Schedule
Nov. 28, 2024 | 1:00 PM–2:30 PM
Room
Rm 5, Emerald-Citrine
Moderator
Maria Cecilia T. Medina
University of the Philippines Diliman
E5.1
Tatlong Mukha ng Lambanog
Estelita Valdeavella-Llanita
Atagan, Inc.— Alternatibong ng mga Akda at Gawang Nasaliksik (Tayabas Studies and Creative Writing Center)
Ang pag-aaral na ito ay naglalayong maisalarawan at maanalisa ang mga hamon at pagpupunyagi ng paggawa ng Lambanog sa Lungsod ng Tayabas, partikular sa Barangay Wakas. Bagamat limitado sa sentro ng produksyon (sa Barangay Wakas), hindi naman ikinakaila ng may akda ang paggamit ng ibang batis saliksikan upang higit na mapalalim ang pagkatuto mula sa karanasan ng mga taga ibang Barangay at Bayan ng lpkalidad. Pangunahing sakop ng saliksik na ito ang kasaysayan ng lambanog at pamanang katutubo ng mga Wakasin sa mga tagayang pambarangay at pambalana. Sangkot sa kritikal na pag-aanalisa ang mga katutubong kaalaman at pagkasalukuyang usapin ng produksyon. Sa pag-aaral na ito tinatayang may tatlong mukha o mahigit pa na gumaganap ng malaking papel para mapanatili ang kultura ng produksyon ng Lambanog. Isa sa mga pangunahing pagkatuto mula sa saliksik na ito ay ang masalimuot na batis at batayan ng pag-aaral upang higit na maging makatotohanan ang paglalatag ng mga kaalaman. Ginamit ng mananaliksik ang metodong etnograpiya at pinaghalong perspektibong emic at etic. Isang napakalaking hamon sa mananaliksik ang makapanayam ang mga sangkot sa produksyon at consumpsyon ng lambanog. May tatlong mukha ang lambanog na likidong nakakalasing, nakakabuhay at nakakamatay. Matutunan sa papel na ito ang ligaya ng tagayan, hirap ng pangangarit at hamon ng produksyon ng Lambanog. Patutunayan ito sa lente ng isang akademikong pag-aaral at paglalahad.
E5.2
The Barong Tagalog as Material Culture and Site of Lived Experiences
Kristine K. Adalla
University of the Philippines Los Baños
The barong tagalog was crucial in transforming Lumban embroidery from a cottage industry to a labor-intensive industry. As a product of tradition and culture, it has evolved and served as the symbol of colonialism and at the same time, patriotism. Meaningful discoveries can surface by examining the interaction and relations that are connected in the production of the barong. The study aims to explore how the barong as material culture reflects the gendered roles and lived experiences of traditional hand embroiderers. Using narrative inquiry and performance of everyday life as framework for the study, fourteen women hand embroiderers from Lumban, Laguna participated in the study. Interviews, group discussions, and a creative workshop reveal manifestations of social gender in the embroidery industry in Lumban, Laguna. The popularization of the barong tagalog was crucial to the lives of Lumban locals, especially the women. The study reveals how embroidery is interlaced with the women’s experiences and are embedded in embroidered products such as the barong. Results show that the barong is an extension of the female embroiderer’s life as it carries an imprint of not only her dexterity in embroidery but also her personal experiences, memories, and beliefs. A man wearing the barong dons the life of the woman embroiderer embedded in it. Her femininity and sense of power is projected in the maleness of the barong. Wearing the barong transforms the man—in the way that he is treated with respect—because of the sense of authority the garment projects. However, this power is invisible because it is completely disregarded once the barong is worn.
E5.3
The Concepts of Aliwalas at Busisi in Philippine Design Culture
Guillerma L. Mendoza
University of Santo Tomas
The concepts of aliwalas at busisi, the state of being light and meticulous, are the organic values that set the trajectory of Philippine design culture. Aliwalas at busisi may be considered as the underlying consciousness, expressed in the form, style, materials, and techniques of Philippine-designed and -made chairs. Selected samples such as the iconic Malacañan chair, the San Miguel de Mayumo rattan chair, the Batibot wood and wrought iron chair, and some of the popular modern chairs of the 70s to 90s era, provide the primary materials for the study. Collated archival photographs and digital images provide alternate sources; artifacts that may be here today but may be gone tomorrow can push back the period of Philippine design culture. By excavating the “thick descriptions,” the enduring qualities of Philippine aesthetics reveal the cultural encounters and interactions of the nation.
The fine examples of Philippine chairs chart the commonsensical but global orientation of Filipino artisans and designers in the evolution, translation, and interpretation of aliwalas at busisi. The survey evidenced the steep tradition of creative ingenuity and the notion of creative patriotism. The findings illustrate the ability of everyday objects to articulate form and technique, meanings, and contexts in the domains of design, production, and consumption. The mixed method approach reified the organic values in the evolving construction of Philippine design culture narrative.