BSES 2NRM1 Subanen Group 6 Paper PDF

EXPLORING THE LEGACY OF THE SUBANEN PEOPLE THROUGH THEIR ARTS AND CRAFTS Presented to the Faculty of the Department of Communication Arts, Languages, and Literature University of Science and Technology of So...

EXPLORING THE LEGACY OF THE SUBANEN PEOPLE THROUGH THEIR ARTS AND CRAFTS Presented to the Faculty of the Department of Communication Arts, Languages, and Literature University of Science and Technology of Southern Philippines In Partial Fulfillment of the Requirements in Indigenous Creative Crafts Leader Tion, Shiva Fidei M. Group No. 6 Assistant Leader Bandico, Kate Charlene Section BSES – 2NRM1 Secretary Megrenio, Ayessah L. Subject ICC Proofreader Jayson, Ellah Mae L. Instructor Geldolin Inte Proofreader Doble, John Michael Date Submitted October 15, 2024 INTRODUCTION The Subanens are the largest indigenous peoples group in the island of Mindanao in the Philippines. They mainly occupy a vast area of historical ancestral domain in the Zamboanga peninsula and in Misamis Occidental. These provinces in Zamboanga are Zamboanga del Norte, Zamboanga del Sur, and Zamboanga Sibugay. According to an NCIP Report published by the Department of Energy, the Subanen ancestral domain claims totals to 255, 924 hectares as of March 31, 2018. Furthermore, in the book of Lucero (2003), he mentioned the Subanens as “river people” or “people of the headwaters” that inhabit the Zamboanga peninsula. The Subanens correlate rivers as their “place" or “home”. However, from living near rivers in the lowlands, the Subanen people were gradually forced to move up into the mountains for their safety as they were being attacked and exploited by the Moros and Filipinos (Gangoso, 2023). The Subanen are semi-nomadic people. They move from one place to another to clear more forest for fields, as they cultivate crops for consumption and income. They are also known for raising livestocks including pigs, chickens, cattles, and water buffaloes (New Tribes Mission of the Philippines Inc., 2024). The Subanen people have a rich culture, particularly in their craftsmanship. Due to their home location, they are deeply connected to their environment, which influences their rituals, beliefs, and crafts. The Subanen primarily use raw, natural materials found in their surroundings to create their crafts. This is mainly for practical reasons, and thus, most of their crafts have simple execution and design. These materials include bamboo, rattan, and abaca. Furthermore, their crafts are not limited to functional items. They also create decorative and ceremonial objects that hold significant cultural value, many of which are used in rituals such as the Buklog— a thanksgiving ritual of the Subanen community. Each piece reflects stories, 2 symbolism, and the deep connection between the Subanen people and their spiritual beliefs (Insigne, 2022). OBJECTIVES The main objective of this research paper is to explore the history and legacy of the Subanen people through their crafts. More specifically, it aims to address the following objectives: 1. To delve into the cultural practices, beliefs, art, and crafts of the Subanen tribe; and 2. To understand and explore ways to innovate the crafts of the Subanen tribe. DATA GATHERING This study will gather secondary data from a variety of sources, including peer-reviewed journals and credible online articles, to analyze the cultural practices, beliefs, art, and crafts of the Subanen people. It will also explore the historical context of Subanen creative crafts. Additionally, the study will address the challenges faced by the Subanen in preserving their indigenous crafts amidst modernization and external cultural influences. Each source will be evaluated for credibility and relevance to ensure a comprehensive understanding of the subject matter. SCOPE OF THE RESEARCH This study focuses on the cultural practices, beliefs, art, and crafts of the Subanen communities in the Zamboanga Peninsula, specifically in Zamboanga del Norte, Zamboanga del Sur, and select regions of Misamis Occidental. It will also explore the historical background of Subanen artistic creations, analyzing their development and significance to the community. Additionally, this research will address the challenges faced by the Subanen in 3 preserving their traditional crafts amidst modernization and external cultural influences, and the connections of their crafts and rituals. 4 HISTORICAL BACKGROUND Native inhabitants of the Philippine island of Mindanao are known as Subanon. They have a long history that predates colonization. Their distinctive language and creative expression, together with their customs and ancestors' customs and beliefs, all contribute to their rich cultural legacy. They used to live along the coast, but historical events like colonialism and conflict forced them to relocate even more into the isolated interior of the mountains in order to survive. They have succeeded in preserving their cultural identity and customs to this day in spite of these obstacles. The term “Subanen” was used to refer to this particular indigenous group because they were historically settled along the river banks of Zamboanga peninsula. The term Subanen is derived from the word suba which translates to river or a body of water. In the Subanen language, the term sumuba means to go upstream while the term mosog means to go downstream. As people from different ethnic groups and religions immigrated and settled in the area, the term Subanen was given to the ones who were originally living at the upstream regions of the rivers for discernment. The term may have been originally given to them by the Christian settlers who immigrated in the area. The “Subanon” is more popularly used interchangeably with “Subanen” in the local setting. Subanens have been pushed from the river-banks to their forest sanctuaries. The Subanen have never left their home country except as they have been carried away to involuntary service by the Moros and Filipinos (Finley, 1913). Originally occupying the entire land area to the coast line, they have been gradually driven back into the most inaccessible portions of the mountainous interior by the raids and exploitation of their long-time enemies, the Moros and Filipinos. Prior to colonization, Subanens were nomadic and often migrated from one place to another referred to as phemelesen (people carried by the wind) or getaw mepasig (people carried by the current). It was only during the 19th century period that they began permanently settling in certain areas. In recent years, they are predominantly found on the 5 western flank of Mindanao, residing in the 67 municipalities spread throughout the three provinces namely: Zamboanga del Norte, Zamboanga del Sur, Zamboanga Sibugay, and in some rural villages within the cities of Zamboanga, Dipolog and Pagadian. In addition, some Subanen are also found in the neighboring province of Misamis Occidental. Despite historically occupying the vast majority of the areas in Zamboanga peninsula, the Subanens are always considered a minority in western Mindanao. While muslim minority groups such as Tausugs, Meranaws, Iranun and Maguindanao are equally present in provinces of Zamboanga del Sur, Zamboanga Sibugay and Zamboanga del Norte, the Subanen are almost identical to an undertone minority. Figure 1. Geographical Distribution of Subanen Communities: Key Areas of Residence. 6 HISTORICAL CONTEXT OF SUBANENS CREATIVE CRAFTS The Subanens coexist with non-indigenous settlers. Interactions with non-tribal people, therefore, become inevitable. Due to this influence of other tribes and the desire for improvement it resulted in some mismatched in the true essence of the Subanen culture that should be portrayed in their creations. Clothing is one of the creations that should convey information and be viewed as symbolic texts representing ideas and values (Curta, 2005). (Ratha,1997) points out that established clothing and bodily markers allow tribesmen to be identified by both members and non-members of the tribe. The traditional clothing of the Subanens serves as a cultural expression of this tribal group in Mindanao, Philippines. The retention of authentic Subanen costumes is necessary for the survival of their cultural and tribal identity (Villanueva, 2013). Moreover, their traditional clothing is a representation of their beliefs, practices, and experiences as natives. The garments, in terms of their original designs, colors, materials, and accessories, suggest a variety of meanings and functions. However, in the Subanen traditional clothing of the Zamboanga Peninsula, less attention is given to the originality and meaning of their appearance. Indiscriminate changes occur in the garments due to either conscious or unconscious disregard for their cultural underpinnings. According to Namiki (2011), modernizing the geometric motifs and icons of tribal clothing makes them more attractive, even though the new appearance no longer identifies the ethnic group. However, these modifications reflect a habitual inattention to the specifics of traditional clothing that are essential for fostering tribal existence in the peninsula. Quilo (2015) postulated that indigenous people believe their umbilical cords are connected to their lands and environment. The Subanens, in particular, are greatly attached to their natural environment. They have an inseparable relationship with their land and the communities within it. This close connection of the Subanen to their environment is key to 7 their survival, as indigenous people rely on the forest, the river, and all their natural surroundings for continued existence. Their knowledge of their natural geography gives them an edge against physical dangers. Moreover, mastery of their natural landscapes and biodiversity helps them cope with periodic food shortages by utilizing non-timber forest products (Multidisciplinary, 2019). In fact, the Subanen of Lakewood claim they can identify more than 200 undomesticated plants that are edible to humans. The forest provides them with a buffer against hunger. It not only provides them food, but it also supplies the materials they use for their crafts, which are drawn from the heart of the forest, where nature’s abundance offers the vines, leaves, and fibers they need. Each element is carefully sourced from the landscape and woven together with the wisdom passed down through generations, reflecting a profound harmony with their surroundings. Producing indigenous products is part of the culture of the Subanen people, therefore, it is important to explore their hopes and dreams. Most tribal women and men want to sell their products to earn extra money. For men, in addition to selling, they also hope to have a place where they can show their products. They believe this will help them attract more customers (Arceo-Dumlao, 2011). Similarly, Nilda Mangilay, a Subanen from Zamboanga del Sur, mentioned that there is significant economic potential in these unique traditional goods if locals can find a way to bring them to a larger market, rather than just selling beads, embroidered items, handwoven mats, bags, baskets, pots, jewelry, and homemade food during annual town fiestas. Both men and women in the tribe hope that the craft-making tradition will continue with the next generation. They want their products to endure because these items play an important role in their culture and traditions, which shape their identity today. Passing their craft to the next generation also means preserving their culture. According to Morelli (2017), indigenous people pass stories down to the next generation, and that is what keeps 8 their culture strong. Furthermore, if children are not taught about their culture, a complete sense of identity may be lacking. It is essential for individuals to understand who they are and where they come from; otherwise, a crucial part of their identity remains unfulfilled. Identity is shaped by origins and is considered an integral part of one's being. It is not merely a matter of Indigenous knowledge being passed down, but it also involves continuous engagement with and exploration of culture. SUBANEN RITUALS AND TRADITIONS Preserving the intangible cultural heritage, such as rituals, provides a tribe with a sense of identity and continuity and promotes respect for cultural diversity. The Subanen tribe in the Philippines, particularly in the provinces of Misamis Occidental and Zamboanga del Sur, has a rich tradition of performing various rituals. However, little is known about the specifics of their ritual practices and the challenges they face in sustaining these practices, which can be a barrier to understanding the tribe’s way of life and passing on these traditions to the next generation. Subanen are animists because they have a worldview that nonhuman entities such as animals, plants, or inanimate objects or phenomena possess a spiritual essence (Mabini, M. A. T., Quilo, Q. S., Tamiroy, N. P. O., et al., 2014). Animism is particularly widely found in the religion of indigenous peoples. Belief in god and spirits makes the Subanens god-fearing and is depicted in their great respect for others and for nature (Elago, M., Dando, R. F., Pizon, J. R., et al., 2013). The perception of these beliefs is mediated by cultural interpretations, in combination with a range of other factors proper to each community and household at a specific time and place which will influence how people are going to prepare themselves or not. Each culture has its own distinctive animistic beings and its own specific elaboration of the soul concept heritage such as rituals provides the Subanen tribe with a sense of identity and continuity, thus promoting respect or cultural diversity. 9  The Subanens perform rituals to please their gods, the mechanisms through which beliefs are fulfilled. In the Philippines, the Subanen tribe has different rituals performed in different gatherings and occasions. The Balia/Baylan or Suruhuano they are also commonly called mananambal, the tribal priest and doctor, the only ones who can perform the tribal ritual. They are believed to see and communicate with supernatural entities or creatures, both good and bad. Subanen believes in the existence of another world not seen by the natural eye. The Balaan or ritual is preferably performed during full moon because it enhances their abilities to see and communicate with the supernatural entities. The mananambal usually uses the eggs in identifying the disease by performing Tigi-tigi in treating or healing such disease. In this process, the egg is put for a few minutes on a particular area or part of the person’s body that has the illness, ache or discomfort. The study of Mabini et al. (2014) documented the use of eggs in Subanen rituals called the Magbinukid, Kanobitan, and Lapiraw that are believed effective to stop drought, typhoons, or landslides. Correspondingly, the Subanen performs Magbinukid to ask Magbayaya to not allow another landslide to occur. Kanobitan is another ritual performed to cease a dry spell or drought. Lapiraw is also a ritual believed to stop drought by asking help from Magbabaya to send rain so the Subanen could start planting rice and other crops. For the Balian/Balyan or Suruhano, the egg is a must in performing different rituals since it is believed to attract spirits because it is white. Those attending the rituals are the ones bringing the eggs. Another item that the Balian/Balyan or Suruhano used in performing rituals is the Kamangyan or incense. It is believed to call the attention of the spirits and transmit their messages to them. Aside from kamangyan, bugas (rice), uway (rattan), mam-on/buyo (betel leaf pepper), mayana (painted nettle), manok ihalas (native chicken), and baboy (pig) are also 10 used as offering for the spirits in performing rituals. The palaspas or palm fronds are used in some Subanen rituals for driving away bad spirits. Rituals vary as to the goals of the activities to be done. Some of these rituals are done for thanksgiving, asking permission to do something, and/or requesting for protection from harm. Subanen rituals are also performed to show respect to the spirits and to appease the spirits in giving them good harvest and good weather (Mabini, M. A. T., Quilo, Q. S., Tamiroy, N. P. O., et al., 2014). Most of the rituals were performed with the process called magpadugo (shedding of blood from an animal, usually native chicken and pig). The head of a host family, usually a village chief called timuay, plans the ritual system to express gratitude to the spirits. The rituals ensure harmony among family, clan and community members, as well as among the human, natural and spiritual worlds. They include asking the spirits for permission to gather materials from the forest, presenting coin offerings, inviting the spirits of the departed to feast, invoking spirits of water and land, and music and dance. Afterwards, participants dance on an elevated wooden structure called the Buklog—a sacred and social space—which resonates with a sound believed to please the spirits. This is followed by a community dance marking the renewal of spiritual and social relationships within the community. Though the ritual system remains the community’s strongest unifying force, there are several social, political and economic threats that compromise its viability, notably the influx of other cultures into the Subanen’s traditional homeland, changes in family dynamics and economic constraints. Therefore, although the Subanen have developed highly adaptive mechanisms to ensure their culture survives, the Buklog is now regarded as highly vulnerable, facing several severe interrelated threats and constraints (Imbing, V. L., & Viernes-Enriquez, J., 2002). 11  Gbal-i (bla-i) is a union between a man and a woman celebrated by the community along with the couple's families. Before the wedding day, the families of the groom and bride engage in conversations to become acquainted with one another, while the bride is kept hidden. If any negative comments are made about the other party during these discussions, it is considered sala or sin, as determined by the Timuay or Gukum— their tribal leaders. There are corresponding penalties to be paid for each sala, determined by the expenses of the other party and vice versa, counted using balasi (corn grains). Conversations about the union typically begin at night and may last for several hours, concluding only when the balasi runs out. If both parties agree to settle directly, the bride’s family will permit the groom to see his bride, allowing the wedding ceremony to commence immediately. However, the Subanen people rarely perform these rituals today. Although they possess a strong understanding of the necessary preparations, they face challenges in finding Balians/Balyans to conduct the rituals, as only a few remain alive. Financial constraints also hinder their ability to perform these costly rituals. Nevertheless, the Subanen recognize that rituals are integral to their culture, particularly those related to nature, as they believe these rituals serve as a means of showing reverence to the spirits and seeking permission when asking for favors. Furthermore, these rituals help to appease the spirits when they feel that nature has been mistreated, as nature is considered the spirits’ abode. CHALLENGES IN PRESERVING CULTURAL CRAFTS Despite the richness and significance of Subanen culture, they have faced numerous challenges in their efforts to preserve their cultural heritage. In fact, during the Spanish period, they suffered oppression from the Lutaos or Bajaos, the mercenary soldiers of the Maguindanaos. Another challenge that is faced by the Subanen is the environmental degradation. One of the herculean challenges faced by the Subanen is the coming of the 12 concessioners which produced drastic changes to the physical environment. Trees were cut, rivers dried up and the lands were no longer suitable for production. Mountains are excavated and deformed resulting in the loss of the home of some animals and destroy their quiet and peaceful living. The natural geographic landscape of the indigenous lands harshly changed. To facilitate industrialization, the government has to build roads and bridges which also alter their ecosystem. The same circumstances happened when roads were constructed to connect Zamboanga del Norte and Zamboanga del Sur. The Subanen living in that area has to deal with noise and more unconventional changes. External influences, modernization, and socio-economic pressures have posed threats to their traditional way of life, often leading to the erosion of indigenous practices, beliefs, and crafts. Furthermore, the displacement of communities due to land conflicts and environmental degradation has further endangered the continuity of their customs. Nevertheless, the Subanen people remain resilient, striving to maintain their identity and pass on their cultural legacy to future generations. SUBANEN INDIGENOUS CRAFTS POTTERY Pottery, a traditional craft of the Subanen people, represents a significant expression of their cultural heritage and craftsmanship. By utilizing locally sourced clay and natural materials, they create both functional and artistic pottery that reflects their deep connection to the environment. The techniques and skills involved in Subanen pottery have been passed down through generations, embodying practical utility and cultural identity. These handmade pots and jars not only serve domestic purposes but also hold symbolic meaning within their community. The indigenous earthenware of the Subanen is characterized by its simpler execution and design. Furthermore, the process of making these pots begins with the beating of clay on a wooden board using a wooden pestle. The clay is then shaped into a ball, on top 13 of which a hole is bored. The potter inserts her hand, holding a smooth stone, into this hole and proceeds to enlarge it by turning the stone round and round against the inner surface of the clay. The other hand holds a small flat stick, which is used to shape and smooth the outer surface. Once the clay pieces are finalized in shape, incisions or ornamental marks are made on the outside using fingers, a pointed stick, or a wooden stamp engraved with a simple design. The pot is then left to dry under the sun, after which it is fired, typically over hot coals. The final step involves strengthening the pot by crushing the slimy leaves of the likway plant and scraping the bark of the lamay bush. The crushed leaves and bark shavings are rubbed onto the inside walls of the pot and boiled within it. The baked pot is then ready to hold water or boil rice. Larger clay pots, traditionally known as Sinantan Bandi, are used as containers for producing Pangase, a significant wine of the Subanen people made from fermented cassava. This alcoholic beverage holds great importance within Subanen culture and is a staple at birthdays, weddings, and, most importantly, during their ritual of thanksgiving called Buklog, as well as at other celebratory events. Pangase not only serves as a customary drink but also plays a vital role in preserving cultural heritage and fostering communal bonds during significant occasions. Its presence at these gatherings underscores its cultural relevance and the enduring traditions of the Subanen people. BASKETRY Bamboo is a tall grass that grows rapidly and is often woody. Its structure is complex, consisting of two arrangements of similarly formed vegetative axes: the first is above ground, while the second is below ground. Bamboo belongs to the family of grasses, Bambusoideae, which is composed of cellulose fibers encased in a lignin matrix (Kaur, 2017). In addition, rattan is a versatile plant resource characterized by its long, tough, slender stems, primarily found in tropical regions. It holds significant economic value and is considered a material with 14 substantial potential in various industries (Akpenpuun, 2017). Rattan belongs to the family Palmae or Arecaceae and is classified within the largest group of the subfamily Calamoideae. These two naturally occurring fibers are the principal materials employed by the Subanen people in the creation of their traditional baskets. Renowned for their resilience and pliability, these natural resources are meticulously crafted into baskets that are not only functional but also possess cultural and aesthetic value. The adept utilization of these materials by the Subanen people reflects their extensive knowledge of the local environment and their skill in harnessing its resources for practical purposes. These baskets are used to contain, carry, or store agricultural crops, as well as to serve as receptacles for religious offerings. This practical focus explains why their baskets have little to no decorations. Since the manufacture and use of baskets are integral to their daily activities, the Subanen people have developed numerous indigenous names for different types of baskets. Biaw is the largest basket, specifically designed for transporting unhusked corn or coconuts from the fields to the home. Its capacity is approximately 1.5 cubic meters, and it is transported on a sled towed by a draft animal, such as a carabao. Baban, the second-largest basket, is used for carrying various agricultural produce, excluding grains. Its capacity allows for one person to carry it on their shoulder or head. Both Biaw and Baban feature an open-weave pattern. A smaller carrying pack, which has a close-weave pattern, is designed for carrying clothes and vegetables. Storage baskets, such as Bandi and Danas, are utilized for dry food items like grains and nuts. The design of the basket may widen from the bottom to the middle part of the body and narrow again toward the rim, particularly if it has a cover. Conversely, when there is no cover, the basket may gradually widen from the bottom to the top, with its mouth being the widest. 15 WEAVING Another craft of the Subanen people is fabric weaving, which is similar to the style of the neighboring Muslim region. Subanen weavers use the back-strap loom, a portable weaving device that involves a strap tied around the weaver’s waist, allowing the entire body to engage in the weaving process. They primarily work with abaca to create textiles, including the gampok palaw, a traditional tube skirt for women. The weaving loom is set up inside the house. Cotton thread is spun by women using the distaff crafted by men. Moreover, abaca is a leaf fiber that belongs to the banana family of plants, with more tapering leaves than banana plants, and is cheap and abundantly available. Also known as Manila Hemp, abaca is a hard fiber and is the strongest of all natural fibers. Abaca fiber is extracted from the leaf sheath traditionally by stripping, using either a manual or mechanical process. Volcanic areas are suited for abaca cultivation in the Philippines’ tropical climate (Neeraja, 2014). Before cotton was introduced by Muslim and Christian traders, the Subanen used abaca fiber for their clothing and blankets. The strands or fibers are first dyed before being put in the loom. In this process, several strands are bound together at intervals by other fibers, forming bands of various widths. These tightly bound strands are then dipped into the dye and laid out to dry. The effect is that the bound part retains the natural color of the fiber, while the rest takes on the color of the dye. The process can be repeated to achieve various designs or color combinations. Furthermore, the favorite dye among the Subanen is red, which symbolizes bravery and valor, and black, which is widely used as protection against evil spirits. Native dyes from natural substances, which give a flat or matte color, and aniline dyes are used in the process. 16 JEWELRY Beaded accessories is one of the crafts of the Subanen. It is an intricate and culturally significant craft that reflects their rich heritage and artistic traditions. The Subanen people use vibrant, colorful beads to create jewelry, accessories, and adornments for traditional clothing. Beadwork is often used in the decoration of ceremonial garments and accessories worn during important events, such as weddings and the Buklog ritual. The patterns and designs in Subanen beadwork often hold symbolic meaning, representing aspects of nature, spiritual beliefs, or tribal identity. The necklace called "bitak'l" or “sabat” that is still used even up to the present is made of beads of different colors such as black, white, golden yellow, and red that made up the necklace. Even children could wear the “sabat” or “bitak’l,” but the “pimulakan,” design was simple compared with that of the old designs. (Kuehling, 2012) points out that necklaces represent cumulative knowledge, wealth and prestige. Presently, the wearing of the native necklace is still common among the Subanens, especially by the tribal leaders in case of special gatherings. According to (Greene, 2002), tribesmen once defined the wearing of beads as one form of traditional costume jewelry but now it can be worn by anyone who desires. The Subanen people's use of local clay for pottery, bamboo and rattan for basket-making, and abaca fiber for fabric weaving are crafts that trace back to time immemorial because they are deeply rooted in their ancestral way of life. These materials, all sourced from their natural environment, reflect the Subanen’s intimate connection with nature and their ability to adapt to their surroundings. The knowledge of crafting these items has been passed down through countless generations, becoming an integral part of their cultural identity and daily survival. These timeless crafts, preserved through oral tradition and practice, serve not only practical purposes but also hold symbolic significance, representing 17 their enduring respect for nature, community, and heritage. By continuing these traditions, the Subanen people maintain a living link to their ancestors, making these crafts a timeless expression of their history and culture. While the beadwork of the Subanen people may not belong to time immemorial due to their use of modern plastic beads, though it still holds deep cultural significance. The shift from traditional materials to plastic beads reflects the community’s ability to adapt to changing times while preserving the meaning and artistry behind the craft. The designs, patterns, and symbolism in their beadwork continue to honor their ancestral traditions, as these motifs have been passed down through generations. Though the materials have evolved, the cultural essence of Subanen beadwork remains a vital expression of identity, spirituality, and community pride, bridging the past with the present. Making hand-crafted items is an integral part of Subanen culture. Among their various crafts, the retention of authentic Subanen costumes is essential for the survival of cultural and tribal identity, as these garments embody particular meanings and functions. Clothing conveys information and should be viewed as symbolic texts that represent ideas and values. In the context of Subanen costumes in the Zamboanga Peninsula, less attention is given to the originality and significance of their appearance. Indiscriminate changes occur in the garments due to either conscious or unconscious disregard for their cultural underpinnings.The Subanens produced different colors of abaca fibers, which they wove together to create vibrant garments. This practice aligns with the assertion of an eighty-year-old Gukum—a tribal leader—in Lopez Jaena, who stated that the original Subanen garments were made using only the colors white, black, green, yellow, and red. The garments feature zigzag linings of white, red, and yellow along the edges and sides. Each color in the dress reflects the nature and characteristics of the Subanen ethnic group. White signifies the purity of the Subanens’ hearts, while yellow represents the tribe's forbearance and tolerance, essential for avoiding 18 conflict and maintaining a peaceful community. This indicates a high level of self-control, however, when faced with annoyance or provocation, they exhibit bravery, represented by the color red, which also symbolizes their capacity for love. Red denotes bravery, tempered by control, and if they are abused, underestimated, or belittled, they will express their anger and resentment. Should their claims continue to be disregarded, they may even resort to sacrificing their lives, symbolized by the black color of their attire. The native accessories once worn by Subanen men included the bracelet known as g’lang and the anklet called sing’l, which were also worn by women. These accessories indicated the high economic status of their wearers. The necklace, referred to as bitak'l or sabat, which is still in use today, is made of beads in various colors, including black, white, golden yellow, and red. Traditionally, only Subanen men and women with the economic means to acquire the gold g’lang (bracelet) and sing’l (anklet) could wear these accessories during special occasions. Due to the high value of these gold items, the Subanens would often hide or bury them to protect them from potential theft. Consequently, locating samples of these accessories for examination in the present day has become challenging. CULTURAL SIGNIFICANCE OF CRAFTS The crafts of the Subanen people represent more than just everyday items; they are a blend of heritage and craftsmanship, infused with timeless creativity. Pottery, for example, is produced using local clay, shaping not just pots but vessels that embody their heritage, turning raw materials into meaningful objects. Basket weaving, using bamboo and rattan, is performed without modern machinery, relying solely on natural resources and raw talent to create durable, functional baskets. Fabric weaving with abaca reflects their meticulous craftsmanship and symbolizes cultural identity and continuity. Although plastic beads are now commonly used in their beadwork, the intricate patterns still retain their cultural significance, 19 reflecting their adaptability. These crafts collectively serve not only as practical creations but also as significant expressions of Subanen cultural heritage, representing their deep connection to nature, social structures, and spiritual beliefs. Each stitch, pot, and bead produced by the Subanen celebrates their cultural identity and their ability to transform nature into art. CONCLUSION In conclusion, the Subanen people of Mindanao, a prominent indigenous group, showcase a rich and varied cultural heritage through their creative arts and crafts. Their traditional arts, including basketry, pottery, jewelry, and weaving, are essential to their identity, symbolizing their connection to nature and historical roots. These crafts, originating from their early riverine settlements, go beyond practical use; beliefs, social status, and community resilience are expressed through these creations. In studying the Subanen arts and crafts shows not only the traditional and practical purpose but also shows their deep cultural significance. Beyond their everyday uses, such as baskets for storage or pots for cooking, these crafts are a reflection of the community’s identity, heritage, and social standing. The designs, patterns, and materials used in crafting often carry symbolic meanings that represent the history, beliefs, and values of the people within the community. Additionally, these handmade creations are also markers of social status, as more intricate or time-consuming pieces are often associated with higher prestige. These crafts are more than just functional items—they are a living expression of the community's cultural richness, connecting individuals to their shared past and reinforcing social bonds within the group. 20  However, the Subanen people still face significant challenges in preserving their crafts and cultural heritage in the modern world. The increasing influence of external cultures and globalization poses a threat to the continuity of their traditional practices. Despite these challenges, efforts to preserve and innovate their crafts continue, helping to safeguard their cultural identity and legacy for future generations. Through Indigenous Creative Crafts, understanding and innovating the Subanen people’s arts and crafts present a huge opportunity to support and preserve their heritage in modern society. By innovating their arts and crafts while preserving their cultural essence, the Subanen people can attract new audiences, particularly young students and businesspeople. These individuals can support the culture by engaging in arts and crafts, promoting it on social media, volunteering, and advocating for Indigenous rights, which can lead to economic opportunities. Furthermore, efforts to promote teamwork between young and experienced artisans help preserve traditional methods and promote a sense of community pride and unity. As more people appreciate Subanen crafts, it fosters cultural exchange and strengthens the significance of these practices in a changing world. The Subanen's commitment to preserving and evolving their arts and crafts strengthens their identity. This allows them to share their cultural heritage with future generations and ensures its relevance in today's society. 21 REFERENCES Abaca Fiber (Manila Hemp) | Uses/Application of Abaca Fiber, Journal of Textile learner. Department of Energy. List of Identified Ancestral Domain Areas in R09. https://www.doe.gov.ph/sites/default/files/pdf/eicc/ad-region09.pdf Elago, M. 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