重新發現一個地方的感覺。 一個完整的文化研討會

Camiguin忽必烈文瀾設計建築的明信片

我作為一個藝術家，是重新發現了自己的文化資源。 藝術只有一個文化的方方面面，睜開眼睛，看到一個更大的文化意識的景觀。 從一個微型社會，我發現我用新的視角將意識。 棉蘭老島給我的文化品味和個人冒險中重新發現我的目的的一個新的意義，和我與我的社區關係。 艾略特提供了一個重新發現居委會的指導規則：

“我們將不會停止探索，

而我們探索年底

將到達我們開始的地方

知道第一次的地方“。

社會意識是作為個人的過程中找到我自己的文化根源，丟失身份的基礎上重新定義。 作為一個強大的生活空間中看到每一個社會的文化區別的藝術，建築風格，傳統和服飾，以及菲律賓的聰明才智許多紋理，重新燃起了我的文化自豪感。

在Kapwa本書的前言中，大衛引用樂章 Chaadaev，“我們的記憶可以追溯到沒有比昨天的進一步;我們，因為它是自己的陌生人.. ，只不過是一個自然後果完全由進口和模仿的文化... ...我們吸收我們所有的想法現成的，因此，在腦海中留下了不可磨滅的跟踪的思想進步運動，這使得它的強度，不塑造我們的智力.. 我們沒有被教導為自己著想的孩子一樣，當他們長大成人，他們沒有什麼自己的，他們的知識是他們被表面上，他們的靈魂是不屬於他們“。。 （大衛 2005年）。

生長在一個殖民統治的國家，留給我們的是什麼，是一個純粹的模仿文化。 但後​​來我意識到，這個概念只是一個錦上添花。 我知道我的文化之根，是其他任何一個非常高的水平，尊嚴感和貴族的古代文明的強大。 這是擁有它，成為我自己的自定義過程。

圍繞菲律賓的人性，靈性，道德和智慧的文化生活的敘事 Kapwa書（德東望洋2005）委員的生活品種進行了討論。 在這些文化幹事的生活中，我發現作為一個已轉化為文化工作者和社區藝術家教育家多個角色菲律賓的實力。 後來我把這旅程一個完整的車間。 出生在這個國家的人民和文化的綜合大學多維的經驗，自然放鬆的人際關係。 在這本書 K'sulhay中，文化的旗手之一說：“家庭回憶過去。 我們對未來的夢想。 但是，我們遇到的那一刻的美麗時刻。 新的一天來臨。 我們窗台這裡 ... ...“

在此收集的頭腦，現在在這裡，一起編織我們的願景是人類最偉大的力量。 正如我們討論關於文化，我們折回“文化作為世界上質量的遺產（沉默的聲音。Malreaux，1956年）。 我意識到，我同意與其他許​​多文化工作者在我國相同的美德和價值觀。 “中的多樣性文化的同質性，一個獨特的”民族性格“（阿吉拉爾 2009年）。

在她的文化工作者的書（Sta.瑪麗亞 2001），她教導如何價值的日常和提醒我們，有到Excel，因此，人們可以提高未來人類精神的巨大潛力。 我相信人，但首先我必須相信自己。

我在我的社區文化發展教育的積極參與者，特別關注自然和文化遺產的保護。

“文化發展的權力，模具採取集體行動的態度。 沒有文化的欣賞，人們限制自我成就和自我實現的潛能。“（2001年Sta.瑪麗亞）在她的散文，在第一個文化工作者的手冊，站。 瑪麗亞解釋等的需求，認識到文化特色的文化領導責任。 展望文化的卓越能力的根，傳承我國人民的貴族。 強調領導的責任，最大限度地發揮當地資源的人，才，技能，手工業，知識創造的優秀文化產品。 聯繫過去和現在的歷史感，是文化的力量，防止人才外流和熟練技術工人外流，如文化損失。 領導所奉行多元文化的寬容。 作者強調文化素質教育是很重要的領導人應該保護文化。 這本書啟發了我，因為它包含的文化價值，珍惜我們的愛我們自己的人民覺醒。 作家的輝煌澆水的鬥爭中的文化渴求，在我們的多元文化社會中找到一個連通的意義。

我可能會下降，但能以某種方式產生一石激起千層浪。

藝術和文化在社會中的現役球員

讓人們談論“水牛”在課堂上。 只有當人們能夠表達他們的意見，那麼我們可以嘗試建立共識，這可能是集體行動的典範，為百年工作。 ，但經過我們收集的文化體驗，那麼我們就可以重新創建一個社區裡，我們了解彼此的解釋什麼是文化，藝術，甚至社區。

我們要培養相互的，通過體驗和參與當地社區之間建立一個文化教育界的強烈循環。

據站。 瑪麗亞（2001）文化工作者可以使用藝術：（1）加強社區的認同感;（2）崇高和直接habitualize紀律和平等目標的需要;和最重要的（3）鼓勵需要做出的想像力和創造力社會創新和大膽的，足以看出潛力的產品開發和升級周圍的社會需求和現有材料的基礎。

我認為這是一個非常敏感的觀察，我們的社會，我們給予自己有這麼多的進口思想和影響，我們忘記了我們自己的“卓越文化”。 我們需要培養這種意識以及作為一個人的權利給予應有的尊重和被允許到興盛與文化。 培育菲律賓國家獨立，公平，充滿活力，人文文化，演變和發展自己作為人民共和國法案7356規定。

我在我的社區，組織地方高校通過與我的學生，公開展覽和論壇，文化路映射，文化研究，文化和藝術節的鏈接我們的人民，他們的身份和文化根源意識。 我發現缺少的環節，我親眼目睹了我們自己的當地辦事處，破壞我們祖先的房子，不給其讓位給稅收收藏企業在我們的城市文化和歷史意義的價值。

生活文化遺產，我認為這些房子可以給我們一個地方的故事的意義上的立場沉默，微不足道的和被遺忘的的。 壯觀的美化都沒有見過，也不認可。 直到我遇見了誰幫我“回撤的燈光透過窗戶”okkil“藝術當我看著房子在不同的眼睛再次的學者和研究員文化工作者。”在保存和重新連接與我的論點的一個例子過去是下面摘錄的一部分。

在公共場所的文化堤壩

我們的東亞根。 在okkir，okkil，ukiran或ukit我們的房子重新發現幾何對稱的木刻圖案用作窗戶或門以上的ventiliating光幕或作為亞洲祖傳房子也多產 Camiguin島，我住的地方，如在菲律賓的牆板。 工匠們是如此之高的藝術和文化瑰寶的文化承載。 不幸的是，這樣的房子往往是時代遺忘在當今時代微不足道。 本木藝術的廣泛使用痕跡 sultanates機構和亞洲貿易航線的船員發現從 Moloccas這些島嶼第一（遙遙領先麥哲倫，葡萄牙conquestador）最古老的貿易港口的連接我們的根棉蘭老島被認為是武端，菲律賓的黃金時代已經蓬勃發展貿易路線的中心。 這是據我們可以跟踪我們歐洲人通過這些文化交流改造文明的亞洲群島航行的連接。 因此，自稱是什麼原的東西還是非常鮮明的口頭語言，建築風格和文物。

在此島薄荷島和棉蘭老島的延伸Okkil藝術的房子... ...它告訴我們，我們的歷史的東西，我們的文化傳統，所以也許我們停止破壞我們的文化底蘊和歷史珍品。 雖然在一些國家，如馬來西亞馬六甲，他們成為世界遺產，因為他們的舊樓，我們可能需要深刻思考我們自己的根和自豪，作為一個人。 這些文化遺產的房子是國家古蹟，並認為是無價的。 然後讓我們問自己，為什麼我們可以承受拆除等精美禮品，我們的祖先在企業名稱。 雖然在其他城市在世界各國政府花了這麼多資金，為恢復和保護這些珍品，我們摧毀他們。 什麼是文化旅遊和生態旅遊，旅遊在這個島的未來，如果政府不能保護我們自己的文化遺產。 最後剩下的這些漂亮的房子的街道現在永遠地消失了。 國家有責任保護文化遺產，而不是摧毀他們。

另外一個有趣的項目，在我們的文化遺產^網站建成15世紀結構之一，是一個古老的教堂，遠離流浪動物的火山遺址的圍欄。 鐵柵欄，不僅破壞整體景觀，而且還發展觀的誤解的另一個例子。

我們需要建立一個文化攻勢之前，為時已晚，所以我們不會在這個國家，這麼多需要鬆動。 作為一個生態旅遊目的地島嶼，這是什麼遊客，尋找不同的東西。 什麼是一個地方的人，當你剝去其文化遺產？

“建築不僅有助於紀念歷史事件的重要性。 它可以幫助社區維持它的魅力。“愛國主義有場所感，自豪感的根源開始。 我們可能有更多的驕傲，如果我們的歷史可以可視化令人信服，所以我們可以感受到一個熟悉我們的根。“

Kabilin（米沙鄢字），這意味著文化遺產相呼應過去的遺忘。 Camiguin和文化根源的真實身份的追求，使我們在社會上，包括無形的文化瑰寶珍品搜索。 當我們看到祖傳的房屋被摧毀在我們的社會中，報警器響了一千的聲音。 這是告訴我們一些重要的東西。 我們是否理解的調用，我們覺得做的東西之前，我們完全墮落作為一種文化和擦除我們的過去和歷史。 我們現在作出的決定是非常重要的，因為它可以摧毀文化建立和實行百多年幾代，如果我們不完全了解和欣賞我們的根。

我們慶祝的普通日常生活的作品... ...我們給的榮譽我們的工匠，使我們的房子... ...我們睡在床上... ...我們 KN玉珠上的大門 ... ...我們打開他們的窗戶 ... ...我們坐在自己的椅子上... ...我們對他們吃表... ...但他們仍然無名，有時會忘記 ... ...。

他們是我們的物質遺產的視覺歷史學家 ... ...他們使我們的故事，數百年可見 ...他們是我們生活的文化寶藏 ...尋找我們的根，是知道這些人都是誰 ... ...我們 arstists ...技工...墊織工...木雕刻...竹工匠/女人... ...船製造商... ...木匠... ...他們都有一個故事。 文化遺產是人，他們生產的東西繼續存在。 這一天，我們慶祝他們的故事和藝術作品... ...

東南亞根

在我的旅行，馬來西亞馬六甲，我發現了一個驚人的相似的ukiran，這在馬來亞房屋建築設計功能。 共同旅行研究員伊夫林林給我帶來了小的馬來西亞博物館展出的所有不同國家的傳統的馬來房屋的生活大小複製。 在書的博物館展出，馬六甲，亞羅牙也甘榜雙溪 Buluh ukiran工匠和木工匠朱基菲斌珠璣。 我的朋友伊夫林繼續研究，親自採訪 ukiran藝術家。

珠璣先生開始在一個小企業，家具（1976年開始）。 He started making ukiran seriously in 1982. He got his training from the Kraftangan Malaysia (Malaysian Craft) in Termeloh, Pahang. The training duration was a year and a half. In making ukiran designs, Mr. Abas gets inspiration from his heart and experiences.

Mr. Abas is well sought by Kraftangan Malaysia and the Muzium Istana Kesultanan Melaka (Melaka Sultanate Muzeum) in terms of sharing his knowledge and skill on ukiran. He is also sometimes called in as a trainer on ukiran.

With the help of Evelyn Lim as my co-researcher, this is a simplified attempt to describe the two types of ukiran in Malaysia.

a. Ukiran Melayu Asli (direct translation means Original Melayu Ukiran)

• Originates from Malacca, during the Malacca Sultanate era (15th century). This is the basis and mother of all ukiran in Malaya and Southeast Asia.
• The original ukiran Melayu is the kerawang (See picture attached).

Kerawang means something that is continous. Hence, ukiran kerawang takes a lot of its subject from creeping plants such as kangkung (from the morning glory family) and others.

• From Malacca, ukiran Melayu Asli spread out throughout Malaya and Southeast Asia. So far, no written documents can be found to support the statement. However, based on word of mouth from generation to generations and research on old films, the conclusion that ukiran Melayu Asli originated from Malacca during the Malacca Sultane era was derived.
• However, many do not know this fact and the trade and skills are fading away in Malacca. Hence, many locals perceive that ukiran originates from the eastcoast state in Peninsular Malaysia as explained in point (b) below.

b. Ukiran Pantai Timur (direct translation means East Coast Ukiran)

• It derives its basic ukiran from Ukiran Melayu Asli. However, it is called Ukiran Pantai Timur as it began from the east coast of Peninsular Malaysia and spread throughout.
• It has more details on it and is considered a modern ukiran as it was said to began sometime in 1950 or 1960s.
• Many of its ukiran subject are plants such as hibiscus, sunflower and many more. Hence, this ukiran does not neccessarily be continuous like the kerawang but can be just one-off, just like in the attached picture.

How is ukiran different in different states has its origins in kerawang (Malacca Sultanate era). When the kerawang ukiran were taken to other location, it was adapted and designed were improvised according to the need / wants / likes / culture of the local.

The ventilating light screen in the local language is called 'lubang angin' (air-well) with functions described as; ventilation of air (movement of cold and hot air); enable light to come into the house; and aesthetic value (for example, instead of having just a normal hole for ventilation, ukiran is done to add on the aesthetic value).

The meaning of ukiran on houses in the olden days potrays the status of the owner as well as wealth of the person. However in modern days, it potrays more of the wealth of a person, particularly if they own a typical traditional house as the cost of owning a traditional house is two times more expensive than a modern house.

Bohol Artisans

Abound a motorcycle on scorching day with my friend Michael driving the motorcycle, we navigated across the karst unpaved roads zigzagging open fields and seaside breathtaking landscapes to have a glimpse of the windows with flamboyant okil ornamentation in the most touristic island destination Bohol, on September 26, 2008.

In a short research trip I met very interesting residents of Dauis, Bohol who were either direct descendants or have family affiliations with local artisans of the okil art. The interview was conducted in a casual conservation with sets of guide questions to have a basic demographic of the artisans in this particular community known to be the birthplace of Boholano exemplary artisans.

I met Juana Dolorican the daughter or Mauro Dolorican (deceased father) who died at 64 years in

Tinago, Dauis, Bohol who made okil for his own house. Inocencio “Inciong” Hongayo talked about his furniture maker father Anatalio Hongayo who died at 70 from Upper Songkolan, Dauis, Bohol.

Inciong explained the process of doing wood cut-outs manually as “air vent” or light screen using hand tools with the following steps; first the artisan has to measure length of the pat where okil is to be placed; then divide center (makes two parts) of the total length; sub-divide the two parts, and find center, and so on; make sure the holes in the middle fit each other when panels are installed next to each other.

According to Inciong, their place Songkolan, Dauis, Bohol is the home of many local artisans. It became a common preoccupation for most people who were not able to afford a college education. It became a natural skill transfer among family members from father to son and relatives. It became an in-demand job for those who favor manual labor with specialized skills. The carpenters before the war worked all-one-job in building houses who serves as the architect and engineer at the same time.

Among the names with hands for an artisans were the following families: Bolataolo, Loquias, Hongayo, Humol, Nisnea, and dela Pena. Names of artisans surfaced such as Puring Loquias, Nitoy Loquias ad Fausto dela Pena.

The original tools used in making the okil wood cut-outs were called the following: sepilla, barina, granel, laras / gabas/ de lansi (for cut out holes), tigib, and lasyo (for glass edges).

At one corner of the street, I found a workshop for reproduction where I had the chance to interview the owner, Pableo Loquias who called okil “borda”. His father Jacinto Loquias has inherited the workshop from his grandfather Crisanto Loquias who was a merchant of the sea (biyahidor). They made okil locally and sold reproductions in other neighboring island such as in Mindanao.

Marawi culture of excellence

The research team found golden age with fine architecture right before our eyes in Tugaya, Lanao del Sur on October 1, 2008. It was a sight to behold, a high civilization deteriorating amidst bananas and bamboos left to rot. Some house were unfortunately abandoned. The people who lived in the houses have to pay a humongous amount for maintenance is very expensive which costs the royal houses to slowly fade away.

A brief interaction with the artisan was the highlight of the visit as one of the research sites of the project. I met a drum maker, Sam Acop. Sam uses very simple tools for wood carving with one leaf like template. The abstractions and fern like intricate designs are obtained by using the template as base design then variations are added to compliment an intricate abstracted foliage covering the entire wooden “dabuan” the ceremonial 12-foot Maranao drums with a animal hide as drumhead.

Tools used by artisans in wood carving drums (tambor or dubakan) are piako (template), tataku (big pointed blade), and panasan (tigib). It does not take very sophisticated tools to make such intricate designs. The artisans seems to have mastered the measurements and geometry that they have made houses as masterpieces works of art. Everything they touch turns into gold aesthetically.

A very popular in-demand artisan is Baguindali “Benjie” Taha from Sumbagarogong, Tugaya, Lanao del Sur, a member of the Tugaya Craft Village Baor Producershas has traveled many places to carve houses for very rich people in their private “palaces”. The master-craftsman at work showed ease and confidence and sense of dignity with his art.

A brass Craftsman, Sultan Asis from Brgy. Ambuk and Brgy. Bobong where among the brilliant living culture treasures of this ethnic community so significant of the place. Magdara Tokalo has a very unique talent of making miniature replicas such as the galleon replica. It is unbelievably perfectly handmade which can almost sail with a gust of wind.

The name of Sultan Datu Macaantal was mentioned relating it to one of the torogan panulong with the declaration of ownership. There are a few more housed of excemplary architectures foun in Brgy. Bobong Madanding, Kawayan, and Marantao in Lanao del Sur.

Tugaya skirting the shores of the largest lake in Mindanao, Lake Lanao, a hilly stretch of about 40.28 square kilometers is the site of the golden age of architecture in this archipelago. The sultanates of these ethnic group with strong Islam influence vivid in their architecture are the true blood Maranao, found nowhere else but only in this part of the world. The jaw dropping Tugaya experience is a living monument of the glorious people with great artisanship. It is a trademark which has esteemed the Moro people with their intricate non-representational patterns in everyday things from clothes to house windows. The colors and the patterns inspired from nature has evolved to endless geometric patterns and exploration of floral designs in architectural functions. The aesthetics of such nobility has endured centuries which anyone can experience in the ordinary frontyards of the Tugaya residents. The ukiran is a living culture where almost everyman learns to sculpt for survival or influenced to sculpt by their families. The everyday masterpieces are unsurpassed craftsmanship in this country if not in Asia. It maybe similar to other South East Asian roots, but the work is as original and captivating as other ancient artifacts only seen in museums. This is a living testimony, that once a great civilization ruled this country. Architecture is a living proof of the story of a community. A true story, plank by plank, stone by stone, pillar to pillar.

In the length of time, naturally wood decay that in some parts of Mindanao, these once habitual living spaces are now a present day nightmare, when in the heart of this once land of the nobles where Torogans with magnificent panulongs that are the symbol power, wealth and nobility are now in decay and nearing its death. It is a striking contract of wealth and poverty. The illustrious kingdom has struggled to preserve its legacy but only a few of these survive with constant reverence and affluence. The rest of the architecture stood its ground slowly

A living cultural dialogue…

Tugaya politically subdivided into 23 barangays has an oral history written on their wood carvings embedded with mother of pearls which almost became an iconic trademark of Mindanao.

Tugaya with a unique bloodline of natural craftsmen and artisans of different techniques made our short visit a walk of history and a taste of high culture of traditional Maranao culture of tapestry weaving, handmade textile, foundry casting of various forms of bronze and brass vessels, handmade textile manufacture, decorative items and .instruments. Of all these rich cultural practice, the most intrinsic characteristics of this ethic group is there sense of architecture and details in wood carving which utilized the traditional Maranao from the original decorative motif which is better known as okir. Those houses have okil patterns in their houses not as ventilating light screens but rather decorative in nature. The royal houses is marked by the magnificent torogans, a reflection of high culture and a touch of excellence by the artisans.

Camiguin Light and Shadows…

The quiet inquisition with breeze on our hair motor back riding became a trigger happy experience of the houses of Camiguin Island. An initial ocular and visual documentation of okil embellished houses in Camiguin Island got published as a news paper article written by Virginia “Maria” Yap-Morales. That was the first attempt, that moved some eyebrows and sparked curiosity of its presence in such a small island. For several more attempts, the romance with the light and shadows of okil developed into a full blown research with a tea of architects, photographers, writers and researchers.

It was through the eyes of Maria, that I was able to see through more vividly and experience the light and shadows inside and outside the ancestral homes by the road side which proliferates around the poblacions. Camiguin with five towns has 58 barangays, experienced some economic boom in the early 19 ^th century which reflects the kinds of houses built during that time. 。 There were at least 49 houses identified with ventilating light screens both in the interior and exterior with motifs very similar to that of Bohol where most of the artisans came from.

We heard from stories of the locals that during those times the first okil inspired ancestral house was built around 1840. Later the okil patterns gained popularity and some artisans prefabricated okil patterns and later brought to other nearby islands by sea merchants from Bohol. An evidence of this exchange is the use of ornamentation in houses which does not necessary blend with other items next to each other. It may suggest that the other wood cuts were bought earlier than the rest. So the houses with decorative okil has evolved with accumulations of more okil patterns.

As an inspiration with okil art, my students made a modern okil art project. With the help of the local artisans, I reproduced all the Camiguin okil motif and put them up as an exhibition during the first art and culture day as the main showcase of “Kabilin” exhibit. Now it serves a permanent exhibit at the façade of the Enigmata Treehouse. I also explored the okil furniture making, and other designs which has now interesting ideas put together as functional art.

Okil has its natural magic that plays along with the movement of the sunlight that imprints moving shadows on the walls. This is the magic of the okil that visually connects your personal space to the sky above and the land below. While the air travels through its crevasses allowing the wind to circulate and ridding off hot air, the room creates an ambient tropical sensation breathing with space.

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