Likha: A showcase of Filipino heritage
Checking out the booths at the Likha trade fair and artisanal exhibit evokes a sense of national pride. Participants, from the brass-making community in Banaue to native weavers in Basilan and many other groups, showcase not only their exquisite wares but also their time-honored crafts. They are living proof and proponents of our rich cultural heritage.
Small wonder then that this initiative by the Office of the first lady has been chosen as one of the key highlights of Independence Day celebrations leading up to its actual date on June 12. The trade fair’s public run began last Friday at Foro de Intramuros in Manila and will end today. Admission is free.
First Lady Liza Araneta Marcos formally opened Likha on Thursday during a private event in the same venue. She described Foro de Intramuros as “recently converted into a community space to honor our culture and our heritage.”
Marcos went on sharing about her preopening visit “to check on the place,” and how she got to know some of the artisans while they were setting up their booths. She singled out Stall No. 9, run by a family from Sarangani. The family members walked from their residence in the province’s upland for eight hours to reach the urban area, where they took the bus for several more hours to catch a flight to Manila. It’s their first trip to the metropolis.
“Let’s give a round of applause to our weavers, basket-makers, artisans,” she told the audience. “All of you, thank you. I hope you come back next year. And on that happy note, time to shop!”
Platform for collaboration
Likha, which is now on its fourth edition, aims to foster meaningful exchanges among master craftsmen, emerging artisans, and local designers. Many of them have benefited from the project’s programs and assistance.
Siegrid Bangyay, who’s part of Sagada Pottery, told Lifestyle in an interview at the trade fair that she appreciates being given the platform to market their products and interact with fellow artisans and their clients.
“It’s my third time here,” she said. “It’s inspiring because you talk to the other craftspeople, and you see the process of craft or handmade pieces. It takes a long time, you know. You realize how tedious the process behind each product that they are producing is.”
Woodcarver Simplio Mata came with his wife Leonila from Barangay Panitian in Palawan for his first time joining Likha. He explained to us that he uses driftwood to make holders for bolos and kitchen knives, as well as figurines. He learned the craft at 17 from an uncle, and it has since been his livelihood that now funds his two children’s education.
Lloyed Niploy is another woodcarver and Likha first-timer. He hails from Hingyon town in Ifugao. He learned the craft at 32 to augment his income as a runner delivering bulul to antique collectors. He’s gone full-time into making chessboards, tables, and decorative items when he started losing his clients, the last being the playwright and director Floy Quintos, who died in April 2024.
Cousins Naima Musa and Tarhata Bansil learned making inaul (woven) malong (tubular wraparound skirt) when they were children. It’s a family tradition in their hometown, Matanog in Maguindanao del Norte.
“We’re the new generation of weavers,” they told us. “We continue what the past generations started. That’s why our tradition doesn’t die.”
They explained that they can each make a malong in two days, if they weave the whole day but with a lunch break. Their work is not only painful to the back, but as they pointed out, to the whole body.
Krisher B. Appay got her training in habul tiyahian, the traditional embroidery of Sulu, from her husband Julmidi L. Appay’s mother. She said Julmidi and her sisters-in-law also know the craft. In fact, doing embroidery is one way the couple can bond together, like while manning their booth at Likha.
She explained that habul tiyahian used to be exclusive to wedding garments. Today, it can be incorporated in jazzing up regular malong, scarves, and accessories. The design has also become contemporary.
Next step
After giving a platform for artisans to connect with a wider market, Likha heritage team member Al Valenciano told us that they are working on a permanent venue that will go beyond selling the artisans’ products.
“It’s more of a laboratory. It’s more of an incubator for all of these things,” he said. “Working with artisans is about building a relationship with them. The lab is in the works with a lot of private support.”
Valenciano, who’s also a master craftsman and owner of Balay ni Atong weaving atelier, expressed optimism that the artistry and hard work put into the crafts would be appreciated by Likha visitors. This way, they will understand why handmade products can be pricier than the regular ones that are readily available in malls.
Pricing was among the topics in the panel discussion led by Valenciano and other Likha heritage team members Len Cabili, also an entrepreneur, and Mico Manalo, an architect, with National Commission for Culture and the Arts chairperson Eric Zerrudo.
“When you talk of price, I always believe that cultural sensitivity is directly proportionate to price,” Zerrudo said. “When you come here, your cultural sensitivity is heightened by your conversations, by the narratives of the people.”
He added, “That’s when this embeds some sense of a deeper understanding, a deeper appreciation, that hopefully, this is our fourth year, we should have already been moving toward a level of cultural responsibility.
“What am I trying to tell you here? If you understand the processes, if you understand the conquering the distances, if you understand the enduring memories, you know that entails a heavy price. It cuts across not just your people, your community, it cuts across generations.”
He stressed, “This whole exercise is a form of dignification, not just for the craftsmen, but for all the Filipinos who come here. They realize the Filipinos are so talented.”
