strengthen your
knowledge about the elements of arts and principles of design since most of the analysis are
focused on the performance practices of the said elements and principles. You need to
discover and perform the said performance practices that make MIMAROPA and Visayas
unique from other places. Please accomplish all the exciting activities that were chosen to
make your learning more enjoyable.

This module has the following parts and corresponding icons:

What I Need to Know This will give you an idea of the skills or
competencies you are expected to learn in the
module.

What I Know This part includes an activity that aims to check

what you already know about the lesson to take.
If you get all the answers correct (100%), you
may decide to skip this module.

What’s New In this portion, the new lesson will be introduced

to you in various ways such as a story, a song, a
poem, a problem opener, an activity or a
situation.

What is It This section provides a brief discussion of the

lesson. This aims to help you discover and
understand new concepts and skills.

ii
 What’s More This comprises activities for independent practice
to solidify your understanding and skills of the
topic. You may check the answers to the
exercises using the Answer Key at the end of the
module.

What I Have Learned This includes questions or blank

sentence/paragraph to be filled in to process
what you learned from the lesson.
This is a task which aims to evaluate your level of
Assessment
mastery in achieving the learning competency.

What I Can Do This section provides an activity which will help

you transfer your new knowledge or skill into real
life situations or concerns.

Additional Activities In this portion, another activity will be given to

you to enrich your knowledge or skill of the
lesson learned. This also tends retention of
learned concepts.

Answer Key This contains answers to all activities in the

module.

At the end of this module you will also find:

References This is a list of all sources used in developing this

module.
The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part of the module.
Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities included
in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
If you encounter any difficulty in answering the tasks in this module, do not hesitate to
consult your teacher or facilitator. Always bear in mind that you are not alone.

We hope that through this material, you will experience meaningful learning and gain
deep understanding of the relevant competencies. You can do it.

iii
 MODULE 5

Move! Weave Way!

Attire, Fabrics and Tapestries of MIMAROPA and Visayas

Learning Competency:
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- 1vvq

WHAT I NEED TO KNOW

How is your learning experience going so far? I know you are all good and
coping. You will surely learn more about the beauty and uniqueness of the different
forms of arts in MIMAROPA and Visayas through these new sets of learning
experiences that we are about to unfold.
As Filipinos are naturally artistic, each of the Philippines’ regions has made
trademarks in its art forms making one unique among the others. This is something
we could be proud of. In fact, our artistry is also reflected on our choice of fabrics in
weaving, manner of dressing and even in the production of our tapestries. Seeing
different types of fabrics at a time, we can easily identify which distinctive
characteristic in the fabric belongs to one locality or another. For instance, the
Ilocanos of Northwestern Philippines are well-known for their pinilian while the
Bontoc people of the Mountain Province are known for the Bontoc textile. Another
example is the fabric local to Kalinga that exhibits motifs in distinct dialogue between
red and blue bands of plain or twill weave, creating densely- composed groups of
tight strips These locally-produced fabrics have characteristics that in one way
symbolize a part of the culture it represents.
How about you? Can you name some fabric or textile types that are prominent
to a specific locality or region? Do you easily recognize fabric patterns upon seeing
them displayed in stores, used as decorations in celebrations or when worn by a
person you just randomly saw? As a young Filipino, you must try to be familiar with
these local fabrics, textiles and tapestries as they are very vital components of the
culture we are to embrace and preserve.
In this module, you will learn to create crafts that can be assembled using
local materials and local traditional techniques in the Southern Tagalog Islands and
the Visayas group of islands. You will be familiar with the different motifs from the
different places that will surely help you in appreciating the diversity of our culture.

1
Learning Objectives

In this module, you will be able to:

1. determine the different materials and techniques used in attire, fabrics, and
tapestries production in the MIMAROPA Region and Visayas
2. create and design attire, fabrics or tapestries derived from local materials and
techniques of MIMAROPA and Visayas using the principles and elements of
art
3. appreciate the importance, functionality and cultural relevance of attires,
fabrics and tapestries in MIMAROPA and Visayas.

WHAT I KNOW

Directions: Let’s see how much you know. Read the following statements and
choose the correct answer to the questions. Write the letter of your choice on your
activity notebook.
1. Hanunuo, as one of the twelve tribes of Mangyan, is known for its embroidery that
is based on the cross shape on the back of their traditional blouses called
pakudos. This trademark embellishment of the Hanunuo Mangyans can be best
characterized as having __________.
A. nonparallel use of lines and shapes forming creativity
B. symmetrical, aesthetic, and orderly utilization of lines
C. combination of curves and doodle traces

2. Weaving is an integral part of people’s lives in Aklan that it became the leading
manufacturer of pina cloths and fabrics in the country. Pina fabrics are commonly
used as a main material in making ______________.
A. trendy blouses and trousers
B. barong Tagalog, wedding dresses and other traditional Philippine formal
dresses
C. quality bed sheets, curtains and home decorations

3. In Valencia, Negros Oriental, sinamay weaving is a world-class industry. How did

this industry gradually develop?
A. It has become the most essential industry in the province.
B. Its application has expanded and improved, going beyond the simple fiber
craft to sophisticated industrial uses.
C. Its influence has reached Negros’ educational curriculum and sinamay
weaving has become one among students’ subjects in school.

2
4. Patadyong is a wrap-around piece of cloth worn by women in Iloilo as a skirt and
is usually paired with a kimona. Which among the following is NOT an alternative
use of patadyong?
A. a shade to protect from the heat of the sun or the onslaught of rain
B. as a tapis when bathing outdoor or washing clothes in the river
C. material used in sewing trousers

5. A female Mangyan traditionally wears ramit and lambung. How do we define a

ramit?
A. an indigo- dyed short skirt
B. a common tribal blouse
C. a headband strip worn in occasions

6. Which is TRUE about patadyong?

A. It is usually woven in unique black and white designs.
B. It is often colorful and features linear and geometric designs.
C. It has intricate curves that gives it a festive visual appearance.

7. Panay Island is one of the largest islands of the archipelago composed of the
provinces of Iloilo, Antique, Aklan, Capiz and the Island of Guimaras. Panay was
tagged as the Textile Capital of the Philippines because __________________.
A. weaving is considered a culture for the people of Panay only
B. weaving is determined as a primary form of arts and crafts in this place
C. weaving is a favorite hobby of the people of Panay

8. Pina fiber is considered the finest of all Philippine hand-woven fabrics. Why is this
so?
A. Pina fiber is commonly translucent, delicate and dreamy, soft and fine with a
high luster.
B. Pina fiber is derived from pineapple leaves that are considered among the
most expensive weaving material in the world.
C. Pina fiber is a trademark Philippine weaving material that is not sold to other
countries, thus, considered the finest among hand-woven fibers.

9. The word pakudos was historically derived from the Spanish term cruz meaning
______________.
A. cloth B. design C. cross

3
10. Basey, Samar is known for its products like banig which is made up of reed grass
that grow in swampy areas along the rice fields. What is this raw material called?
A. tikog B. jusi C. pina

WHAT’S NEW

Let’s see how far you have learned about the different elements and
principles of art in producing crafts inspired by the arts in Southern Tagalog and
Visayas group of islands.

Activity 1.1

Directions: Identify the principle/s of art that can be best observed in each of the
following pictures. Write your answers on your activity notebook.

1. 4.

3.

2. 5.

4
 Great! This time, let us try to gauge how far you have understood the different
element/s of arts through this fun activity.

Activity 1.2 - DECODE THE QUOTE!

Directions: Choose the circle/s where you can find the different elements of arts that
you have learned in the previous modules. Write your answers on your activity
notebook.

nature color space is

Shape
and art form texture
form

from line value God

Let’s Ponder!

Were you able to properly recall the different principles and elements of art?
This time, try to answer the following questions on your activity notebook.

1. How did you find the first activity? How about the second one?

2. In Activity 1.2, what sentence did you form after picking out the other circles
containing the elements of art? For you, what is the meaning of the sentence?

3. Do you think these elements and principles of art can be found as well in the
workmanship of the people living in the Southern Tagalog and Visayas group of
islands as it is in the highlands and lowlands of Luzon? Explain briefly.

5
 As you recollect the most important learning you had in the previous
discussions and expect more promising learning experiences in the rest
of the following modules, you should remember that the principles and
elements of art always go intertwined in creating a specific masterpiece
the best way possible. The principles of art represent the creativity and intent of the
one who made the piece – the artist. The elements, meanwhile, stand as the firm
foundation and the most significant components in an art. Both serve as building
blocks and help an artist convey the meaning it intends to communicate.

You have learned that the arts and crafts of the highlands and lowlands of
Luzon constitute the use of the principles and elements of art. From their traditional
means of paper cutting, weaving, painting, sculpture and wood carving to their
trademark architectural and industrial designs, the principles and elements of art
were all identified especially in their respective signature crafts. This time, we will try
to discover the extent of the principles of elements of art present in artistic crafts of
Southern Tagalog and Visayan people.

But first, let us try another activity that will surely put you to excitement.

Activity 1.3 - WEAVE IT BEFORE YOU LEAVE IT

Directions: Below are jumbled letters that may be formed into meaningful words
when properly woven and organized in the blank shapes. Could you help in
successfully doing that? Write your answers on your activity notebook.

1.

yatopgand

A wrap- around piece of cloth worn by women as a skirt and usually

paired with kimona

2.

gewivan

To form cloth, fabric or textiles by interlacing strands

6
3.

miyaasn

A world-class industry of weaving in Negros Occidental

4.

icrbfa

A woven or knitted material

5.

sapetsteri

Heavy cloth that has designs or pictures woven into it and used for
curtains, wall hangings, etc.

Congratulations! I hope you have woven them all correctly. Thank you for
answering the questions. The words that you have encountered in the activity above
have something to do with the lesson you are to take up in this module and the core
competency that you are expected to learn and master.

7
ACTIVITY 1.4

Directions: From the jumbled letters above that you have successfully formed into
words, supply the table below with appropriate information. Make a smart research
on the definition of the words and the province where each concept is known. You
may use reliable internet sources or other reference materials for this portion. Do this
on your activity notebook.

Word/s formed Definition Province/s where the

concept is prominent

1.

2.

3.

4.

5.

Good job! At this point, I know that you have gotten even more equipped with
knowledge! Let us further discuss your work. Kindly answer the following questions:

1. What words/ concepts are familiar to you? Where did you learn about them?
2. What is common among the provinces that you have enlisted? To what specific
region/s do they belong?

Thank you for answering the questions. The activities that you have already
done are springboard to the competency you have to master. The next portions of
this module will help you understand how the different elements and principles of art
influenced the creativity of the people of Southern Tagalog and Visayas regions in
crafting a variety of art forms that are prominent to their regions.

8
 WHAT IS IT

Arts and Crafts of MIMAROPA and VISAYAS: Attire, Fabrics and Tapestries

Hello! Are you all up to what’s next? In this portion of your learning
experience, you will see how one weaving culture within MIMAROPA and Visayas
differ from one another. As you read on and discover new information, please take
note of the different elements and principles of arts that can be observed in each of
the textiles that represent one locality or place. This will equip you in answering this
learning chart:

Textile/ Fabric/ Principles of

Weaved Locality Elements of Art Art/Design
material

1.

2.

3.

4.

5.

How well do you know?

9
WEAVING IN MIMAROPA AND VISAYAS

The ramit is a textile made by the Buhid and

Hanunuo Mangyans of Mindoro. It is woven on a
backstrap loom called harablon and features
intricate geometric patterns. In the past, it was
made from homespun cotton which was then
indigo- dyed. It takes one week to weave a 3-inch x
108-inch ramit.
ramit

A male Hanunuo Mangyan wears a loin cloth (ba-ag) and a skirt (balukas)
while a female wears an indigo- dyed short skirt (ramit) and a blouse (lambung).
Many of the traditional style shirts and blouses are embroidered on the back with a
design called pakudos. The pakudos motif is a common element in Mangyan
embroidery and crafts.1

A pakudos is a visual motif used by the

Mangyan people of Mindoro in the Philippines. It is
best characterized by symmetrical, aesthetic, and
orderly utilization of lines and space with equal
utilization of vertical and horizontal composition.
Tracing its history, the word pakudos was coined
from cruz, the Spanish word for cross. 2 pakudos

Meanwhile, Visayas is one of the three principal geographical divisions of the

Philippines consisting of major and minor islands. It is a region that recognizes
weaving as both a prominent expression of art and a means of living to its native
people. Each island has its unique weaving culture that reflects many about the
place itself and its people.

Patadyong is a wrap- around piece of cloth

worn by women in Iloilo as a skirt and is usually
paired with a kimona. Patadyong can also be used
as a shade to protect from the heat of the sun or the
onslaught of rain, as a tapis when bathing outdoor
or washing clothes in the river, or as a carriage for
babies. The patadyong is often colorful and features
linear and geometric designs. The raw materials
Patadyong used for patadyong weaving is cotton and abaca.

1
Mangyan Heritage Center 2 https://dfcmtribalmissions.wordpress.com/2016/07/18/surat-mangyan/

10
 Piña weaving is an age-old tradition in
Aklan, the leading manufacturer of pina cloth in the
country. The process requires long hours of
laborious extraction from pineapple leaves.
Pineapple fibers are commonly ivory-white in color
and are naturally glossy. It can also be described as
delicate and dreamy as a cloth. In terms of texture,
pina fibers are commonly translucent, soft and fine
with a high luster. It is considered the finest of all Piña weaving
Philippine hand-woven fabrics.

Pina fabrics are commonly used in making barong Tagalog, wedding dresses
and other traditional Philippine formal dresses. There are also chances that it is used
in making table linens, mats, bags and other clothing items. The traditional
decoration for this fabric is a style of hand embroidery called pina calado.2

Pina cloth or fiber is also widely used in the weaving industries in Panay.
Panay Island is one of the largest islands of the archipelago composed of the
provinces of Iloilo, Antique, Aklan, Capiz and the Island of Guimaras. Weaving is a
primary form of arts and crafts in Panay even before the Spaniards came to the
Philippines. It was once tagged as the “Textile Capital of the Philippines.” Weaving
from indigenous fibers such as jusi and pina became popular in the latter part of the
19th century despite the introduction of cheap and cotton cloth from the West that
dominated the local textile industry.3

Weaving is an integral part of the lives of

Negrenses. In Valencia, Negros Oriental, sinamay
weaving is a world-class industry. Its application has
expanded and improved, going beyond the simple
fiber craft to sophisticated industrial uses. Sinamay is
made from abaca twine and indigenous plants
similar to banana. It is a natural straw fabric that is
dyeable (so its color may depend on the dye),
sye.com
versatile and strong, offering endless possibilities for
sinamay design.4

2
cool-organic-clothing.com
3
https://www.google.com/search?q=sinamay+weaving&rlz...
4
hatalk.com/sinamay/

11
 The town of Basey in Samar is known for its woven products such as mats,
wall, decorations, and the famous colorful sleeping mat called banig. A typical
banig usually measures around 2x3 meters, and is as thin as the sheet of chipboard.
It is made from tikog, a reed-type grass that grows in swampy areas along the rice
fields. The leaves are dyed with different strong colors to make beautiful, colorful and
unique designs. 5

Great reading! Did you discover new interesting things about the
weaving culture in MIMAROPA and Visayas? Now, it’s time to check
how far you’ve learned.

ACTIVITY 2
Directions: Fill out the learning chart below with the appropriate information based
on what you have just discovered from the reading text. You may also derive
suppositions and observations from the pictures that were shown along with the
definition of each fabric or textile. Do this on your activity notebook.

Textile/ Fabric/ Locality Elements of Arts Principles of Arts/

Woven Material Design
1.

2.

3.

4.

5.

5
Arts and Crafts of MIMAROPA

12
Great job! Now, let us analyze your work. Answer the following questions:

1. Were you able to thoroughly observe the elements and principles of arts in the
given sample fabrics, textiles and woven materials in MIMAROPA and Visayas?

2. With reference to the elements of art, how are the fabrics of MIMAROPA the same
with those in Visayas? How do they differ?

3. With reference to the principles of art, how are the fabrics of MIMAROPA the
same with those in Visayas? How do they differ?

WHAT’S MORE

Now that you are familiar with the different fabrics and textiles in the
MIMAROPA and Visayas, it is time to try more activities that will help you remember
the important details of our lesson.

Activity 3
Directions: Can you help this spider weave his web completely? To help him finish,
write the elements of arts and principles of design that you can find in the
MIMAROPA region (upper part of the web) and in the Visayan islands (lower part of
the web). Do this on your activity notebook.

13
 That was cool! Thanks for your diligent help! I hope that everything you’ve
learned today will help you appreciate more the beauty lying in the woven fabrics of
Southern Tagalog and Visayan islands. Keep yourself on track through reading,
watching and discovering more about these two regions. You can help preserve this
beautiful culture of ours through sharing your newfound knowledge to your friends.

Before you proceed to the succeeding parts of this module, kindly answer the
following questions:

1. What were the principles and elements of arts that you have listed for
MIMAROPA? What about the principles and elements of arts that you have
listed for Visayas?
2. How do you think did these elements and principles of art help achieve the
creativity in the attires, fabrics and tapestries of MIMAROPA and Visayas?
Will they still be the same had these elements and principles were removed?
Why or why not?

ASSESSMENT

Directions: Let’s see how much you have learn in our discussion. Read the
following statements and choose the correct answer to the questions. Write the letter
of your choice on your activity notebook.
1. Hanunuo, as one of the twelve tribes of Mangyan, is known for its embroidery that
is based on the cross shape on the back of their traditional blouses called
pakudos. This trademark embellishment of the Hanunuo Mangyans can be best
characterized as having __________.
A. nonparallel use of lines and shapes forming creativity
B. symmetrical, aesthetic, and orderly utilization of lines
C. combination of curves and doodle traces

2. Weaving is an integral part of people’s lives in Aklan that it became the leading
manufacturer of pina cloths and fabrics in the country. Pina fabrics are commonly
used as a main material in making ______________.
A. trendy blouses and trousers
B. barong Tagalog, wedding dresses and other traditional Philippine formal
dresses
C. quality bed sheets, curtains and home decorations

14
3. In Valencia, Negros Oriental, sinamay weaving is a world-class industry. How did
this industry gradually develop?
A. It has become the most essential industry in the province.
B. Its application has expanded and improved, going beyond the simple fiber
craft to sophisticated industrial uses.
C. Its influence has reached Negros’ educational curriculum and sinamay
weaving has become one among students’ subjects in school.

4. Patadyong is a wrap-around piece of cloth worn by women in Iloilo as a skirt and

is usually paired with a kimona. Which among the following is NOT an alternative
use of patadyong?
A. a shade to protect from the heat of the sun or the onslaught of rain
B. as a tapis when bathing outdoor or washing clothes in the river
C. material used in sewing trousers

5. A female Mangyan traditionally wears ramit and lambung. How do we define a

ramit?
A. an indigo- dyed short skirt
B. a common tribal blouse
C. a headband strip worn in occasions

6. Which is TRUE about patadyong?

A. It is usually woven in unique black and white designs.
B. It is often colorful and features linear and geometric designs.
C. It has intricate curves that gives it a festive visual appearance.

7. Panay Island is one of the largest islands of the archipelago composed of the
provinces of Iloilo, Antique, Aklan, Capiz and the Island of Guimaras. Panay was
tagged as the Textile Capital of the Philippines because __________________.
A. weaving is considered a culture for the people of Panay only
B. weaving is determined as a primary form of arts and crafts in this place
C. weaving is a favorite hobby of the people of Panay

8. Pina fiber is considered the finest of all Philippine hand-woven fabrics. Why is this
so?
A. Pina fiber is commonly translucent, delicate and dreamy, soft and fine with a
high luster.
B. Pina fiber is derived from pineapple leaves that are considered among the
most expensive weaving material in the world.
C. Pina fiber is a trademark Philippine weaving material that is not sold to other
countries, thus, considered the finest among hand-woven fibers.

15
9. The word pakudos was historically derived from the Spanish term cruz meaning
______________.
A. cloth B. design C. cross

10. Basey, Samar is known for its products like banig which is made up of reed grass
that grow in swampy areas along the rice fields. What is this raw material called?
A. tikog B. jusi C. pina

WHAT I CAN DO

In the MIMAROPA and the Visayan islands, weaving has been among the
skills that keep on being transferred from one generation to the next. The elder
people would always find ways to pass one skill to their younger folks in the belief
that these skills would help them either to survive or to wisely make a living. Being
naturally resourceful, these native people maximize their environment by means of
using materials abundant in their areas.
This time, let us try to merge the creative features of the attires, fabrics and
tapestries both in MIMAROPA and Visayas. To interpret the skill of weaving, here is
an activity which can be done using some local materials.

Activity 4. I’LL WEAVE IT HERE!

Directions: Create your own textile using the

materials given below. Apply the elements of art
and principles of design derived from the attires,
fabrics and tapestries from MIMAROPA and
Visayas.
Take a photo of your artwork and submit it to
your facilitator through messenger, e-mail, or other
media platforms. Good luck and do your best!

Materials:
strips of paper or ribbon (preferably 1/2 inches wide and 11 inches long, but
width and length may vary according to your design)
color pencils/markers
pair of scissors

16
 HERE’S HOW:

1. Fold the strips of paper halfway.

2. Using the over-under technique, place the

ribbons/strips one after another.

3. Trim the edges to your desired details

(e.g.curve, zigzag). Use your coloring pencils
and color markers to create designs
incorporating the principles and elements of art
you have seen in the weaving and ornamentation
cultures of MIMAROPA and Visayas.

4. The best part is you being creative. You may

also put/draw intricate designs to your woven
output depending on its functionality/purpose.

17
 Here’s a woven place mat as an example.

The activity will be assessed using the following rubrics:

Criteria 5 4 3 2 1

Elements of The student The student The student The The

Arts and planned the made use of made use of 2 student student did
Principles of artwork 3 elements elements of made use not make
Design carefully. The of arts and 4 arts and 3 of 1 use of any
piece shows principles of principles of element of elements
effective use of design in design. arts and 2 of arts and
at least 4 creating a principles principles
elements of arts product or of design. of design.
and 5 principles artwork that
of design to illustrates
produce an end the
product that characteristi
illustrates the cs of the
characteristics arts of a
of the arts of a given place.
given place.

Creativity/ The student The student The student The The

Originality Illustrated/ showed tried an idea student student
showed original original but lacked did not try showed no
ideas and ideas and originality; did new ideas evidence of
interpretations interpretatio not innovate nor original
of the given ns but did on the innovated thought.
activity and not innovate materials on the
innovated on on the used. materials
materials used. materials used.
used.
Effort/ The artwork The artwork The artwork The The
Perseveran was beautifully was finished was finished artwork artwork
ce and neatly and passed and passed on was was
finished, and on time but time but needs passed on unfinished
passed on time. showed lack many time but and was
of effort. improvements. unfinished. not passed
on time.

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Craftsmans The artwork With a little The student The The
hip/ Skill/ was beautifully more effort, showed student student
Consistency and patiently the work average showed showed
done. could have craftsmanship; below poor
been artwork is a bit average craftsmans
outstanding; careless. craftsman hip and
lacks ship and evidence of
finishing lack of laziness or
touches. pride in lack of
finished understand
work. ing.

ADDITIONAL ACTIVITIES

Say you are a tourist who came to visit MIMAROPA and Visayas and the
things that were discussed in this module were your major takeaways in your
traveling bag. Before leaving the port, you were given this feedback puzzle and the
local attendants were asking you to write on to serve as your exit pass. Write a word
or group of words that would best describe the attire, fabrics and tapestries in
MIMAROPA and Visayas in each of the puzzle pieces of the feedback puzzle below.

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 20
Answer Key
Module 5
WEAVE IT BEFORE YOU LEAVE IT
1. patadyong
2. weaving
3. sinamay
4. fabric
5. tapestries
Pre-Test / Post Test
1. b
2. b
3. b
4. c
5. a
6. b
7. b
8. a
9. c
10. a
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References

Lourdes R. Siobal, Ma. Honelet A. Capulong, Ledda G. Rosenberger, Jeff Foreene

M. Santos, Jenny C. Mendoza, Cherry Joy P. Samoy, Rabonni C. Roxas, and
Johanna Samantha T. Aldeguer-Roxas.“Music 7 Arts. Department of Education
,2017.

Sources

Center, Mangyan Heritage. Mangyan Heritage Center. n.d. Accessed May 26, 2020
https://dfcmtribalmissions.wordpress.com/2016/07/18/surat-mangyan/

Cool-Organic-Clothing.com. Cool-Organic-Clothing.com. c 2008. (accessed

December 19, 2019). https://www/cool-organic-clothing.com/pina-fiber.html

Ethnic Groups of the Philippines. Ethnic Groups of the Philippines. c 2020.

(accessed December 19, 2019).
http://www.ethnicgroupsphilippines.com/2017/05/30/palawano-tribe-palawans-
original-dwellers/

Mangyan Heritage Center. Mangyan Heritage Center.n.d.,

http://www.mangyan.org/galleries/images/2632 (accessed May 26, 2020)

National Museum of the Philippines. National Museum Collections. February 14,

2014.
https://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeo/Manu
nggul.html (accessed December 19, 2019).

Philippine Primer The Experts' Guide to the Philippine Lifestyle. Philippine Primer
The Experts' Guide to the Philippine Lifestyle c 2007-2016. July 13, 2017.
https://primer.com.ph/blog/2017/07/13/a-woven-tradition-the-iraya-mangyan-
community-of-puerto-galera/ (accessed December 27, 2019).

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 For inquiries or feedback, please write or call:

Department of Education - Bureau of Learning Resources (DepEd-BLR)

Ground Floor, Bonifacio Bldg., DepEd Complex

Meralco Avenue, Pasig City, Philippines 1600

Telefax: (632) 8634-1072; 8634-1054; 8631-4985

Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph

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