23/05/2026
๐๐ถ๐ธ๐ต๐ฎ๐ป๐ด ๐๐ฎ๐บ๐ฎ๐: ๐จ๐ฆ๐งโ๐ก๐๐๐โ๐๐ง๐ ๐๐ฑ๐๐ฎ๐ป๐ฐ๐ฒ ๐๐ป๐ฑ๐ถ๐ด๐ฒ๐ป๐ผ๐๐ ๐๐ป๐ผ๐๐น๐ฒ๐ฑ๐ด๐ฒ, ๐๐๐น๐๐๐ฟ๐ฎ๐น ๐๐ฑ๐๐ฐ๐ฎ๐๐ถ๐ผ๐ป, ๐ฎ๐ป๐ฑ ๐๐ฟ๐ฒ๐ฎ๐๐ถ๐๐ฒ ๐๐ฎ๐ป๐ฑ ๐๐ฟ๐ฎ๐ณ๐๐
The University of Santo Tomas successfully organized Likhang Kamay: Training Course on Teaching Indigenous Hand Crafts in Higher Education Institutions on 13โ16 May 2026, bringing together educators, cultural workers, artisans, and institutional partners to strengthen the integration of Indigenous Knowledge Systems and Practices (IKSP) in higher education.
Organized in celebration of ๐ก๐ฎ๐๐ถ๐ผ๐ป๐ฎ๐น ๐๐ฒ๐ฟ๐ถ๐๐ฎ๐ด๐ฒ ๐ ๐ผ๐ป๐๐ต, the four-day training course highlighted the role of universities in safeguarding indigenous creative traditions through teaching, research, and community engagement. The program was conceptualized by the ๐จ๐ป๐ถ๐๐ฒ๐ฟ๐๐ถ๐๐ ๐ผ๐ณ ๐ฆ๐ฎ๐ป๐๐ผ ๐ง๐ผ๐บ๐ฎ๐ ๐๐ฟ๐ฎ๐ฑ๐๐ฎ๐๐ฒ ๐ฆ๐ฐ๐ต๐ผ๐ผ๐น โ ๐๐ฒ๐ป๐๐ฒ๐ฟ ๐ณ๐ผ๐ฟ ๐๐ผ๐ป๐๐ฒ๐ฟ๐๐ฎ๐๐ถ๐ผ๐ป ๐ผ๐ณ ๐๐๐น๐๐๐ฟ๐ฎ๐น ๐ฃ๐ฟ๐ผ๐ฝ๐ฒ๐ฟ๐๐ ๐ฎ๐ป๐ฑ ๐๐ป๐๐ถ๐ฟ๐ผ๐ป๐บ๐ฒ๐ป๐ ๐ถ๐ป ๐๐ต๐ฒ ๐ง๐ฟ๐ผ๐ฝ๐ถ๐ฐ๐ (๐จ๐ฆ๐ง๐๐ฆโ๐๐๐๐ฃ๐๐ง) with the support of the ๐จ๐ฆ๐ง ๐๐ผ๐น๐น๐ฒ๐ด๐ฒ ๐ผ๐ณ ๐๐ถ๐ป๐ฒ ๐๐ฟ๐๐ ๐ฎ๐ป๐ฑ ๐๐ฒ๐๐ถ๐ด๐ป (๐จ๐ฆ๐งโ๐๐๐๐), in collaboration with the UST Museum, UST Center for Continuing Professional Education and Development, ๐ ๐๐๐ฒ๐ผ ๐ป๐ด ๐๐ฎ๐ฎ๐น๐ฎ๐บ๐ฎ๐ป๐ด ๐๐ฎ๐๐๐๐๐ฏ๐ผ and the Asia Pacific Higher Education Network on Safeguarding Intangible Cultural Heritage (APHEN-ICH). The training course was also supported by the ๐๐ฒ๐ฝ๐ฎ๐ฟ๐๐บ๐ฒ๐ป๐ ๐ผ๐ณ ๐ง๐ฟ๐ฎ๐ฑ๐ฒ ๐ฎ๐ป๐ฑ ๐๐ป๐ฑ๐๐๐๐ฟ๐ โ ๐๐ถ๐ธ๐ต๐ฎ๐ป๐ด ๐๐ถ๐น๐ถ๐ฝ๐ถ๐ป๐ผ and the ๐๐ฒ๐๐ถ๐ด๐ป ๐๐ฒ๐ป๐๐ฒ๐ฟ ๐ผ๐ณ ๐๐ต๐ฒ ๐ฃ๐ต๐ถ๐น๐ถ๐ฝ๐ฝ๐ถ๐ป๐ฒ๐, and is part of the Heritage Month activities of the National Commission for Culture and the Arts (NCCA).
Hosted at the UST College of Fine Arts and Design, the opening day established the intellectual and policy foundations of cultural education. The program opened with messages from ๐๐๐๐ผ๐ฐ. ๐ฃ๐ฟ๐ผ๐ณ. ๐๐ฒ๐ป๐ป๐ถ๐ณ๐ฒ๐ฟ ๐ฆ. ๐๐ด๐๐ถ๐น๐ฎ๐ฟ, ๐๐๐, Assistant Dean of UST College of Fine Arts and Design, and ๐๐ฟ. ๐๐ฟ๐ถ๐ฐ ๐. ๐ญ๐ฒ๐ฟ๐ฟ๐๐ฑ๐ผ, Chairman and Executive Director of the National Commission for Culture and the Arts, emphasizing the importance of cultural education and heritage safeguarding in higher education. Participants were then introduced to broader discussions on Philippine culture and the arts through lectures delivered by ๐ฃ๐ฟ๐ผ๐ณ. ๐ ๐ฒ๐น๐ฎ๐ป๐ถ๐ฒ ๐. ๐ง๐๐ฟ๐ถ๐ป๐ด๐ฎ๐ป-๐ ๐ฎ๐ฟ๐ฐ๐ผ๐, ๐ฃ๐ต๐ on Introduction to Philippine Culture and Arts, ๐ ๐ฟ. ๐๐ฒ๐๐๐ฏ๐ฒ๐ป ๐๐ป๐ด๐ฒ๐น ๐๐ผ๐ป๐ด๐ผ๐น๐ฎ๐ป on the Philippine Culture and Arts Framework, ๐๐๐๐. ๐ฃ๐ฟ๐ผ๐ณ. ๐๐น๐๐ถ๐ป ๐ฅ๐ถ๐ป๐ด๐ด๐ผ ๐. ๐ฅ๐ฒ๐๐ฒ๐, ๐ ๐ on the Cultural Education Framework of the Philippines, and ๐๐๐๐. ๐ฃ๐ฟ๐ผ๐ณ. ๐๐ฎ๐บ๐ฒ ๐ ๐ผ๐ป๐ฟ๐ฒ๐ป ๐ง. ๐ ๐ฒ๐ฟ๐ฐ๐ฎ๐ฑ๐ผ, ๐ ๐๐๐๐ฆ, who discussed international and local frameworks on safeguarding intangible cultural heritage.
On its second day, Likhang Kamay expanded learning beyond academic spaces through an immersion at Likhang Filipino Exhibition Halls in Pasay City. The day opened with welcome remarks from ๐ ๐. ๐ฅ๐ต๐ฒ๐ฎ ๐ ๐ฎ๐๐๐๐ฒ, Executive Director of the Design Center of the Philippines, is setting the stage for conversations on the role of design institutions in advancing Philippine creativity. Participants were introduced to indigenous craftsmanship and cultural entrepreneurship through ๐ ๐. ๐๐ผ๐ฟ๐ฎ๐๐ผ๐ป ๐๐น๐๐ถ๐ป๐ฎ, Director of Museo ng Kaalamรกng Katutubรฒ, whose lecture on Philippine Indigenous Crafts highlighted the significance of traditional knowledge and making practices. Sessions by ๐ ๐. ๐ฆ๐๐ฒ๐ฝ๐ต๐ฎ๐ป๐ถ๐ฒ ๐. ๐ฃ๐ฎ๐ฑ๐ถ๐น๐น๐ฎ and ๐ ๐. ๐ฅ๐ผ๐๐ฒ ๐. ๐ฅ๐ฒ๐พ๐๐ฒ๐ท๐ผ of the Design Center of the Philippines further demonstrated how indigenous motifs and ethnic patterns may be respectfully translated into contemporary products while preserving cultural meaning and integrity. The day concluded with immersion at Likhang Filipino, allowing participants to engage directly with the intersections of heritage, design innovation, and the creative industries.
Back at the UST College of Fine Arts and Design, Day 3 transformed ideas into lived experience as participants engaged directly with scholars, facilitators, and artisans while exploring practical approaches to teaching indigenous hand crafts in higher education. The morning sessions were led by ๐๐ฟ. ๐๐ฎ๐๐๐ผ๐ป ๐ฃ๐ฒ๐๐ฟ๐ฎ๐ of the University of the PhilippinesโDiliman, who introduced participants to Indigenous Knowledge Systems and Practices and discussed culturally responsive teaching approaches and translanguaging realities in the classroom. The highlight of the day was the immersive artisan engagement workshops facilitated by ๐๐๐๐ผ๐ฐ. ๐ฃ๐ฟ๐ผ๐ณ. ๐๐ป๐ป๐ฎ ๐ ๐ฎ๐ฟ๐ถ๐ฒ ๐. ๐๐ฎ๐๐๐ถ๐๐๐ฎ, ๐ ๐๐๐ฆ, ๐๐ฃ๐ง, featuring Pabalat (Paper Cutting) of San Miguel, Bulacan, Shell Craft of Iloilo City with ๐ ๐. ๐๐ฎ๐ป๐ถ๐ฐ๐ฒ ๐ฆ๐ฎ๐น๐ถ๐ฑ๐ฎ๐ป, Pottery of Tiwi, Albay with ๐ ๐ฟ. ๐ฆ๐ฎ๐น๐ฒ๐บ ๐๐ผ๐ฟ๐ถรฑ๐ผ, and Buli weaving traditions from Quezon led by ๐ ๐ฎ๐ฟ๐ ๐๐ฎ๐ป๐ฒ ๐. ๐๐ฎ๐น๐น๐ฒ๐ท๐ผ, ๐๐๐๐ฒ๐น๐ฎ ๐๐ฎ๐ฏ๐น๐ฎ๐ถ๐ฑ๐ฎ, ๐๐ฑ๐ผ๐ฟ๐ถ๐ฒ ๐๐ฎ๐ฑ๐ผ๐ฟ, ๐๐ฒ๐ฟ๐บ๐ถ๐น๐ถ๐ป๐ฎ ๐๐ถ๐ฎ๐, and ๐๐ฎ๐ป๐ถ๐ฒ ๐๐ฒ๐ฟ๐ฒ๐ฐ๐ต๐ผ. Participants moved beyond observation and experienced firsthand the patience, skill, and cultural narratives embedded in each craft tradition. Through hands-on activities and conversations with artisans, participants gained deeper insight into the relationship between making, meaning, and cultural transmission.
The final day of Likhang Kamay, held at the UST Museum, marked the culmination of four days of reflection, learning, and creative exchange dedicated to strengthening indigenous arts education in higher education institutions. The day formally opened with welcome remarks from ๐ฅ๐ฒ๐. ๐๐ฟ. ๐๐๐ถ๐ฑ๐ฟ๐ผ ๐. ๐๐ฏ๐ฎรฑ๐ผ, ๐ข.๐ฃ., ๐ฆ๐ง๐ต๐-๐ ๐, Director of the UST Museum. Centered on Foundations of Indigenous Art Pedagogy in the Philippines and a Workshop on Course Development, ๐๐๐๐ผ๐ฐ. ๐ฃ๐ฟ๐ผ๐ณ. ๐๐ป๐ป๐ฎ ๐ ๐ฎ๐ฟ๐ถ๐ฒ ๐. ๐๐ฎ๐๐๐ถ๐๐๐ฎ, ๐ ๐๐๐ฆ, ๐๐ฃ๐ง guided participants in translating insights from lectures, field exposure, and artisan engagement into concrete educational outputs. The workshop encouraged participants to envision courses, learning activities, and pedagogical strategies that integrate indigenous crafts into formal academic settings while remaining grounded in cultural sensitivity and ethical engagement. The training course concluded with closing messages from ๐๐๐๐. ๐ฃ๐ฟ๐ผ๐ณ. ๐ ๐ฎ๐ฟ๐ ๐๐ต๐ฟ๐ถ๐๐๐ถ๐ฒ ๐. ๐ค๐๐ฒ, ๐ ๐ฆ, ๐๐ฃ๐ง, Dean of the UST College of Fine Arts and Design. The training course affirmed that safeguarding indigenous hand crafts is not only the work of artisans and cultural institutionsโit is also a shared responsibility of educators who shape future generations through teaching, creativity, and meaningful engagement with heritage.