craft essay example tagalog

Art and Craft of the Philippines: A Tapestry of Creativity and Cultural Heritage

Art and Craft of the Philippines – Cultural Heritage of Philippines

The Philippines, with its rich cultural heritage, is a land where art and craft intertwine to tell the stories of its diverse communities. From traditional indigenous crafts to contemporary art forms, the Filipino people have created a vibrant tapestry of creativity. This article explores the unique art and craft traditions that contribute to the cultural identity of the Philippines, showcasing the skill, ingenuity, and cultural significance embedded in these forms of expression.

Indigenous Artistry: Craftsmanship Rooted in Tradition

Banig weaving: the art of mat-making.

Banig, intricately woven mats, are a hallmark of Filipino craftsmanship. Originating from the Visayan region, banig weaving is a meticulous process that involves the use of indigenous materials such as pandan leaves and buri strips. These mats serve both utilitarian and cultural purposes, often used in homes and as gifts during special occasions.

Bamboo Craft: Versatility in Art and Architecture

Bamboo, a sustainable and abundant resource in the Philippines, is a versatile material used in various forms of traditional crafts. From intricate baskets to furniture and architectural elements, bamboo craftsmanship showcases the Filipino knack for utilizing natural materials in art and design. The sturdy and flexible nature of bamboo makes it a preferred medium for creating functional and aesthetically pleasing pieces.

Textiles as Living Traditions: Inabel and Malong

Inabel weaving: heritage woven into fabric.

Inabel, a traditional handwoven textile, is a cultural treasure from the Ilocos region. Skilled weavers use wooden looms to create intricate patterns and designs, resulting in fabric that embodies the heritage of the Filipino people. Inabel textiles are often used for traditional clothing, blankets, and home decor, preserving the art of weaving for future generations.

Malong: A Colorful Cloak of Maranao Culture

The Malong, a tubular multi-purpose fabric, is a cultural symbol of the Maranao people in Mindanao. Its vibrant colors and geometric patterns reflect the rich cultural heritage of the region. Beyond being worn as clothing, the Malong serves various functions, such as a blanket, turban, or even a makeshift bag. Its versatility and cultural significance make it a cherished craft in Filipino society.

Woodcarving: Sculpting Cultural Narratives

Paete woodcarving: artistry in every detail.

The town of Paete in Laguna is renowned for its woodcarving tradition. Skilled artisans carve intricate designs into wood, creating religious icons, intricate furniture, and decorative pieces. The craftsmanship in Paete woodcarving is a testament to the artistic prowess of Filipino artisans, and the town has become a hub for those seeking unique and finely crafted wooden art.

Sculptures and Santos: Religious Artistry

Filipino religious fervor finds expression in the creation of sculptures and Santos (saints). Skilled sculptors carve religious figures, often commissioned for churches and private devotional spaces. The craftsmanship in creating Santos reflects a fusion of indigenous techniques with the influence of Spanish colonial art.

Contemporary Art Forms: Balancing Tradition and Innovation

Manila biennale: bridging tradition and contemporary art.

The Manila Biennale is a contemporary art festival that brings together local and international artists to explore themes relevant to Filipino culture and society. The festival serves as a platform for artists to push the boundaries of traditional art forms and engage with modern issues. It contributes to the dynamic dialogue between tradition and innovation within the Filipino art scene.

Contemporary Sculpture: A Play of Forms and Materials

Contemporary Filipino sculptors experiment with diverse forms and materials, moving beyond traditional mediums. Steel, concrete, and recycled materials become the canvas for expressions that explore social issues, personal narratives, and the evolving identity of the Filipino people. Public spaces often feature modern sculptures that add a layer of dynamism to urban landscapes.

Philippine Batik: A Fusion of Traditions

Batik, a traditional fabric dyeing technique originating from Indonesia, has found its way into Filipino artistry. In the Philippines, local artisans have adapted the method to create vibrant textiles with distinct Filipino patterns. This fusion of traditions reflects the interconnectedness of Southeast Asian cultures and the Philippines’ openness to artistic influences.

Contemporary Textile Art: Reimagining Tradition

Artists like Lenore RS Lim have embraced traditional weaving techniques to create contemporary textile art. These artists breathe new life into age-old practices, reimagining patterns and designs to tell modern stories. Their work not only preserves traditional craftsmanship but also contributes to the evolving narrative of Filipino art.

Preserving Heritage: Challenges and Initiatives

Preserving indigenous crafts: challenges in the modern age.

In the face of modernization and changing consumer preferences, preserving indigenous crafts faces challenges. The allure of mass-produced goods often competes with the intricate handmade craftsmanship of traditional artisans. Efforts to sustain these crafts involve a delicate balance between maintaining authenticity and adapting to contemporary demands.

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Traditional arts and crafts in the Philippines

by Kathryn Burrington

About 500 miles off the coast of Vietnam, thousands of islands are scattered across a corner of the western Pacific Ocean. These islands are home to over 180 ethnic groups, each with its own language and traditions. Add to this the influences of numerous settlers, including the Spanish and Chinese, and the result is a rich and varied cultural heritage. Back in 2019, I enjoyed a fabulous island-hopping adventure. The memories of the beauty of the islands and their people will stay with me forever, as will the array of traditional arts and crafts I discovered in the Philippines , not least the work of woodcarver Willy Tadeo Layug.

Disclaimer: This post was brought to in association with the   Philippine Department of Tourism.   This post contains affiliate links. For further information please read my   affiliate disclosure .

Table of Contents

Traditional Arts and Crafts in the Philippines

Arts and crafts in the Philippines stretch back thousands of years with jade carving being amongst some of the earliest examples found dating from around 2,000 BC. While many indigenous crafts still thrive from weaving to pottery, others that I came across, such as the religious wood carving I saw in Pampanga, are relative newcomers, brought here by settlers from other counties.

The variety of arts and crafts in the Philippines is not only a result of its rich cultural melting pot, it also owes thanks to the wealth of natural materials readily available including bamboo, rattan, and coconut shells, to name but a few.

The Windowpane Oyster

The sea too has leant its bounty to the craft industry. Capiz, for example, comes from the shell of the Placuna placenta mollusc, found in the seas around the Philippines. Fishermen harvest these edible molluscs for food and use the shells in handicrafts. Nothing is wasted!

Capiz is delicate, translucent and naturally iridescent. In the 16th century, Spanish settlers in the Philippines made stained glass windows in their churches out of capiz shells giving rise to the molluscs nickname of ‘windowpane oyster’. Today, capiz shell lampshades daggling from trees in parks and gardens is a common sight. When I spotted a capiz star at the airport just before I boarded my plane home, I couldn’t resist buying one to use as a decoration for my Chirstmas tree. A lovely reminder of my visit.

Above: Capiz Shell lamp shades hanging from the trees. Below: A capiz star hanging from the ceiling of a remote island kitchen

The Dream Weavers of Lake Sebu

While some crafts are fairly universal throughout the Philippines, others are unique to specific ethnic groups. Most notably, there’s a wonderful range of textiles and local costumes.

In the  South of the archipelago by Lake Sebu in the province of South Cotabato, the women of the T’boli people are known as Dream Weavers. They produce a hand-woven cloth called  T’nalak  out of the fibres of the native plant, Abaca. Both the cloth and the women who produce it are held in high regard. Intriguingly, the patterns they weave have not been designed by the women themselves or even their forebears. The designs have been brought to them in their dreams by Fu Dalu, the spirit of the Abaca and are reproduced entirely from memory.

Above: The handmade traditional dress of the T’boli women (lisyl/ Shutterstock ). Below: T’nalak purses, made from the fibre of Abaca plant (lisyl/ Shutterstock )

Baguio UNESCO Creative City of Crafts and Folk Art

In 2017 Baguio, a vibrant, multicultural city in the mountains of Northern Luzon with local artisans specialising in woodcarving, silver craft, weaving and tattooing, was named a UNESCO Creative City of Crafts and Folk Art. While I didn’t get the chance to visit Baguio this time, I hope to on a return visit. With its multicoloured buildings, the city itself is a work of art! Wouldn’t you just love to photograph or paint this colourful scene?

Above: the colourful houses on the outskirts of Baguio tumble down the hillside (Fly_and_Drive/ Shutterstock ). Below: Elders wearing traditional cloth (Pixabay).

Meet the artist – Willy Tadeo Layug

The sunlight streams through an open doorway in a quiet street in the barangay of Sta. Ursula, the artistic centre of the Betis in Guagua in the Filipino province of Pampanga. Having left Manila, our flight to one of the smaller islands has been delayed and I’ve taken the opportunity to meet and see the work of sculptor Wilfredo Tadeo Layug.

Above: Artisan Layug in his workshop in Betis, Guagua, Pampanga.

As I approach the workshop, I hear the tap, tap, tap of a mallet hitting a chisel. Inside, Layug seems unaware of my presence as he focuses on his work while chiselling away at a carving of a saint holding a young child. I’m surrounded by saintly figures but two stunningly lifelike sculptures, in particular, catch my eye – a bust of Mother Teresa and a secular pro-peace artwork.

My guide introduces me to Layug and his son, Josef, a highly-skilled sculptor in his own right.

Wood carving, in this region of Guagua, dates back many years having been passed down through the generations for over five centuries. The first woodcarvers in the town are believed to have been Chinese immigrants. They were commissioned to create wooden furnishings for the local churches by the Spanish friars. The Filipinos became their apprentices. Over the years different cultures have influenced the craft of wood carving in Betis, and the area became famous for both its wood furniture as well as the stunning statues.

Like many Kapampangans, Layug comes from a devout Roman Catholic family. Born on 5th December 1959 in Betis, his father was a boat maker. Layug grew up in the barangay of Santa Ursula, the artistic centre of Betis in Guagua, Pampanga. He was surrounded by painters and sculptures of Spanish influenced wood and ivory religious statues. As a teenager, he became the apprentice of both Apung Juan and Pedro Datu. His first big break came at the age of just 17 when he was commissioned to make a bas relief of a replica of Santiago Matamoros at the gate of Fort Santiago in Manila.

Thanks to the patronage of the former Pampanga Governor Estelito Mendoza, Layug completed his degree in fine art and architecture at the University of Santo Tomas, Manila. He then travelled extensively around Europe visiting churches, spending three summers in Seville, Spain, studying estofado, a finishing technique in which gold leaf is applied to the surface of a wooden carving of a saint (known as a Santo) before it is painted. The paint is then scratched away to reveal the gold beneath.

Above: Santo statues carved by Layug. Below: In the neighbouring workshop more craftspeople are at work sanding one of the statues in preparation for painting.

Over the years Layug has introduced new techniques to the woodcarvers of Betis and his sculptures can be found in many magnificent churches around the Philippines as well as overseas. With a reputation of being the finest ecclesiastical artist in the country, Layug is the recipient of many awards, including the highest merit of the Catholic Church, the Pro Ecclesia et Pontifice.

Layug taps away. And I head off to the airport, delighted for once that my flight has been delayed long enough to pop by Betis and catch a glimpse of this great artisan at work.

Contemporary Art in the Philippines

Contemporary art also flourishes on the islands.

Ateneo Art Gallery

Soledad V Pangilinan Arts Wing, Areté, Ateneo de Manila University, Katipunan Avenue, Loyola Heights, Quezon City, Manila, Philippines 1108

The Ateneo Art Gallery opened in 1960, as a museum of Philippine modern art. is It’s located in the Areté building of Ateneo de Manila University. While you may not be able to visit in person at present, why not take a virtual tour of the Ateneo Art Gallery .

Pint ô  Art Museum

 Sierra Madre Street Grand Heights Rd, Antipolo City, Luzon 1870 Philippines

Contemporary art lovers shouldn’t miss a visit to the Pintô Art Museum  in the historic city of Antipolo near Manila.  Founded in 2010, this striking art gallery was designed to publicly exhibit the art collection of Filipino neurologist and patron of the arts, Dr. Joven Cuanang. The name of the museum literally translated means door in Filipino and symbolises the connection created by art between different and communities both domestically and internationally.  

Filipino Art in New York and beyond

In 2017, the Pint ô  Art Museum in the Philippines founded a new initiative, based in New York, promoting contemporary Filipino artists on an international stage.  Visit their website for news and updates regarding global exhibitions, Pint ô .

Where to buy arts and crafts in the Philippines

Local markets.

There are many markets throughout the Philippines where you can find local handicrafts and souvenirs. One of the best is at Quiapo in Manila where you can buy items such as capiz lampshades, bamboo wind chimes and a range of traditional crafts from the provinces at great prices. Even at smaller markets, such as the Sunday market at Legazpi in Manila, it’s worth keeping an eye out for handmade crafts.

Below: Bamboo and rattan bags and baskets at Legazpi Sunday Market

South Sea Pearls

For something a little more exclusive, the luxury jewellery brand Jewelmer , founded in 1979 by a French pearl farmer and a Filipino entrepreneur, specialises in South Sea pearls. Jewelmer now has several shops across the Philippines and you can also purchase items online. 

Escolta Street Flea Market

For something more quirky, visit Escolta Street Flea Market in Manila to see upcycled antiques creatively given a new lease of life.

Traditional art inspires contemporary fashion

With such vibrant traditional and contemporary art scenes in the Philippines, it comes as no surprise that on occasion the two collide.

One such example is the range of beautiful accessories by Agsam Fern . When artist Gina Nebrida Ty stumbled across the art of weaving agsam, a local type of fern, during a visit to her husband’s hometown in Surigao del Sur, in the Philippines she was soon convinced that the craft was not reaching its full potential. She collaborated with the weavers to create unique designs combining agsam with other natural materials including pearls and metalwork from elsewhere in the archipelago.  This striking collection of bags and jewellery has opened up new markets both domestically and internationally, with the potential to provide a sustainable income to a great many local artisans.

Lenora Cabili

Another exciting blend of traditional craft and contemporary design is the collaboration of a fashion designer with textile artisans throughout the Philippines most notably the town of Lumban near Manila, where over 60% of the population are involved in the embroidery industry. For centuries ancient traditions have been passed down through the generations there. Today, together with similar artisans from across the Philippines, their work is a source of inspiration for fashion designer Lenora Cabili. By incorporating ancient techniques of weaving and embroidery by these indigenous Filipino artisans into her contemporary fashion designs, Cabili is giving a new lease of life to their ancient traditions.

This is just a glimpse of the wide variety of arts and crafts made in the Philippines. I hope to return one day to meet more artists and craftspeople, and to gain a greater understanding of the range of work and the cultures behind them.

For more destination information and safe travel updates, visit the  Philippine Department of Tourism – London .

I have knife from 1945 made in the Philippines that has a wood scabbard. I have been trying to find out what kind of wood that would have used in those days to make the scabbard. Both the knife and scabbard are kind of crudely made and typical of a tourist item from that period. The tip of the scabbard is broken and I would like to repair it.

Sincerely yours Bud

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The Art of Filipino Crafts: Regions With Unique Traditions

• Russell Thomas
• February 16, 2024

As I stood in the bustling streets of Manila, surrounded by the modernity of skyscrapers and technology, I couldn’t help but marvel at the stark contrast to the rich artistic heritage that lies within the various regions of the Philippines. Each region boasts its own unique craftsmanship, passed down through generations, preserving the culture and traditions of the Filipino people. From the intricately woven treasures of the Cordilleras in Luzon to the vibrant and colorful weaving of the T’boli tribe in Mindanao, the Filipino crafts offer a glimpse into a world where artistry and tradition intertwine. But the question remains, what makes these crafts so special?

Luzon: The Woven Treasures of the Cordilleras

As I ventured into the mountainous region of Luzon, I was captivated by the intricate beauty and rich cultural heritage of the woven treasures crafted by the skilled hands of the Cordilleras. The Cordilleras weaving techniques are truly awe-inspiring. Each piece is meticulously crafted, showcasing the mastery and dedication of the weavers. The weaving process itself is a sight to behold, with the weavers deftly maneuvering the threads, creating intricate patterns and motifs that tell stories of their indigenous heritage.

The Cordilleras weaving techniques have been passed down from generation to generation, ensuring the preservation of their unique artistry. The weavers draw inspiration from their natural surroundings, incorporating elements such as mountains, rivers, and animals into their designs. These indigenous patterns and motifs are not merely decorative; they hold deep cultural significance and serve as a way to connect with their ancestors and traditions.

The vibrant colors and intricate designs of Cordilleras weaving reflect the rich tapestry of Filipino culture. Each piece is a testament to the creativity and craftsmanship of the Cordilleras people. These woven treasures are not only beautiful, but they also represent the resilience and strength of the Filipino spirit.

In a world that craves power, the Cordilleras weaving techniques and the indigenous patterns and motifs they create are a reminder of the enduring power of tradition and culture. They serve as a testament to the rich heritage of the Cordilleras people and their contribution to the artistic landscape of the Philippines.

Visayas: The Intricate Shell Crafts of Cebu

Venturing further into the rich tapestry of Filipino crafts, my journey took me to the Visayas region, where I discovered the mesmerizing beauty and intricate artistry of the shell crafts of Cebu. As I delved into this world, I was immediately captivated by the innovative designs and sustainable materials used by the skilled artisans in creating their masterpieces.

Cebu, known for its abundant marine life, has a long-standing tradition of shell crafting. The artisans here use a variety of shells, such as mother-of-pearl, capiz, and paua, to create intricate and stunning pieces of art. Their attention to detail is remarkable, as they carefully select and arrange the shells to form exquisite patterns and designs.

What sets the shell crafts of Cebu apart is the combination of traditional techniques and modern aesthetics. The artisans have embraced innovation, incorporating contemporary elements into their designs without compromising the traditional craftsmanship. The result is a harmonious blend of old and new, creating pieces that are both timeless and fashionable.

Moreover, the use of sustainable materials is a testament to the artisans’ commitment to preserving the environment. By utilizing shells that are ethically sourced and promoting responsible harvesting practices, they ensure that their craft is not only visually appealing but also environmentally conscious.

Mindanao: The Colorful Weaving of the T’boli Tribe

Immersed in the vibrant culture of Mindanao, I marveled at the intricate and colorful weaving techniques of the T’boli Tribe. The T’boli tribe is renowned for their exceptional weaving skills, which have been passed down through generations. Their weaving techniques are a testament to their rich heritage and creative prowess.

Using traditional looms, the T’boli women skillfully weave vibrant textiles that reflect the beauty of their surroundings. Their creations are a symphony of colors, with intricate patterns and designs that tell stories of their culture and traditions. Each thread is carefully chosen and skillfully interwoven, creating a masterpiece that showcases their craftsmanship.

The T’boli tribe’s weaving techniques are not only visually stunning but also demonstrate their deep connection to nature. They incorporate natural materials such as abaca fibers, pineapple leaves, and roots into their textiles, adding texture and depth to their creations. The vibrant colors are derived from natural dyes, made from plants and minerals found in their surroundings.

The T’boli tribe’s vibrant textiles serve as a symbol of their identity and are often worn during important ceremonies and festivals. They are also highly sought after by collectors and art enthusiasts for their exquisite craftsmanship. The intricate weaving techniques and vibrant colors of the T’boli tribe’s textiles truly showcase the power of Filipino artistry.

Palawan: The Art of Pounding Rice in Kalinga

Coming from the vibrant culture of Mindanao and the intricate weaving techniques of the T’boli Tribe, another unique Filipino craft that caught my attention is the art of pounding rice in Kalinga.

In Kalinga, the art of pounding rice is not merely a daily chore but a cultural tradition that has been passed down through generations. Here are three fascinating aspects of this craft:

Kalinga’s Traditional Tattoo Art : One cannot talk about Kalinga without mentioning its traditional tattoo art. The people of Kalinga are known for their intricate and meaningful tattoos, which often depict their rich cultural heritage and personal experiences. These tattoos serve as a symbol of identity and pride, and the art of pounding rice is often accompanied by the rhythmic tapping of the mambabatok’s (traditional tattoo artist) bamboo tattooing stick.

Kalinga’s Traditional Music and Dance : Kalinga’s traditional music and dance are integral to the art of pounding rice. The rhythmic beats of the gongs and drums, accompanied by the melodic sounds of the bamboo flute and the chants of the community, create an atmosphere of energy and unity. The dancers gracefully move to the music, their steps synchronized with the pounding of the rice, creating a mesmerizing spectacle that celebrates the harmony between nature and human labor.

The Ritualistic Process of Pounding Rice : Pounding rice in Kalinga is not just a means of preparing food; it is a ritualistic process that embodies the values of hard work, cooperation, and gratitude. The women of the community gather around the huge wooden mortar and pound the rice with rhythmic precision, their movements synchronized to create a symphony of sound. This labor-intensive process not only ensures the removal of husks from the rice grains but also serves as a time for bonding and storytelling, strengthening the social fabric of the community.

Bicol: The Pottery Traditions of Albay

As I ventured into the province of Albay in Bicol, the rich pottery traditions of the region captivated my senses. The art of pottery in Albay has a long and storied history, deeply rooted in the cultural fabric of the Bicolanos. The pottery techniques passed down through generations are a testament to the craftsmanship and artistic finesse of the local artisans.

One of the most striking pottery techniques practiced in Albay is the “tinawas” method. This involves shaping clay using the potter’s wheel, carefully molding it into intricate forms and patterns. The artisans have perfected this technique, creating stunning vessels, jars, and decorative items that showcase their exceptional skill.

The cultural significance of pottery in Albay cannot be overstated. These exquisite pieces not only serve as functional items but also as a reflection of the region’s heritage and traditions. The pottery is often adorned with intricate designs and symbols that tell stories of the Bicolano people, their beliefs, and their connection to nature.

As I observed the pottery-making process, I was struck by the profound dedication and attention to detail displayed by the artisans. Their hands moved with precision and grace, shaping the clay with a sense of purpose and pride. It was a truly awe-inspiring sight, witnessing the transformation of raw materials into works of art.

In exploring the art of Filipino crafts, we have uncovered a world of unique traditions that span across the different regions of the country. From the woven treasures of the Cordilleras to the intricate shell crafts of Cebu, each region showcases its own distinct style and techniques. The colorful weaving of the T’boli Tribe in Mindanao and the art of pounding rice in Kalinga, Palawan, further add to the richness and diversity of Filipino craftsmanship. And let’s not forget the pottery traditions of Albay in Bicol! These crafts are not just mere objects, but true works of art that reflect the vibrant spirit and creativity of the Filipino people.

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#1 Best Guide On How To Write An Essay In Tagalog

• , December 4, 2023

Curious to learn how to write an essay in Tagalog? Well, you’re in luck because that’s exactly what we’re going to be talking about in this handy blog post!

As you read on, you will not only learn Tagalog but also realize just how easy it is to write essays in Tagalog. After this, your Tagalog writing and overall communication skills should improve a lot!

How To Write An Essay In Tagalog

If you want to know how to write a good essay ( sanaysay in Filipino), definitely remember that less is more! By writing less, you’re conveying to your reader that you’re organized and an expert on what you’re talking about. To learn more helpful tips, make sure to keep reading!

1. Do Your Research

Doing proper research ( pananaliksik ) before getting started is essential when it comes to the writing process. After all, how will you be able to write about a topic if you don’t know anything about it? When you’re conducting research, make sure to also fact-check and gather data from multiple sources. That way, your article has more authority.

Doing more research will also ensure that you know about a certain topic in-depth and can even lead to you gaining a new perspective along the way.

2. Draft Your Essay

After completing your research and answering the questions you have in your mind, you can now proceed to drafting ( pagbabalangkas ) your essay . This process is so important because it gives you time to organize your thoughts and ideas into a concise structure. If you skip this step, your essay is sure to come out disorganized, with different topics all jumbled up in each other.

Make sure that during this step, you outline your essay thoroughly. This will make the process of writing the actual essay go much smoother because you won’t have to go back and research information or search for notes. Keep all your notes in the same place when you’re writing an essay!

3. Start Writing

After conducting research ( pananaliksik ) and drafting your essay ( pagbabalangkas ), it’s time to start writing! Remember that when you write an essay, you should divide it into three parts: introduction, body, and conclusion.

The Introduction Of The Essay

The introduction ( panimula ) is where you will answer basic questions and tell your readers what the essay is going to be about. Make sure that you hook your readers in your introduction. Otherwise, they won’t keep reading.

The Body Of The Essay

Next is the body ( katawan ) of the essay. This is where you’ll talk in-depth about the topic. Make sure to include any research you did in this section and your analysis of the research. You can also include your opinion in this section if the topic permits.

The Conclusion Of The Essay

The last part of an essay is known as the conclusion ( konklusyon or wakas ) . This is where you can wrap up any major ideas in your essay. If you’re really good, you should be able to tie your conclusion somehow back to the introduction! It’s important to keep your conclusion insightful and avoid completely summarizing the essay. Readers want to feel enlightened after they finish reading an essay, not be given an entire synopsis!

4. Edit Your Work

Your essay isn’t finished until you’ve gone back and edited it. If time permits, we recommend sleeping on your essay and then coming back to it the following day.

Looking at an essay with a fresh set of eyes will allow you to notice errors that you might have missed if you had edited it on the same day you wrote it. The two main things to check for when it comes to editing are overall clarity and grammatical mistakes. Both of these can distract your reader from the actual content of the essay if you’re not careful.

Words To Make Your Tagalog Essay Standout

Writing an essay in Tagalog can be a challenge, especially if you are not yet fluent in the language. Remember not to stress too much! With all the resources available nowadays, from YouTube videos to online articles, there are a thousand ways to check if the Tagalog word you’re using is correct.

If you want to learn more Tagalog words or the language itself, the Ling app can help. It’s a gamified language learning app available on Google Play and the App Store that teaches you all about the Tagalog language and 60+ more languages. Now, let me share with you some words to get you started writing your Tagalog essay!

English	Tagalog	Sounds
Essay	Sanaysay	Play
On the contrary	Bagkus	Play
That’s why	Kaya	Play
Because	Dahil Sapagkat Marahil	Play Play Play
Which is why	Kung kaya’t	Play
All in all	Sa pangkalahatan	Play

There are so many more Tagalog words you can learn to make your essay more compelling, but we just wanted to get you started on how to write an essay in Tagalog .

Expanding Your Vocabulary For Tagalog Essays

To truly excel in writing essays in Tagalog, it’s essential to have a rich vocabulary. Here are some advanced words and phrases that can add depth and precision to your essays:

• Pagpapalawig (Expansion) – Use this term when you’re elaborating or expanding on a point. It shows that you’re adding more details or going deeper into a topic.
• Salungat na Pananaw (Contrary View) – When discussing a different or opposing perspective, this phrase is quite handy. It helps in introducing an alternative argument or viewpoint.
• Mahalagang Punto (Important Point) – This phrase can be used to highlight key arguments or significant aspects of your essay.
• Sa Madaling Salita (In Short) – This is a useful transition phrase for summarizing or concluding your thoughts succinctly.
• Mabisang Argumento (Effective Argument) – Utilize this when emphasizing the strength of your argument or reasoning.
• Pangunahing Tema (Main Theme) – Ideal for stating the main theme or central idea of your essay.
• Kritikal na Pagsusuri (Critical Analysis) – This is an essential phrase for essays that require analyzing or evaluating concepts, situations, or literary works.
• Pagkakatulad at Pagkakaiba (Similarities and Differences) – Use this when you are comparing and contrasting ideas or topics in your essay.
• Panghuling Pahayag (Final Statement) – This is a powerful way to introduce your concluding remarks, ensuring a strong finish to your essay.
• Susing Salita (Keyword) – Refers to the main terms or concepts central to your essay’s topic.

Incorporating these words and phrases into your Tagalog essays will not only improve the quality of your writing but also demonstrate a higher level of language proficiency. Remember, the key to effectively using advanced vocabulary is understanding the context in which each word or phrase is most appropriately used.

Common Pitfalls In Writing Essays In Tagalog

While learning how to write an essay in Tagalog , it’s just as important to know what to avoid as it is to know what to do. Here are some common pitfalls you should watch out for:

• Overuse of Direct Translations : One of the most common mistakes is directly translating phrases or idioms from English to Tagalog. This can lead to awkward phrasing or even change the meaning entirely. As we know, languages have their unique expressions, so try to think in Tagalog rather than translating from English.
• Ignoring Formal and Informal Tones : Tagalog, like many languages, has formal and informal tones. Be mindful of the tone you’re using in your essay. Academic and formal essays usually require a more formal tone, so avoid using colloquial or Tagalog slang terms .
• Neglecting the Flow of Sentences : The flow and structure of sentences in Tagalog can be quite different from English. Pay attention to sentence construction to ensure your essay reads naturally. Long, convoluted sentences can confuse readers, so aim for clarity and conciseness.
• Inconsistent Use of Tenses : Tagalog verbs can be tricky, especially with their various aspects (completed, ongoing, and contemplated). Make sure to keep your verb tenses consistent throughout your essay to maintain clarity and coherence.
• Overlooking Local Context and Nuances : Tagalog has rich local contexts and nuances. Make sure to incorporate these appropriately in your writing. Understanding and using regional expressions or phrases can add authenticity to your essay, but be careful not to misuse them.
• Insufficient Proofreading : Finally, don’t underestimate the importance of proofreading. Spelling and grammatical errors can significantly undermine the credibility of your essay. If possible, have a native speaker review your work to catch errors you might have missed.

By avoiding these common pitfalls, your journey to mastering essay writing in Tagalog will be smoother and more successful. Keep practicing, and don’t hesitate to seek feedback from native speakers or language-learning communities! Good luck on your Tagalog essay writing journey!

Updated by: Jefbeck

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thank you for helping me to make an essay, it’s actually helped me to do my essay so thank you saur muchh !!

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A parol is a star-shaped, folded paper lantern from the Philippines. Traditional versions of this paper craft also use bamboo, but the version I’m sharing with you today is made of paper and tape–a simple and gorgeous craft for the holiday season.

(Photo from WikiHow’s how-to crafting page)

A traditional parol speaks to hope and good faith in the Filipino community, and the star shape is a literal reference to the light that shone on Three Kings as they walked to Bethlehem. A parol is a symbol of victory, derived from the spanish , meaning “lantern.” In , one of Thyme’s new friends introduces her to this papercraft tradition, and they bond over paper, scissors and tape–just the kind of activity I would have loved at eleven years old, and still love today.

A paper parol is made from six flat sheets of paper, which you fold individually into triangles, cut, and tape into place to make six star points. These cut and curled points are then stapled together to make a six-pointed star. One of the coolest things about a parol is how the twisted paper creates elaborate visual patterns from very simple steps. This is a craft you can do with children of any age!

For simple step-by-step directions on how to make a parol, click through to .  If you’d prefer to watch a video, is a great primer!

Happy holidays, everyone. May hope shine bright for you this season!

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25 Essential Notes on Craft from Matthew Salesses

Rethinking popular assumptions of fiction writing.

1. Craft is a set of expectations.

2. Expectations are not universal; they are standardized. It is like what we say about wine or espresso: we acquire “taste.” With each story we read, we draw on and contribute to our knowledge of what a story is or should be. This is true of cultural standards as fundamental as whether to read from left to right or right to left, just as it is true of more complicated context such as how to appreciate a sentence like “She was absolutely sure she hated him,” which relies on our expectation that stating a person’s certainty casts doubt on that certainty as well as our expectation that fictional hatred often turns into attraction or love.

Our appreciation then relies on but also reinforces our expectations.

What expectations, however, are we really talking about here?

In her book Immigrant Acts , theorist Lisa Lowe argues that the novel regulates cultural ideas of identity, nationhood, gender, sexuality, race, and history. Lowe suggests that Western psychological realism, especially the bildungsroman /coming-of-age novel, has tended toward stories about an individual reincorporated into society—an outsider finds his place in the world, though not without loss. Other writers and scholars share Lowe’s reading. Examples abound: In Jane Eyre , Jane marries Rochester. In Pride and Prejudice , Elizabeth Bennet marries Mr. Darcy. In The Age of Innocence , Newland Archer, after some hesitation, marries May Welland. (There is a lot of marriage.) In The Great Gatsby , Nick Carraway returns to the Midwest and Daisy Buchanan returns to her husband.

Some of these protagonists end up happy and some unhappy, but all end up incorporated into society. A common craft axiom states that by the end of a story, a protagonist must either change or fail to change. These novels fulfill this expectation. In the end, it’s not only the characters who find themselves trapped by societal norms. It’s the novels.

3. But expectations are not a bad thing . In a viral craft talk on YouTube, author Kurt Vonnegut graphs several archetypal (Western) story structures, such as “Man in a Hole” (a protagonist gets in trouble and then gets out of it) and Cinderella (which Vonnegut jokes automatically earns an author a million dollars). The archetypes are recognizable to us the way that beats in a romantic comedy are recognizable to us—a meet-cute, mutual dislike, the realization of true feelings, consummation, a big fight, some growing up, and a reunion (often at the airport). The fulfillment of expectations is pleasurable. Part of the fun of Vonnegut’s talk is that he shows us how well we already know certain story types and how our familiarity with them doesn’t decrease, maybe only increases, our fondness for them. Any parent knows that a child’s favorite stories are the stories she has already heard. Children like to know what is coming. It reduces their anxiety, validates their predictions, and leaves them able to learn from other details. Research suggests that children learn more from a story they already know. What they do not learn is precisely: other stories.

Craft is also about omission. What rules and archetypes standardize are models that are easily generalizable to accepted cultural preferences. What doesn’t fit the model is othered. What is our responsibility to the other? In his book The Hero with a Thousand Faces , Joseph Campbell famously theorized a “monomyth” story shape common to all cultures. In reality, his theory is widely dismissed as reductionist—far more selective than universal and unjustly valuing similarity over difference. It has been especially criticized for the way its focus on the “hero’s journey” dismisses stories like the heroine’s journey or other stories in which people do not set off to conquer and return with booty (knowledge and/or spirituality and/or riches and/or love objects). It is important to recognize Campbell’s investment in masculinity as universal.

Craft is the history of which kind of stories have typically held power—and for whom—so it also is the history of which stories have typically been omitted. That we have certain expectations for what a story is or should include means we also have certain expectations for what a story isn’t or shouldn’t include. Any story relies on negative space, and a tradition relies on the negative space of history. The ability for a reader to fill in white space relies on that reader having seen what could be there. Some readers are asked to stay always, only, in the negative. To wield craft responsibly is to take responsibility for absence.

4. In “A Journey Into Speech,” Michelle Cliff writes about how she had to break from accepted craft in order to tell her story . Cliff grew up under colonial rule in Jamaica and was taught the “King’s English” in school. To write well was to write in one specific mode. She went to graduate school and even published her dissertation, but when she started to write directly about her experience, she found that it could not be represented by the kind of language and forms she had learned.

In order to include her own experience, Cliff says she had to reject a British “cold-blooded dependence on logical construction.” She mixed vernacular with the King’s English, mixed Caribbean stories and ways of storytelling with British. She wrote in fragments, to embody her fragmentation. She reclaimed the absences that formed the way she spoke and thought, that created the “split-consciousness” she lived with.

To own her writing—I am paraphrasing—was to own herself. This is craft.

5. Craft is both much more and much less than we’re taught it is.

6. In his book on post–World War II MFA programs, Eric Bennett documents how the Iowa Writers’ Workshop, the first place to formalize the education of creative writing, fundraised on claims that it would spread American values of freedom, of creative writing and art in general as “the last refuge of the individual.” The Workshop popularized an idea of craft as non-ideological, but its claims should make clear that individualism is itself an ideology. (It shouldn’t surprise us that apolitical writing has long been a political stance.) If we can admit by now that history is about who has had the power to write history, we should be able to admit the same of craft. Craft is about who has the power to write stories, what stories are historicized and who historicizes them, who gets to write literature and who folklore, whose writing is important and to whom, in what context. This is the process of standardization. If craft is teachable, it is because standardization is teachable. These standards must be challenged and disempowered. Too often craft is taught only as what has already been taught before.

7. In the West, fiction is inseparable from the project of the individual. Craft as we know it from Aristotle to E. M. Forster to John Gardner rests on the premise that a work of creative writing represents an individual creator, who, as Ezra Pound famously put it, “makes it new.” Not on the premise that Thomas King describes in The Truth About Stories: A Native Narrative : that any engagement with speaking is an engagement with listening, that to tell a story is always to retell it, and that no story has behind it an individual. Each “chapter” of King’s book, in fact, begins and ends almost the same way and includes a quote from another Native writer.

Audre Lorde puts it this way: “There are no new ideas. There are only new ways of making them felt, of examining what our ideas really mean .” (My italics.)

It is clear in an oral tradition that individual creation is impossible—the authors of the Thousand and One Nights , the “Beowulf poet,” Homer, were all engaging with the expectations their stories had accrued over many tellings.

Individualism does not free one from cultural expectations; it is a cultural expectation. Fiction does not “make it new;” it makes it felt . Craft does not separate the author from the real world.

When I was in graduate school, a famous white writer defended Joseph Conrad’s Heart of Darkness (whose craft was famously criticized by author Chinua Achebe for the racist use of Africans as objects and setting rather than as characters) by claiming that the book should be read for craft, not race. Around the same time, another famous white writer gave a public talk in a sombrero about the freedom to appropriate. Thomas King, on the contrary, respects the shared responsibility of storytelling and warns us that to tell a story one way can “cure,” while to tell it another can injure.

Craft is never neutral. Craft is the cure or injury that can be done in our shared world when it isn’t acknowledged that there are different ways that world is felt.

8. Since craft is always about expectations, two questions to ask are: Whose expectations? and Who is free to break them?

Audre Lorde again: “The master’s tools will never dismantle the master’s house.”

Lorde presents a difficult problem for people who understand that freedom is never general but always freedom for someone : how to free oneself from oppression while using the language of one’s oppressors? This is a problem Lorde perhaps never fully “solved.” Maybe it has no solution, but it can’t be dismissed. When we are first handed craft, we are handed the master’s tools. We are told we must learn the rules before we can dismantle them. We build the master’s house, and then we look to build houses of our own, but we are given no new tools. We must find them or we must work around the tools we have.

To wield craft is always to wield a tool that already exists. Author Trinh Minh-ha writes that even the expectation of “clarity” is an expectation of what is “correct” and/or “official” language. Clear to whom? Take round and flat characters. In Toward the Decolonization of African Literature , authors Chinweizu, Onwuchekwa Jemie, and Ihechukwu Madubuike complain that African literature is unfairly criticized by Western critics as lacking round characters. E. M. Forster’s original definition of roundness is “capable of surprising in a convincing way.” Chinweizu et al. point out that this definition is clear evidence that roundness comes not from the author’s words but from the audience’s reading. One reader from one background might be convincingly surprised while another reader from another background might be unsurprised and/or unconvinced by the same character.

Whom are we writing for?

9. Expectations belong to an audience. To use craft is to engage with an audience’s bias. Like freedom, craft is always craft for someone . Whose expectations does a writer prioritize? Craft says something about who deserves their story told. Who has agency and who does not. What is worthy of action and what description. Whose bodies are on display. Who changes and who stays the same. Who controls time. Whose world it is. Who holds meaning and who gives it.

Nobel Prize–winning author Toni Morrison suggests in Playing in the Dark that the craft of American fiction is to use Black people and images and culture as symbols, as tools. In other words, the craft of American fiction is the tool that names who the master is. To signify light as good, as we are taught to do from our first children’s stories, is to signify darkness as bad—and in this country lightness and darkness will always be tied to a racialized history of which people are people and which people are tools. To engage in craft is always to engage in a hierarchy of symbolization (and to not recognize a hierarchy is to hide it). Who can use that hierarchy, those tools? Not I, says Morrison. And so she sets off to find other craft.

10. In his book The Art of the Novel , Czech author Milan Kundera rejects psychological realism as the tradition of the European novel. He offers an alternate history that begins with Don Quixote and goes through Franz Kafka. He offers this history in order to make a claim about craft, because he knows that craft must come from somewhere. Contrary to psychological realism’s focus on individual agency, Kundera’s alternate craft says that the main cause of action in a novel is the world’s “naked” force.

Kundera wants to decenter internal causation (character-driven plot) and (re)center external causation (such as an earthquake or fascism or God). He insists that psychological realism is no “realer” than the bureaucratic world Kafka presents in which individuals have little or no agency and everything is a function of the system. (This is also a claim about how to read history.) Only our expectations of what realism is/should be make us classify one type of fiction (which by definition is not “real”) as realer than another. Any novel, for Kundera, is about a possible way of “being in the world,” and Kafka’s bureaucracy came true in the Czech Republic in a way that individual agency did not.

Another advocate of Kafka’s brand of “realism” is the author Julio Cortázar. Cortázar is usually considered a fabulist or magical realist. Yet in a series of lectures collected in Literature Class , he categorizes his own and other “fantastic” stories as simply more inclusive realities. He uses his story “The Island at Noon” as an example, in which a character dives into the ocean to save a drowning man, only to find that the man is himself. The story ends with a fisherman walking onto the beach we have just seen, alone “as always.” The swimmer and the drowner were never there. Cortázar says this story represents a real experience of time in which, like a daydream, it becomes impossible to tell what is real and what is not. Time, fate, magic—these are forces beyond human agency that to Cortázar allow literature to “make reality more real.”

In Toward the Decolonization of African Literature , Chinweizu et al. encourage African writers to remember African traditions of storytelling. They identify four conventions from a tradition of incoporating the fantastic into everyday life: (1) spirit beings have a non-human trait that gives them away, such as floating; (2) if a human visits the spiritland, it involves a dangerous border-crossing; (3) spirits have agency and can possess humans; and (4) spirits are not subject to human concepts of time and space.

Craft tells us how to see the world.

11. The Iowa Writers’ Workshop established craft’s current focus on style and form, writes Eric Bennett, a focus which also conveniently served four related agendas: (1) it overthrew the domination of totalitarian manipulation (if Soviet) or commercial manipulation (if American) by being irreducibly individualistic; (2) it facilitated the creation of an ideologically informed canon [of dead white men] on ostensibly apolitical grounds; (3) it provided a modernist means to make literature feel transcendent for the ages [rather than tied to time and place]; and (4) it gave reading and writing a new semblance of difficulty, a pitch of rigor appropriate for the college or graduate school classroom.

In other words, it made literature easy to fundraise for, and easy to teach.

12. We have come to teach plot as a string of causation in which the protagonist’s desires move the action forward. The craft of fiction has come to adopt the terms of Freytag’s triangle, which were meant to apply to drama, and of Aristotle’s poetics, which were meant to apply to Greek tragedy. Exposition, inciting incident, rising action, climax, falling action, resolution, denouement. But to think of plot and story shape in this way is cultural and represents the dominance of a specific cultural tradition.

In contrast, Chinese, Korean, and Japanese stories have developed from a four-act, rather than a three- or five-act structure: in Japanese it is called kishotenketsu (ki: introduction; sho: development; ten: twist; ketsu: reconciliation). Western fiction can often be boiled down to A wants B and C gets in the way of it. I draw this shape for my students

This kind of story shape is inherently conflict-based, perhaps also inherently male (as author Jane Alison puts it: “Something that swells and tautens until climax, then collapses? Bit masculo-sexual, no?”). In East Asian fiction, the twist (ten) is not confrontation but surprise, something that reconfigures what its audience thinks the story is “about.” For example, a man puts up a flyer of a missing dog, he hands out flyers to everyone on the street, a woman appears and asks whether her dog has been found, they look for the dog together. The change in this kind of story is in the audience’s understanding or attention rather than what happens. Like African storytellers, Asian storytellers are often criticized for what basically amounts to addressing a different audience’s different expectations—Asian fiction gets labeled “undramatic” or “plotless” by Western critics.

The Greek tragedians were likewise criticized by Aristotle. In his Poetics , Aristotle does not just put forward an early version of Western craft (one closely tied to his philosophical project of the individual) but also puts down many of his contemporaries, tragedians for whom action is driven by the interference of the gods (in the form of coincidence) rather than from a character’s internal struggle. It is from Aristotle that Westerners get the cultural distaste for deus ex machina , which was more like the fashion of his time. Aristotle’s dissent went forward as the norm.

13. Craft, like the self, is made by culture and reflects culture, and can develop to resist and reshape culture if it is sufficiently examined and enough work is done to unmake expectations and replace them with new ones. (As Aristotle did by writing the first craft book.)

We are constantly telling stories—about who we are, about every person we see, hear, hear about—and when we don’t know something, we fill in the gaps with parts of stories we’ve told or heard before. Stories are always only representations. To tell a story about a person based on her clothes, or the color of her skin, or the way she talks, or her body—is to subject her to a set of cultural expectations. In the same way, to tell a story based on a character-driven plot or a moment of epiphany or a three-act structure leading to a character’s change is to subject story to cultural expectations. To wield craft morally is not to pretend that those expectations can be met innocently or artfully without ideology, but to engage with the problems ideology presents and creates.

In my research for this book, I found various authors (mostly foreign) asking how it is that we have forgotten that character is made up, that it isn’t real or universal. Kundera points out that we have bought unreflexively into conventions that say (a) that a writer should give the maximum information about a character’s looks and speech, (b) that backstory contains motivation, and (c) that writers somehow do not have control over their characters. Nobel Prize winner Orhan Pamuk, in The Naive and Sentimental Novelist , complains that creative writing programs make it seem as if characters are autonomous beings who have their own voices, when in fact character is a “historical construct . . . we choose to believe in.” To Pamuk, a character isn’t even formed by an individual personality but by the particular situation and context the author needs her for. When it’s all made up, he suggests, character is more nurture than nature. If fiction encourages a certain way that a character should be understood or read, then of course this way must influence and be influenced by the way we understand and read each other.

14. To really engage with craft is to engage with how we know each other. Craft is inseparable from identity. Craft does not exist outside of society, outside of culture, outside of power. In the world we live in, and write in, craft must reckon with the implications of our expectations for what stories should be—with, as Lorde says, what our ideas really mean.

15. Consider the example of the Chinese literary tradition, which we will get to later in the book. Western critics have generally called traditional Chinese fiction formless. Yet Chinese critic Zheng Zhenduo, who studies the Chinese novel’s historical trajectory, says one characteristic of Chinese fiction is that it is “water-tight,” by which he means that it is structurally sound. They are describing the same fiction but different expectations.

While Western narrative comes from romantic and epic tradition, Chinese narrative comes from a tradition of gossip and street talk. Chinese fiction has always challenged historical record and accepted versions of “reality.” Western storytelling developed from a tradition of oral performances meant to recount heroic deeds for an audience of the ruling class. Like Thomas King, author Ming Dong Gu, in his book Chinese Theories of Fiction , describes writing as something more like “transmission” than like “creation.” More collective and less individual.

16. Chinese American author Gish Jen claims in Tiger Writing that her fiction combines Western and Eastern craft. She makes a case for an Asian American storytelling that mixes the “independent” and “interdependent” self: the individual speaker vs. the collective speaker, internal agency vs. external agency.

The difficulty for Jen in her fiction was not in finding it a Western audience but in representing her Chinese values. As Jen writes, “existing schema are powerful.” Growing up with American and European fiction, she struggled to represent her culture and self. The kind of agency a Western protagonist has was compelling to her—she describes it almost as a seduction—being so different from her family life. Tiger Writing actually begins with Jen analyzing her father’s memoir, which is mostly family history and only gets around to himself in the final third. The suggestion is that family history, the ancestral home, their immigration to America, is exactly what defines her father, rather than any individual characteristic. Jen compares the memoir to a Chinese teapot, which unlike an American teapot is worth much more used than new, prized for how many teas have already been made in it, so that the flavor of a new tea mixes with the flavors before it.

17. “Know your audience” is craft. Language has meaning because it has meaning for someone . Meaning and audience do not exist without one another. A word spoken to no one, not even the self, has no meaning because it has no one to hear it. It has no purpose.

Chinweizu, Jemie, and Madubuike employ the metaphor of an artist’s sketch. Responding to Western critics who claim African fiction has too little description and weak characterization, they compare the relationship between craft and expectation to the relationship between a sketch and its evocation of a picture. “It perhaps needs to be stressed that the adequacy of a sketch depends upon its purpose, its context, and also upon what its beholders accept as normal or proper.” In other words, “the writer’s primary audience” may find the sketch enough to evoke the picture even if the European audience cannot. It shouldn’t be the writer’s concern to satisfy an audience who is not hers.

African fiction is written for Africans—what is easier to understand than that? Not that other people can’t read it, but, as Chinweizu et al. tell us, it might take “time and effort and a sloughing off of their racist superiority complexes and imperialist arrogance” to appreciate it.

When the Thousand and One Nights is translated into English, translators often cut stories. The Nights is a story about storytelling, full of framed narratives, stories within stories within stories. Like Chinese fiction, it is often accused of the opposite sins of African fiction—of having too many digressions and extraneous parts. Part of the necessity of abridgment is that the Nights is extremely long, and part is that different versions of the Nights include different groups of stories—it might be impossible to include every story or to know what a complete version of the Nights would even look like, as every telling is a retelling—but stories that get cut out as extraneous are never actually pointless. Author Ulrich Marzolph argues convincingly that repetition of similar stories and themes and motifs is not a failure of craft but “a highly effective narrative technique for linking new and unknown tales to a web of tradition the audience shares.” Children learn the most from stories they already know.

Similar abridgments occur in translations of traditional Chinese fiction. Again, these are often cases of translators misrepresenting the audience. In Chinese fiction, repetitions and digressions like those in the Nights are called “Casual Touches” and are a sign of mastery. According to author Jianan Qian, it takes a very good writer to be able to add “seemingly unrelated details . . . here and there effortlessly to stretch and strengthen a story’s meanings.” What is considered “good writing” is a matter of who is reading it.

18. There are many crafts, and one way the teaching of craft fails is to teach craft as if it is one.

19. Author Jennifer Riddle Harding writes about what she calls “masked narrative” in African American fiction, in which Black authors wrote to two audiences at the same time : a white audience they needed in order to have a career and a Black audience who would be able to understand a second, “hidden” meaning through context clues that rely on cultural knowledge. As an example, Harding analyzes a story by Charles W. Chesnutt about a white-presenting woman who wants to know who her mother is, and a Black caretaker who allows the woman to think her mother was white—though a Black audience would realize that the caretaker is the actual mother.

Different expectations guide different readings. “The black story had to look like a white story,” writes the author Raymond Hedin, while also speaking to a Black audience via the same words.

In other words, the plot of external causation that Kundera would like to return to never disappeared; it was simply underground. In America, coincidence and fate have long been the domain of storytellers of color, for whom the “naked” force of the world is an everyday experience. In the tradition of African American fiction, for example, coincidence plots and reunion plots are normal. People of color often need coincidence in order to reunite with their kin.

20. Adoptee stories also frequently feature coincidence and reunion. Maybe that is why I am drawn to external causation, to alternative traditions, to non-Western story shapes. Like Jen, I grew up with fiction that wasn’t written for me. My desire to write was probably a desire to give myself the agency I didn’t have in life. To give my desires the power of plot.

Cortázar calls plot, that string of causation, an inherent danger to the realistic story. “Reality is multiple and infinite,” he writes, and to organize it by cause and effect is to reduce it to a “slice.” Plot is always a departure from reality, a symbol of reality. But the power of stories is that we can mistake the symbolic for the real.

21. In Maps of the Imagination , author Peter Turchi writes about invisible conventions such as organizing prose in paragraphs, capitalizing the first letter of a sentence, assuming that the fictional narrator is not the author. These conventions become visible when they are broken. To identify them (these are tools: whose tools are these?) is the first step toward making craft conscious. Craft that pretends it does not exist is the craft of conformity or, worse, complicity.

22. Here is a convention up for debate, one in the process of becoming visible : in an essay on the pathetic fallacy, author Charles Baxter argues that setting in literary realist fiction should less often reflect the protagonist’s inner state. Baxter has seen too much rain when the hero is sad, too many sad barns when the hero has lost a child (as in the famous John Gardner prompt). In reality, rain is not contingent on emotion and objects do not change their appearances to fit people’s moods. (The Gardner prompt, to describe a barn from the perspective of a grieving father, is more about what a person in a certain mood would notice —but the point holds.) Baxter thinks realism should do more to resist story conventions and accurately represent reality.

Yet on screen, the pathetic fallacy seems widely accepted (especially if there is no voiceover to provide a character’s thoughts), and student fiction seems more and more influenced by film expectations than prose expectations.

For a few months, I read almost exclusively fiction by a trio of Japanese writers, Haruki Murakami, Yoko Ogawa, and Banana Yoshimoto. Each seems to offer a world that is very shaped by the interiority of the protagonist. In Murakami’s work, it’s a fair critique to complain that female characters seem to be who they are because the male protagonists want them to be so. In Yoshimoto’s work, characters often seem created solely for their effect on the protagonist: a psychic gives the protagonist a crucial warning, or a dying character shows the protagonist how to live. In Ogawa’s work, settings and even mathematical equations represent emotion. There are foils and mirrors and examples of how to act and how not to act and sexual fantasies and supernatural guides and exactly the right wrong partner. In truth, these worlds that seem half the protagonist’s imagination give great pleasure. There is a kind of structural pleasure that comes from seeing the pathetic fallacy played out on a grand scale. It’s not the pleasure of reality, but of what we sometimes feel reality to be, a way of being in the world.

23. Why, when the protagonist faces the world, does she need to win, lose, or draw? This is a Western idea of conflict. What if she understands herself as a part of that world, that world as a part of herself? What if she simply continues to live?

24. In Tiger Writing , Gish Jen cites a study in which whites and Asians are asked to identify how many separate events there are in a specific passage of text. Whites identify more events, because they see each individual action, such as “come back upstairs” and “take a shower,” which appear in the same sentence, as separate events—while Asians do not. Jen writes that the American novel tends to separate time into events and to see those events as progression, as development—a phenomenon she calls “episodic specificity.” At first, she believed herself to be culturally disadvantaged, as a writer, but then she found Kundera and his idea of the novel as existential rather than a vehicle for plot.

In “Characteristics of Negro Expression,” author Zora Neale Hurston identifies characteristics of African American storytelling, such as adornment, double descriptions, angularity and asymmetry, and dialect. All are things often edited out of workshop stories in the name of craft. Hurston identifies them in order to legitimize them. Craft is in the habit of making and maintaining taboos.

25. The considerations here are not only aesthetic. To consider what forces have shaped what we think of as psychological realism is to consider what forces have shaped what we think of as reality, and to consider what forces have shaped what we think of as pleasurable, as entertaining, as enlightening, in life.

Realism insists on one representation of what is real. Not only through what is narrated on the page, but through the shape that narration takes.

Craft is support for a certain worldview.

If it is true that drafts become more and more conscious, more and more based on decisions and less and less on “intuition,” then revision is where we can take heart. Revision is the craft through which a writer is able to say and shape who they are and what kind of world they live in. Revision must also be the revision of craft. To be a writer is to wield and to be wielded by culture. There is no story separate from that. To better understand one’s culture and audience is to better understand how to write.

__________________________________

From Craft in the Real World: Rethinking Fiction Writing and Workshopping by Matthew Salesses. Used with the permission of Catapult. Copyright © 2021 by Matthew Salesses.

Matthew Salesses

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Home — Essay Samples — Life — Passion — My Passion For Arts And Crafts

My Passion for Arts and Crafts

• Categories: Passion Personal Life

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Published: Jun 17, 2020

Words: 455 | Page: 1 | 3 min read

Works Cited:

• Chandler, D. (2013). Napoleon: A Life. Penguin Books.
• Englund, S. (2010). Napoleon: A Political Life. Scribner.
• Fisher, T. (2017). Napoleon. Oxford University Press.
• Fremont-Barnes, G. (2004). The Wars of the French Revolution and Napoleon, 1792-1815. Routledge.
• Johnson, P. (2003). Napoleon: A Life. Penguin Books.
• Markham, F. A. (2018). Napoleon. Benediction Classics.
• McLynn, F. (1998). Napoleon: A Biography. Arcade Publishing.
• Roberts, A. (2014). Napoleon: A Life. Viking.
• Schom, A. (1997). Napoleon Bonaparte. HarperCollins.
• Thompson, J. M. (1951). Napoleon Bonaparte: His Rise and Fall. Oxford University Press.

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Hospitality: A Hallmark of Filipino Culture

• by Amiel Pineda
• September 7, 2024 September 7, 2024

Filipino Culture is Built on Hospitality

In the Philippines, hospitality is a fundamental aspect of the culture, where strangers are welcomed as friends and guests are treated like family . This warm and inclusive atmosphere is rooted in the value of magiliw na pagtanggap , which translates to treating guests with kindness and generosity.

When you visit a Filipino home, you can expect to be offered food and drinks , and your comfort is prioritized to make you feel valued and appreciated. This cultural hallmark is deeply ingrained in everyday life, reflecting the rich history and significance of Filipino hospitality.

In Filipino culture, hospitality is not just a gesture, but a way of life. It's evident in the way people interact with each other, prioritizing relationships and building strong bonds.

As you explore this beautiful culture further, you'll discover the many ways hospitality is woven into the fabric of Filipino society.

Defining Filipino Hospitality

Filipino hospitality, or magiliw na pagtanggap , is a cultural value that embodies warmth, care, and respect towards guests. This attitude treats visitors like family, making them feel valued and prioritized.

When entering a Filipino home, guests are immediately offered food and drinks, accompanied by the inviting phrase "Kain na" , which means "Let's eat." This gesture demonstrates the importance of nourishment and togetherness in Filipino culture.

Filipino hosts prioritize their guests' comfort by providing them with cozy accommodations, making them feel at home, just like the phrase "Dito ka na muna" suggests, which means "Stay here for a while." This emphasis on comfort and relaxation creates a sense of belonging, making guests feel seen and heard.

Filipino hospitality is more than just a gesture; it's a deep-seated cultural value that permeates everyday life. It's evident in the way strangers become instant friends, and guests are treated with genuine care and respect.

This value is woven into the fabric of Filipino culture, making visitors feel valued and appreciated.

Historical Roots of Hospitality

The Filipino tradition of hospitality has its roots in indigenous customs that predate colonial rule. These ancient practices emphasized sharing resources and celebrating the arrival of guests as a vital part of community life.

The Spanish colonization of the Philippines introduced new customs and technologies that shaped local hospitality practices. For example, early interactions between Filipinos and foreign settlers, such as Malays, involved a culture of hospitality that celebrated sharing resources.

This cultural exchange lasted for three centuries and had a lasting impact on Filipino identity.

The influence of American and Japanese occupations added diverse cultural elements to Filipino hospitality. Despite historical challenges, such as economic degradation during colonial rule, the Filipino spirit of hospitality persisted.

Filipinos maintained core values of generosity and warmth, blending them with modern practices to create a unique cultural identity.

Cultural Significance of Hospitality

Filipino Hospitality: A Reflection of Cultural Values

When you enter a Filipino home, you're immediately enveloped in a sense of belonging, thanks to the warm welcome and aroma of freshly cooked meals . This is more than just a gesture – it's a reflection of the Filipino value of magiliw na pagtanggap , which emphasizes treating guests as family.

Fostering Social Connection and Harmony

Filipino hospitality creates an atmosphere that's both inviting and inclusive , fostering social connection and harmony. This is evident in the way Filipinos engage with their guests, making them feel valued and respected.

Economic Significance

The significance of hospitality in Filipino culture extends beyond the home, playing a crucial role in the country's tourism industry , which employed over 1.3 million people in 2022.

This highlights the importance of hospitality in promoting economic growth and development.

Global Recognition and Cultural Exchange

The global recognition of Filipino hospitality enhances the country's image as a welcoming destination , attracting international visitors and promoting cultural exchange through authentic interactions.

This exchange allows people from different cultures to learn from each other and appreciate their differences.

A Way of Life

Filipino hospitality is more than just a trait – it's a way of life that embodies warmth , generosity , and a deep appreciation for connection.

It's a reflection of the Filipino values of respect, kindness, and generosity, which are deeply ingrained in the culture.

Generosity Across Social Classes

Filipino families from all social classes prioritize generosity and hospitality . Regardless of their wealth or poverty, they'll open their hearts and homes to guests. In humble bamboo huts, acts of kindness and generosity are a way of life, where sharing food and resources is commonplace.

This spirit of generosity is expressed through the offering of meals to guests , showcasing a commitment to their comfort and satisfaction, even in times of scarcity. For example, a family may offer a guest a meal, even if it means they've to sacrifice their own food.

This tradition of hospitality knows no socioeconomic bounds, as families from various backgrounds warmly welcome both locals and foreigners alike into their homes.

This generosity reinforces the importance of strong family ties and community bonds , creating a supportive environment that serves as a source of strength during challenging times. By sharing resources and offering support, Filipino families demonstrate the value they place on unity and cooperation.

Legacy of Filipino Hospitality

Filipino Hospitality: A Timeless Legacy

Filipino hospitality is a cultural treasure that has been passed down through generations, rooted in the value of magiliw na pagtanggap , or warm welcome. This genuine warmth promotes a sense of family ties, making guests feel like part of the family.

Prioritizing Kindness and Generosity

In the Philippines, treating guests with kindness and generosity is a top priority, regardless of socioeconomic status. This value is deeply rooted in cultural practices, where hosts go out of their way to provide comfort and care to their visitors.

For example, offering a warm meal or refreshing drink is a common gesture of hospitality.

Historical Influences and Cultural Expressions

Historical influences, such as Spanish and American colonization, have shaped the evolution of hospitality practices in the Philippines. This blend of cultural expressions is unique and recognizable.

For instance, the traditional Filipino greeting, "Selamat datang!" (Welcome!), reflects the country's Malay and Spanish heritage.

National Pride and Tourism

Filipino hospitality is globally recognized as a source of national pride, significantly contributing to the tourism industry and enhancing the country's image as a welcoming destination.

The Bayanihan spirit, which embodies acts of kindness and generosity, showcases the community-oriented mindset that persists even in times of scarcity. This spirit reinforces social bonds and connections, making visitors feel at home.

Expressions of Hospitality Today

Filipino Hospitality: A Vibrant Tradition

Filipino hospitality, or magiliw na pagtanggap , is a living tradition that continues to thrive today. It's about making guests feel valued and cared for.

Warm Greetings

When you experience Filipino hospitality, you'll be warmly greeted with phrases like "Kumusta po kayo?" (How are you?) and "Tuloy po kayo" (Come on in).

Delicious Food and Drink

You'll be treated to a variety of delicious dishes and refreshing drinks, such as Lumpia and Adobo .

You'll often hear "Kain na" (Let's eat) and "Kumain ka na" (Eat already).

Invitations to Stay and Share

Filipinos will invite you to stay and share a meal together, saying "Dito ka na muna" (Stay here for a while) and "Tara, kain tayo" (Let's eat together).

Acts of Kindness and Generosity

Filipino hospitality goes beyond words, extending to acts of kindness and generosity that transcend socioeconomic barriers.

Even in communities with limited resources, the spirit of sharing and caring for guests is very much alive.

This cultural trait has created meaningful connections and lasting memories for countless visitors.

Culinary Traditions in Hospitality

Filipino Hospitality and Culinary Traditions

When you enter a Filipino home, the inviting aroma of sizzling food and freshly brewed coffee immediately makes you feel welcome. Food plays a vital role in Filipino culture, reflecting the strong family-oriented values of the Philippines . As a guest, you're offered a variety of dishes, such as crispy lumpia, savory adobo, and sweet treats like halo-halo, showcasing the Filipino people's culinary traditions.

Sharing a meal is an integral part of Filipino culture , fostering connections and creating memories. The phrase "Kain na" or "Let's eat" signals the start of a shared dining experience, where relationships are built and warmth is exchanged.

By sharing a meal, you're not just satisfying your hunger, you're experiencing the warmth of Filipino hospitality . Your hosts will often ask about your favorite meals, ensuring you feel satisfied and cared for.

In Filipino culture, welcoming guests is an integral part of daily life , and culinary traditions are at the heart of it. As you sit down to enjoy a delicious home-cooked meal, you'll realize that food is more than just sustenance – it's a way to connect with others and experience the richness of Filipino culture.

Comfort and Care for Guests

Family-Oriented Hospitality

Three generations of family members work together to ensure a remarkable stay. As a guest, you can expect exceptional comfort and care, with every detail meticulously attended to.

Fresh towels, toiletries, and home-cooked meals demonstrate the thoughtful touches that make you feel at home.

Filipino Hospitality Values

Filipino hospitality is centered on making you feel valued and respected. Your hosts will treat you like family, offering traditional favorites like lumpia and adobo , and ensuring you have everything you need.

They regularly check in on you, asking if you need anything, and genuinely care about your response.

This kind of hospitality creates a welcoming atmosphere , making you feel grateful and at ease even after your visit is over.

Warm Greetings and Friendly Nature

Warmth and Hospitality Define Filipino Culture

Filipino culture is built on a foundation of warmth and genuine interest in others' well-being.

When you enter a Filipino home, you're immediately greeted with warm gestures and friendly expressions that set the tone for a welcoming stay . These greetings are more than just formalities; they're genuine expressions of interest in your well-being.

Filipinos ask questions like "Kumusta po kayo?" (How are you?) or invite you to "Tuloy po kayo" (Please come in) to create a sense of connection and belonging.

These gestures make you feel valued and appreciated from the start . They go above and beyond to ensure you feel comfortable and at ease, inviting you to "Dito ka na muna" (Stay here for a while) and making you feel like part of the family.

The friendly nature of Filipinos is infectious, making you feel at home in their company . Their hospitality ethos is centered around making you feel like you belong, which is what makes Filipino culture so endearing.

How does the concept of hospitality in Filipino culture relate to the traditional social structure of barangay?

Hospitality in Filipino culture is deeply rooted in the traditional social structure foundation of the barangay. The concept of “pakikisama” or communal unity is integral, where members prioritize the welfare of the community over individual needs. This reflects the core values of bayanihan and mutual cooperation within the barangay’s social structure foundation .

Lasting Impressions and Future of Hospitality

Filipino Hospitality: A Lasting Legacy

The Philippines has established itself as a premier travel destination, thanks to the country's warm and gracious hospitality. This unique trait has created lasting friendships and a positive national image. The Filipino spirit, rooted in compassion for others, makes visitors feel welcome and valued.

As the tourism industry continues to evolve, the future of Filipino hospitality will seamlessly blend traditional warmth with modern amenities. This fusion will ensure that the spirit of generosity remains at its core, upholding cultural pride and catering to the evolving expectations of visitors.

For instance, hotels and resorts are incorporating local materials and designs into their infrastructure, while also providing state-of-the-art facilities and services.

Maintaining an exceptional reputation for hospitality is crucial, as it supports the economy and job creation in the sector. By preserving and promoting this hallmark of Filipino culture, we contribute to a legacy that will leave a lasting impression on generations to come.

As tourism drives cultural exchange, it's essential to uphold the global perception of Filipino hospitality as exceptional.

Frequently Asked Questions

Why is hospitality important in filipino culture.

Hospitality is a fundamental value in Filipino culture because it represents respect, kindness, and generosity. This value is deeply rooted in the country's history and social norms. For Filipinos, hospitality isn't just about being friendly; it's about building strong community bonds and upholding family values.

Filipinos believe that hospitality helps create a sense of belonging. When they open their hearts and homes to guests, they foster lasting connections and memories that transcend borders.

For example, in Filipino culture, it's common for families to host feasts and celebrations that bring together extended family and friends, strengthening social ties and preserving cultural traditions.

By practicing hospitality, Filipinos demonstrate their respect for others. They believe that welcoming guests into their homes is a sign of respect and kindness.

In return, guests are expected to show appreciation and gratitude for the hospitality they receive. This reciprocal respect is essential in Filipino culture, as it helps maintain social harmony and builds trust among community members.

What Is the Hallmark of Being a Filipino?

Filipino Culture is Built on Warmth and Generosity

Being a Filipino is characterized by a strong sense of community and warmth. This is evident in the way Filipinos welcome one another at family gatherings and cultural celebrations.

For example, the traditional "bayanihan" , where neighbors help each other move to a new home, showcases the importance of collective effort and mutual support.

Traditional Values are at the Heart of Filipino Identity

Filipino culture places a high value on traditional values such as respect for elders, strong family ties, and generosity.

These values are demonstrated in everyday life, such as when children are taught to address their elders with respect and deference, using titles such as "Tita" or "Tito".

Additionally, the concept of "utang na loob" , or debt of gratitude, emphasizes the importance of repaying kindness and generosity.

A Sense of Belonging Defines the Filipino Experience

At its core, being a Filipino is about feeling a sense of belonging to a community that looks out for one another.

This sense of community support is evident in the way Filipinos come together to celebrate milestones, such as fiestas and weddings, and in times of need, such as during natural disasters.

Where Do the Origin of Hospitality in the Philippines Starts?

The origins of hospitality in the Philippines date back to pre-colonial times. In this era, indigenous practices welcomed foreign settlers with open arms and communal feasts. For instance, the Ifugao people of the Cordillera Mountains would host ceremonies called "cañaos" to celebrate special occasions, which included sharing food and drinks with guests.

These traditional practices were rooted in cultural influences and historical roots. They varied across regions, but shared a common thread of warmth and generosity. For example, in the Visayas region, the concept of "barangay" emphasized community and cooperation, which extended to welcoming outsiders.

Over time, these customs blended with new cultural influences. The arrival of Spanish colonizers introduced Western-style hospitality, which merged with existing practices. This blending of cultures shaped the unique hospitality seen in the Philippines today.

Are Filipinos Kind and Hospitable?

Filipinos are known for their kindness and hospitality . This is rooted in their cultural traditions that emphasize community bonding and generosity. For instance, when you're a guest in a Filipino home, you're often offered food and drinks, making you feel welcome and cared for.

They treat you like family , providing a listening ear and genuine interest in your well-being.

Filipino kindness is contagious , inspiring you to reciprocate with equal warmth. This is because their hospitality isn't just about providing material comforts, but also about making you feel valued and respected as a person.

Filipinos are known for their warm smiles and genuine gestures , which make you feel at ease and appreciated.

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