Submitted to: Mrs.

Rose Marie Laurente

Submitted by: Roces Boquiren
Region 1: Ilocos
Region 1 or the Ilocos Region is made out of four
regions and a city—Ilocos Norte, Ilocos Sur, La
Union, Pangasinan, and Dagupan City. Majority of
the population speaks Ilocano, the third largest
spoken language in the Philippines, although a
significant number also speak Pangasinense.
The region has a coast and sloping extents that are
prone to typhoon in the wet months, however
devastatingly hot during the dry season. This is the
setting of Ilocano food. It's salty because of the
closeness to the ocean. There is even a whole
territory named after asin (salt) in Pangasinan. Fish
is preserved by drying, and of course, reduced into a
paste or sauce by fermentation.
 It is a state-of-the-art
convention center in the Iloilo Business
Park in Mandurriao, Iloilo City,
Philippines. Its construction was
completed in September 2015 in time
for the APEC 2015 hosting. It is built
on a 1.7-hectare of lot in the district of
Mandurriao donated by the Megaworld
Corp. The Tourism Infrastructure and
Enterprise Zone Authority allocated
P200 million for the construction of the
convention center, while another P250
million was sourced from the Priority
Development Assistance Fund of
Senator Franklin Drilon.
 The Cultural Center of the
Philippines Complex is home to the
National Theater (Tanghalang
Pambansa). The theater is the centerpiece
of the 77 hectare (190 acres) arts and
culture complex located along Roxas
Boulevard in Manila. Designed by
Leandro V. Locsin, the construction of
the National Theater began in 1966 and
was completed in 1969. The theater is a
primary example of the architect's
signature style known as the floating
volume, a trait can be seen in structures
indigenous to the Philippines such as the
nipa hut. It houses three performing arts
venues, one theater for film screenings,
galleries, a museum and the center's
library and archives.
 A T’boli from Lake
Sebu demonstrates how
‘t’nalak’ is
made from abaca woven
fiber. The age-old method is
widely recognized as the
‘ikat’
process
 The Ilocano of northwestern
Philippines is well-known for their
handweaving, a tradition with ancient roots,
with the kapas or cotton as the main
material.
They use the pedal loom, locally
called pangablan; employ several weaving
techniques; and have numerous
designs/patterns. Different weaving
techniques include the basic plain weave,
the double-toned basket weave or binakul,
and the multi-heddle weave (binetwagan or
tinumballitan), among others. Among the
complicated one is the brocade weave or
pinilian, which uses sticks inserted on
selected warp threads to create designs that
 The Bontoc textile revolves around the
idea of centeredness, which symbolises
permanence, order, and balance, key factors in the
life of the Bontoc people. Weavers demonstrate this
idea through the direction of their weave, from the
edge to the middle, to the symmetry of the cloth
construction and the repeated warp-striped design.
Bontoc weavers learn the craft through
various stages. 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), learning 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. Here, they
incorporate designs on the bands such as tinagtakho
(human figure), minatmata (diamond), and tinitiko
(zigzag). The pa-khawa (the center panel) is the
 The Kalinga textiles exhibit motifs
executed as though they are embedded in the
geometry of weaving itself. It has a distinct
dialogue between red and blue, expressing itself in
broad red and blue bands of plain or twill weave,
and creating densely-composed groups of tight
stripes.
 Considered the finest of
Philippine textiles, the piña fabric is
made from the fibers of the leaves of
the red Bisaya pineapple through an
arduous process. The extraction of the
fibers is a most delicate and tedious
process. The leaves provides two kinds
of fibers—the bastos or the rough fiber,
and the liniwan or the fine fiber. Using
a shard of Chinese porcelain, the
stripper removes the epidermis of the
leaf, exposing the lustrous bastos fiber.
After stripping the leaves of the rough
fibers, the stripper then run a coconut
shell on the inner layer of the leaf to
expose the liniwan.
 Hablon is Hiligaynon for “something
woven,” from the root word habol, “to weave”.
It refers to the hand-woven textiles by Kiniray-a
and Hiligaynon weavers. In a Panayanon legend,
ten datus from Borneo landed on Panay Island,
established settlements and ushered in an era of
development. One of the legendary datus was
Datu Lubay, who is said to introduce the art of
weaving textiles. Weaving using the pedal loom
had been common in the provinces of Iloilo and
Antique until the arrival of mechanised weaving.
Now, there are very few places where traditional
weaving is practiced, notable of these are Miag-
ao in Iloilo and Bagtasan, Bugasong in Antique.
The hablon is usually a plain weave and has
plaid and striped designs. It is usually used for
Known for being highly-skilled, with impressive
weaving repertoires, Yakan weavers produce textile
with five different kinds of weaving, often
differentiated by technique, pattern, and function. The
bunga-sama is a supplementary weft weave, made by
using pattern sticks or heddles in the loom to produce
the pattern. The colourful striped siniluan is
characterised by warp-floating pattern. Saputangan is a
square cloth best known for its intricate and rich
design, involving optical illusion to create depth in the
patterns.
 Tabih, in Blaan, refers to the native tubular skirt, and
also to the textile, while mabal means “woven” or “to weave”.
The Blaan weave the tabih using abaca fibers and the back-
strap loom. The fibers are dyed using the warp tie-dye resist
ikat technique and natural dyes from native plants. Designs
usually depict crocodiles and tiny curls. The Blaan are also
known to be accomplished embroiderers and the tabih is often
meticulously embellished with embroidery. A practice
traditionally reserved to women of high status, weaving has a
strong spiritual context in Blaan society, believed to be the gift
from Furalo, the goddess of weaving
 Paete, Laguna is really proud about
their wood carvings. Paete, whose name was
derived after a chisel or paet, is a small town
on the northeastern part of Laguna. It is
famous for its sweet lanzones and its finely
made woodcraft that it was declared the
Carving Capital of the Philippines on March
15, 2005. They are simply amazing at it. From
making statues, sculptures, furniture to other
things that you can name of that can be made
of wood. As if they treat this skill as they’re
hobby or past time by creating different
images and statues out of wood. Most of the
woodcarvers in Paete are third generation
woodworking folks, this skill is still being
passed on to the next generation of
woodcarvers.
 The Ifugaos of Northern
Luzon are famous for the way they
carved the mountain slopes that form
the legendary Banaue rice terraces.
They are also well known for their
mastery of wood carving. Ifugao
woodcarvings are usually of their
deities, the most famous of which are
the various interpretations of the
granary deity known as the bul-ul.
 South of the Phjlippines, one finds
the Tagbanwa woodcarvers. Whereas the
Ifugaos engage in woodcarving primarily
because it is an essential part of their beliefs
and customs, the Tagbanwas of Palawan
carve for the sheer fun of it. And this is
probably why the Tagabanwa woodcarvings
stand out as one of the most exciting of
indigenous Philippine woodcarvings. These
wooden works of art are highly stylized and
reflect sophisticated aesthetics, leading one
art critic to say that they have “close
affinities to near-abstract art.”
Further down south of the Philippine
Islands, are the Maranoa Muslim
woodcarvers. Figural representations in
their craft are taboo to the Maranao
woodcarvers. Natural forms are allowed
only on the condition that they are “de-
natured.” Because of this limitation, the
Maranao woodcarvers use the okkil motif
in most of their works. The okkil motif is
rich in Sassanian character — the flowing
floral forms and S movements. The
Filipino Muslim adaptation of the okkil
has a strong indigenous character,
deriving inspiration from local plants, sea
The revised New Millennium
Editions of the “primary
continuity” Young Wizards novels
started coming out at our Ebooks
Direct store in 2011.* The project
took a while to complete, in
between other work; and as
sometimes happens in a
prolonged release situation like
this, thematically and in look-
and-feel the covers aren’t very
unified. Slowly it became obvious
that something was going to
have to be done about this.
 These are "banig"
(mats) handwoven by the
people of Basey, Samar,
Philippines. Great for native
wall decor or simply as
floormat.
For Clay Avenue’s Mia
Casal, pottery is a deeply
personal journey. She not
only creates the pieces and
delivers them to clients
and patrons herself, she
also manages and teaches
classes in hopes to inspire
others with her love for
clay. Her handmade clay
pots and ceramic jewelry
are for sale at local
bazaars, and may be seen
on exhibit around the
 Where most local potters draw a
clear line between function and
art, Fernando has happily
reconciled the two in her work.
Fernando’s love for pottery has
led to the creation of Antipolo
landmark, The Crescent Moon
Cafe, which is also known for
its delicious food. Her loyal
clientele for her handmade
stoneware ceramics includes
restaurants, hotels, even spas.