Lukay Art in Cebu A Heritage of Living Traditions

European Scientific Journal November 2013 edition vol.9, No.32 ISSN: 1857 – 7881 (Print) e - ISSN 1857- 7431
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LUKAY ART IN CEBU: A HERITAGE OF LIVING
TRADITIONS
Reynaldo B. Inocian
Cebu Normal University
Abstract
This study is a documentary analysis of “puso” (rice-pouch/hanging
rice) used as a ritual object among the village farmers in Taptap, an isolated
mountain barangay of Cebu City. “Puso” is an embodiment of the cultural
identity of the Cebuanos that needs ardent preservation as a heritage of living
traditions. The use of ethnography and actual observation revealed that
“puso” is used in the farm rituals. Six major designs of “puso” were
documented as the last few pieces of the elaborate designs woven before the
13th
century prior to the arrival of the Spaniards in 1521. Actual weaving and
cooking processes were photographed, art elements and principles were
analyzed in each design, and symbolisms were identified based on the actual
ritual. All these variables were juxtaposed to establish a need for
preservation. The cultural preservation of intangible heritage is an advantage
for successful socio-cultural-tourism framework.
Keywords: Lukay art, puso-weaving, puso ritual, “panaad”, “lantayan”,
“harangan”, “tambalan”, “mamumutang”, heritage of living traditions
Introduction
Emily Dickinson once said, “Nature is a haunted house--but Art--is a
house that tries to be haunted”. Nature is preoccupied with all the different
species of life as a perfect macrocosm of God’s creation. Humans who
represent her microcosmic entity try to extol her beauty through art
appreciation. The best source of art is nature herself that generates a myriad
appreciation like Lukay Art. This natural art is embodied through the use of
“lukay” (coconut palm), as one form of perishable art in the Philippines with
which early “Sugbu-anons” (Cebuanos) were engaged in before the 13th
century, but records of which were chronicled by Spanish missionaries and
friars in the middle of the 15th
to the 17th
centuries in the Visayas.
As quoted in a South Sea maxim "He who plants a coconut tree
plants food and drink, vessels and clothing, a home for himself and a
heritage for his children". The fringes and shorelines of the Visayas are

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known for the variety of tropical palms known as “Cocos nucifera”, “lubi” in
Bisaya, “niyog” among the Tagalogs, as a source of livelihood, on which this
art is dependent. This art does not only widen our imagination, but also stirs
a psyche that uplifts our emotions - symbolic of our existence and experience
with nature. Antonio Pigafetta, a nobleman from Venice, who boarded one of
Magellan’s five ships, when they arrived in the Visayas, attested that:
"Coconuts are the fruit of the palm trees. And as we have bread and
wine, oil and vinegar, so they get all these things from the said trees… With
two of these palm trees, a whole family of ten can sustain itself, the coconut
trees last for a hundred years."
This account validated our claim on the abundance of coconuts in the
Philippines, like the Visayas. Its different uses are still prevalent in these
times more especially in far-flung areas of the country. Cebu, as one of the
tropical islands in the Visayas, where several pieces of lukay art designs
were found, was believed to have religious and ritual origins related to this
indigenous craft.
The interior upland areas of Cebu served as a haven of peace among
the early Sugbu-anons in the past with flourishing farm rituals related to their
animistic traditions. Animism is the belief and worship of “anitos” or spirits
gods. These ubiquitous gods are distinguished by particular functions, and
often take on human characteristics. Deities take on the form and
characteristics of objects found in nature, including trees, sacred herbs,
cattle, animals and animal–human hybrids. The animism of the Filipinos in
olden times was confirmed by Fr. Juan de Placencia’s accounts, OSF, in
Blair and Robertson 7: 186, 189, who attested that:
“Among their many idols there was one called Badhala, who they
especially worshiped…. They also worshiped the sun, which, on account of
its beauty, is almost universally respected and honored by heathens. They
worshiped, too, the moon, especially when it was new, at which time they
held great rejoicings, adoring it and bidding it welcome. Some of them also
adored the stars…. They paid reverence to water-lizards called by them
buaya, or crocodiles, from fear of being harmed by them. They were even in
the habit of offering these animals a portion of what they carried in their
boats, by throwing it into the water, or placing it upon the bank”.
This form of worship is common among fishermen and locals in the
lowlands where marshes, rivers and shorelines are found. Typical of this
account also is the animist practices of the early Sugbuanons in upland areas
of the province. These Sugbuanons showed reverence for nature as
exemplified by the elaborate designs of “lukay” art by Nocheseda (2009).
We believe that nature is the source of life. Thus, we often call her “Mother
Earth”, from where most of our needs are sourced. The early Sugbuanons

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were dependent on it as they worked in the farm for food. It is to the same
nature that they had to give indisputable gratitude.
This study was anchored on John Passmore’s anthropocentric and
Paul Taylor’s bio-centric theories that supported a mutual interdependence of
nature and humans. Taylor’s theory on Environmental Ethics provides both
“a full account of the biological conditions for a comprehensive view of the
complex relationship between human beings and the whole of nature”. A
bio-centric outlook entails that humans ought to “follow nature” in the sense
of using what happens in the natural world as a model for our behavior
(Taylor, 2011). Further, Taylor propounded that a bio-centric outlook on
nature follows four beliefs, such as: (1) humans are members of the Earth’s
Community of Life on the same terms as other living things; (2) the human
species, together with numerous other species, are integral elements in a
system of interdependence guaranteeing their survival; (3) all organisms are
teleological centers of life; and (4) humans are not superior to other living
beings.
It is apparent that humans are non-detachable members of nature
who grow interdependently with other species in the environment for
survival. However, humans are not considered superior to other creatures
because every organism is a tapestry of nature’s existence. Thus, humans
revered nature. In contrast to Taylor’s view, Passmore’s anthropocentric
theory expounded that humans are the most influential entity in nature.
Human dependency on nature for survival is shaped and controlled.
Passmore urged that we have obligations to immediate posterity; we ought to
try to improve the world so that we shall be able to hand it over to our
immediate successors in a better condition for all. This paved the way to
nature appreciation through the mystical tradition of Lukay Art. This study
was also anchored on verism – a theory that reality must be represented in
art. The art designs of “puso” are reflections of nature’s reality. People give
symbolic meanings to things and this association of symbolic meanings
influence the way people act (Blumer, 1996).
The advent of modernization contributed to the declining practices of
these rituals. The writer was lucky, because while he grew up, he was able to
witness the jewels of the past in the tranquil slopes of Taptap’s upland
village in the ‘70s and ‘80s. Toward the ‘90s up to the present, these rituals
have slowly dwindled except for a few families that have retained the values
of these traditions. Thus, this study was conducted based on the mandate of
the National Commission on Culture and the Arts (NCCA). RA 7356, sec, 7
“states the duty of every citizen to preserve and conserve the Filipino
historical and cultural heritage and resources”. In line with this, a vigorous
retrieval and conservation of lukay art and traditions were pursued since the
late ‘90s as a permanent collection of the Cebu Normal University Museum.

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This collection is part of a vibrant preservation of heritage of living traditions
among the Cebuanos with the hope of reaching a wide perpetuation of this
heritage in the future. To Almerino (2002), every time people eat “puso”,
they become part of a heritage celebrating itself.
Objectives Of The Study
The aim of this study is to demystify the intricacies of Lukay Art in
Cebu as embodied in puso weaving. To answer the main problem, the
following objectives were raised: (1) analyze the human dimensions and
symbolisms of Lukay Art as seen in the various designs of “puso”, (2)
describe the elements of art and the design principles used in puso-making,
(3) document the required procedure of puso weaving; (4) generate the
procedures of puso-cooking; (5) feature the use of “puso” in the actual ritual;
and (6) identify the farm rituals where different designs of “puso” were used
as a ritual object.
Short Literature Of The Study
King (2002) pointed out that in those countries that practice
Hinduism, people doing “puja”, may include making offerings to their gods
or deities, in the form of coconuts, flowers, and apples. In this context, the
use of coconuts has been noted as a significant object in the ritual. Its leaves
are used in the weaving of “puso” among the Cebuanos, “tamu” among the
Tausugs, “ketupat” among the Malaysians, “ketipat” among the Indonesians,
and “katupat” among the Thais. All these prove such diversity with one
common art identity.
Lin & Lin (2003) cited that the “ketupat” is matched with “satay”
(lamb meat barbecue) or “rendang” (a type of dry beef curry) for very
important celebrations like the “Eid ul-Fitr” (Breaking of Fasting Festivity),
marking the end of the Ramadan and the Hari Raya. On the other hand,
Miguel de Loarca (1582), in Blair and Robertson 5: 173, 175, attested that:
“In some places, and especially in the mountain districts, when the
father, mother, or other relative dies, the people unite in making a small
wooden idol, and preserve it. Accordingly, there is a house which contains
one hundred or two hundred of these idols. These images also are called
anitos; for they say that when people die, they go to serve the Batala.
Therefore they make sacrifices to these anitos, offering them food, wine, and
gold ornaments; and request them to be intercessors for them before the
Batala, whom they regard as God”.
Loarca’s account substantiated the use of food offerings that the
natives made through the “puso”, which corroborated the findings of Fathers
Alciña and de San Buenventura. According to Fr. Alciña, as cited by
Nocheseda (2011), noted that:

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“During the rituals, the people serve puso not as everyday victual but
as important instruments in many animist offertory practices. They use puso
offerings in the paganitu rituals to communicate with the diwata”. A similar
account was also documented by Fr. Pedro de San Buenventura (1613/1994,
451) translated offrenda, or offerings to the spirits, as dahon since most of
the food they offered to the spirits were wrapped in leaves and, once offered
and consecrated, should never be unwrapped, or “badbaran”, by mortals.
Alciña also noted that babaylan priest took hold of banay, or anahaw leaves,
during their rituals to make all sorts of actions when they prepared
sacrifices and offerings. As such these leaves became the mark of their office
and were used as symbolic memorial for their graves when they died” (pp.
259-260).
Such findings of Loarca and Fathers de San Buenventura and Alciña
were also substantiated by similar findings of Montebon (2000) that:
“Our ancestors believed in the diwata who were either ancestral
spirits or regional spirits. They thought the former had the power to inflict
good and evil in the form of sickness to their descendants while the latter had
jurisdiction over mountains, fields, seas, and houses. Before, the natives
crossed the seas, they asked permissions from the spirits.”
These requests were similar to the reasons of most sacrifices intended
in the “pagdiwata” in Cebuano or “mag-aanito” in Tagalog (a system of
idolatry), which Jocano (1998) enumerated, such as: (1) recovery of a sick
person; (2) prosperous voyage of those embarking for sea travel; (3) a good
harvest from the sowed lands; (4) a propitious result in wars; (5) successful
delivery in childbirth; and (6) a happy union in married life. Jocano further
added that for the wealthy families, these religious festivities would last,
often for thirty days’ celebration. As regards the rituals in the mountain
villages of Cebu, the entire celebration would last for a day usually
determined by the local shaman.
Methods And Materials
Research Design
This was an ethnographic study among the upland farmers who
practiced the art of weaving “puso” and used the actual ritual through a
snowball sampling. Participant observation, interview, immersion, and
documentation were the primary techniques used in the study. As a
participant observer, verbal permission was asked and was granted by a
“mamumutang” (ritual petitioner) and a “mananampit” (local shaman) to
take photographs and answer questions for documentation in both the actual
puso-weaving and the ritual.
A documentary analysis of primary and secondary sources was made
and interfaced with ethnographic descriptions. Documenting the actual

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procedure of the weaving of puso in various designs took several weeks. A
number of days were intended for a personal interview of the
“mamumutang” and the “mananampit” as target respondents about the
different farm rituals where the puso is used as a ritual object. Verbal data
were recorded, categorized, and themes were generated in order to provide a
holistic understanding of the intricacies of the art of puso-weaving as a
heritage of living traditions in Cebu.
Results And Discussion
Table 1 Replication of Nature’s Beauty
Designs Symbolisms Dimension
“Binaki” or Froglike In human dreams, frogs symbolize spiritual
and emotional transformation. They remind
us of human transitions or turning points in
our ordinary life to another level of life’s
challenges. Frogs are always associated with
fertility and abundance.
Replication of
nature’s beauty
“Manan-aw” or orchid
Caring of orchids is an ancient custom in
different cultures. Orchids symbolize love,
beauty, royalty, luxury, elegance, strength,
perfection, virility and fertility. Among the
natives, they used these pouches for asking
very important favors like to conceive a child,
strength in the marital vows, obtaining
perfection in one’s mission and the like.
Replication of
nature’s beauty
Replication of nature’s beauty was the farmers’ ecological orientation
from which emanated a profound mysticism and reverence with nature.
Developing reverence, love and respect for the natural world was the most
vital link to healing our planet and establishing a connection of peace
(Amma, 2003).
Table 2 Perceived Utilitarianism
“Binosa” or Shot-glass
This rice pouch resembles a wine-shot glass
used primarily in a social gathering. This
represents a great rejoicing for a very important
celebration of a family’s achievement, victory,
and thanksgiving.
Perceived
Utilitarianism
“Tinigib/Dumpol/Pudol” or
Chisel
This rice pouch represents the carpenter’s
passion for furniture construction and building
of houses. This reminds us of the importance of
a carpenter’s labor and the satisfaction of people
toward his craft.
Perceived
Utilitarianism

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This dimension is represented by the productive orientation among
the upland farmers in the past as their vital attitude toward achievement of
success in every undertaking that they engaged in symbolic of reverence for
nature.
Table 3 Self-esteem, Self-glorification, and Pride
“Kinasing” or Heart-like
shape The Kinasing rice pouches are common designs
among the Cebuano rice pouch weavers. This
design reminds us of our trait of being sincere to
one another, “kinasing-kasing”. Like the human
heart, this design also means the source of love,
which is one of the foundations of peace in the
family, the community, the nation, and the world.
For Self-esteem,
Self-glorification,
and Pride
This dimension represents the hedonic orientation among upland
farmers to be proud of their self-identity as farmers with a strong faith in
nature, by which their needs were filled. It was the pleasurable experience of
the farmers that nature is pleased with their abundant harvests and good
deeds.
Table 4 Human Mobility
“Badbaranay” means to untie
This rice pouch was represented by any
explicit action like to open a pack or to untie
a package. This design was used to open the
ritual ceremony.
Ceremonial
Behavior
This dimension was represented by the farmers’ ontological
orientation in the conduct of the ritual where humans and the spirits of the
under-world are enjoined to engage during the actual ceremony.
Elements of Art Inscribed in Puso
Line, texture, space, color, value, shape, and form are the seven
elements that develop our sense of aesthetics for appreciation (Silva, 2010)
upon which the art of puso-making can be fully understood. The supple and
fresh coconut fronds or “lukay” represent lines in vertical strips that can be
placed overhanging on one hand for the start of the interlacing process of
weaving.
The fronds would not be a good material for weaving if these have no
good texture. The best textures for the fronds are supple and smooth. These
can be ensured when the fronds are young and freshly picked from the farm.

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When these qualities are assured, the interlacing process would not be
difficult.
Color provides the attraction of the “puso”. The dominant color of a
fresh frond would range from the monochromatic shades of yellow to
viridescent green. A very enticing color of nature, but once it is cooked this
would change to shades of xanthic, rustic, and matte gold. Once hung on the
stall, these rice pouches look like golden treasures.
Values are one of the qualities of color that make the masterpiece of art
appear either so striking or dreary. “Puso” has ranges of color values. The
younger and lighter the fronds used the more attractive the values become,
while the darker the fronds used the more boring the values become. That is
why in selecting fronds for puso weaving, it must be ascertained to
determine their freshness because these affect the entire value of finished
rice-pouches.
It is very unthinkable to have art without shape. It is shape that gives
possible forms and sizes. Once “puso” has been woven, it creates elaborate
shapes of a fist, a diamond, a shot glass, a froglike, and others. These
shapes are dependent on what the rice-pouch-weaver desires to weave. The
geometric angles, points, and sides of these shapes are equidistant that
provide a perfect balance of reality.
Once the weaving of “puso” has been completed, its form can be
obviously identified and can be measured in its three dimensions like height,
width, and depth. These dimensions depend on the ideal sizes of puso that
the weaver intends to weave.
“Puso” Design Principles
The “puso” designs are characterized mostly by formal balance
because there is the balance between equal weights at equal distances from
the center. This type of balance is called bisymmetric balance. The
triangular points in every corner of the design are balanced because of the
uniform measures of length and width of supple fronds used as primary
materials in weaving.
There is no “puso” if rhythm is not used in the actual weaving in a
form of organized movement. Rhythm is obviously utilized in the actual
interlacing and looping process of the “puso” through parallelism, rhythm
of vertical and horizontal strips that interlock from a right- over-left
direction.
The emphasis of lukay art is basically on the actual object represented
in various shapes. Emphasis is seen on the elaborate shapes of the designs.
For instance, for “kinasing”, someone would like to find out how the heart
shape of the design is emphasized in the actual weaving, while the rest of its
geometrical points serve as subordination. Emphasis can also be fully

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enhanced in the actual tightening process of the “puso” upon which reality
is represented by the design.
Another important principle in the art of weaving is harmony. This
refers to the correspondence in size, form, and arrangement of parts on
opposite sides of a plane, line or point; regularity of form or arrangement in
terms of like, reciprocal, or corresponding parts. In puso-weaving, harmony
can be determined through the regularity of the size and lengths of the palm
strips that create a certain form of impression in the entire interlacing
process and its tightening to produce very symmetrical rice pouches in
various shapes. Art variety refers to the assortment of other elements of art
that provide the whole aesthetics of “puso” as a masterpiece.
In puso-weaving, variety can be actually seen in the sizes and shapes
of the rice pouches. But, concentrating to one “puso’ design alone, variety
can be viewed in the interlacing process of geometrical lines and points of
the rice pouch, which serve as a primary structure of its shape and form
known as the entire arrangement of the weaving process.
In puso-weaving, the designs of the rice pouches are projected to the
actual actions of the real objects and animals found in nature. For instance,
the “binaki’, with its froglike-shape, is woven like the real frog that touches
the ground, the “manan-aw” that is suspended in an orchid garden, the
“binosa”, a shot glass ready for wine drinking, and “tinigib”, chisel, ready for
a carpenter’s use. Movement is the element that makes the viewer’s
imagination catapulted to an immersion of reality.
Rice pouches, like other forms of art, also have proportion. In puso-
weaving, weight, height, degree, ands size can be ascertained by the use of
proportion. For example, the “binosa”, shot glass, appears smaller than the
“binaki”, froglike shape, because in reality frogs are much bigger than wine
shot glasses. In order to follow certain proportions in the weaving, the
“binosa” is woven with only one strip, compared to the “binaki’ with four
strips. The number of strips would make the entire size of “puso”,
proportionate.
In puso-weaving, unity is applied when the weaver knows how to find
perfection of the entire parts of the weaving process such as: the ideal palm
strips to use, the weaving skills, the object representations, the time element
for weaving, and the intended purpose for the ritual.
Basic Procedure in Puso-making
The following are the basic steps in rice pouch braiding, which most
of the “mamumuso” (rice-pouch-weaver) commonly use, such as: (1)
Removing the midrib of each coconut frond with the use of the nail of the
right thumb finger or with the use of a viola to ensure its sanitary value; (2)
Slashing desired strips to create whatever sizes of “puso” the weaver likes to

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make according to its purpose like: offering, eating, or selling; (3) Braiding
the desired designs of “puso” using interlacing and looping figures in each of
the desired designs indicated in the subsequent pages; and (4) Tightening the
“puso” to ensure its stable shape and to keep the rice grains intact inside its
surface.
A. Binosa/Inumol Weaving Procedure
The following are the basic steps in weaving “binosa”: (1) Take one
strip and interlace right over left firmly held by your thumb supported by
your fingers to form a ribbon like shape; (2) Take the leg strip and loop it to
the rear side to form the lower coil; (3) Take the head strip and insert it right
over left on the upper coil; (4) Take the tail end strip and insert it to the rear
side of the lower coil; (5) Insert the leg strip and interlace to the lower end of
the head strip; (6) Insert the leg strip and interlace to the upper end of the
upper coil; (7) Tighten the newly woven pouch by pulling down both the
head strip and leg strip to the tail end; (8) Pour rice grains into the pouch, the
amount of which is half of the pouch’s size; and (9) Lock the tail strips in
preparation for boiling.
B. Kinasing Weaving Procedure
The following are the basic steps in weaving “kinasing”: (1) Hang the
frond side of the strip by the left hand (for a right-handed weaver) or by the
right hand (for the left-handed weaver); (2) Take the frond strip in front of
you and loop it to the right with the back strip folding it to the top and the
left thumb supporting it; (3) Take the frond strip at the back and loop it
towards the left with the front strip to the bottom and the left thumb
supporting it; (4) Insert the tail-end of the back strip to the lower part of the
front strip; (5) Insert the tail-end of the front strip to the lower part of the
back strip; (6) Insert the tail-end of the front strip to the upper part in
between the two head-strips and release the strip out to the rear side; (7)
Insert the tail-end of the front strip to the upper part in between the two head-
strips and release the strip out to the front side; (8) Loosen-up your left hand,
and take the leg-strip in front and weave directly toward the bottom
following the position of the head strip; (9) Loosen up your left hand, and
take the leg-strip at the back and weave directly toward the bottom following
the position of the head strip; (10) Take the leg strip to the front side and
twist it towards the right and weave upward following the right over left
interlacing; (11) Intertwine the leg strip with the second woven horizontal
strip; (12) Continue intertwining the leg strip with the fourth woven
horizontal strip; (13) Release your hand and take the leg strip at the rear side
and twist it towards the left and weave upward following the right over left
interlacing; (14) Intertwine the leg strip with the third woven horizontal strip;

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(15) Release your hand and tighten the pouch; (16) Start tightening the pouch
by always pulling the head strips down to the tail strips on both the front and
the rear sides of the pouch; (17) Pour rice grains into the pouch; the amount
is half of the pouch’s size; and (18) Lock the tail strips in preparation for
boiling.
C. Dumpol/Pudol. Tinigib Weaving Procedure
The following are the basic steps in weaving “dumpol”: (1) Hang the
frond strips on the left hand (for right-handed weaver) or on the right hand
(for the left-handed weaver); (2) Take the frond strip in front of you and loop
to the right with the back strip to the top while supported by the left thumb;
(3) Take the frond strip at the back and loop to the left with the front strip to
the bottom; (4) Insert the tail-end of the back strip to the lower part of the
front strip; (5) Insert the tail-end of the front strip to the lower part of the
back strip; (6) Insert the tail-end of the front strip to the upper part in
between the two head-strips and release the strip out to the rear side; (7)
Insert the tail-end of the front strip to the upper part in between the two head-
strips and release the strip out to the front side; (8) Loosen up your left hand,
and take the leg-strip in front and weave directly toward the bottom
following the position of the head strip; (9) Loosen up your left hand, and
take the leg-strip at the back and weave directly toward the bottom following
the position of the head strip; (10) Take the reverse position of the pouch and
interlace the leg strip and upwardly weave following the right over left
interlacing; (11) Intertwine the leg strip with the second woven horizontal
strip; (12) Intertwine the leg strip with the first woven horizontal strip; (13)
Intertwine the leg strip with the third woven horizontal strip; (14) Release
your hand to tighten the pouch; (15) Start tightening the pouch by constantly
pulling the head strips down to the tail strips on both the front and the rear
sides of the pouch; (16) Continue tightening the pouch at the reverse side by
constantly pulling the head strips down to the tail strips of both the front and
the rear sides of the pouch; (17) Pour rice grains into the pouch, with the
amount half of the pouch’s size; and (18) Lock the tail strips in preparation
for boiling.
D. Badbaranay Weaving Procedure
The following are the basic steps in weaving “badbaranay”: (1) Hold
the two leg strips with one common head strip in an open position; (2)
Interlace the open leg strips right over left; (3) Take the two leg strips
together and bring these once to the right side to form a spiral in the front
side of the open hand, locked by the thumb with the rest of the fingers
providing support; (4) Repeat step 3 for the second time to form the second
spiral. If the leg strips are long, make a third spiral; (5) Hold it carefully and

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openly spread the coils and interlace the curls right over left with the first
coiled spiral; (6) Interlace the second coiled spiral in both sides; (7) To add
size to the pouch, interlace the remaining third coiled spiral in both sides; (8)
Repeat step 7 to the rear side to provide balance. If a length of leg strip is
still available, repeat steps 6 and 7; (9) Release the coiled strips from your
hand; insert the tail-end to close; (10) Release the coiled strips from your
hand until they reach the opposite side; (11) Position your hand in
preparation for tightening; (12) Tighten the pouch by pulling both head strips
down until the tail-end of the leg strips; (13) and Pour rice grains into the
pouch, with the amount half of the pouch’s size, and (14) Lock the tail strips
in preparation for boiling.
E. Binaki Weaving Procedure
The following are the basic steps in weaving “binaki”: (1) Open two
head strips to make four equal leg strips size; (2) Interlace the four strips
right over left with the two heads in opposite directions; (3) To interlace,
twist the two inner leg strips; (4) Hold them firmly in the same position; (5)
Repeat steps 3 and 4 for the second round of twisted interlacing; (6) Repeat
steps 3 and 4 for the third round of twisted interlacing; (7) Release your hand
a bit and interlace the two leg strips with the first head strips; (8) Release
your hand a bit and interlace the other two leg strips with the second head
strips at the opposite sides; (9) interlace the two leg strips to the right side
right over left; (10) Interlace the two leg strips to the left side right over left;
(11) Interlace the four leg strips right over left to form the opposite end of
the pouch’s body; (12) Twist the two inner leg strips to form a point; (13)
Close the two outer leg strips and interlace them by following the same
direction of the inner leg strips; (14) Interlace the first head strips right over
left; (15) Interlace the second head strips right over left in the opposite side;
(16) Loop the first leg strips with the head trips towards the opening; (17)
Loop the second leg strips with the head strips towards the opening; (18)
Interlace the first two leg strips right over left to close; (19) Interlace the
second two leg strips right over left to close; (20) Interlacing of the pouch is
concluded; (21) Tighten the pouch by pulling down both the head and four
leg strips toward the opening of the pouch; (22) Pour rice grains into the
pouch; the amount is half of the pouch’s size; and ( 23) Lock the tail strips in
preparation for boiling.
F. Manan-aw Weaving Procedure
The following are the basic steps in weaving “manan-aw”: (1) Prepare
eight strips of fronds with four separate head strips. Intertwine these to have
two separate sets; (2) Position your hand for the right over left interlacing;
(3) Interlace the first four strips towards the opposite first pair of four; (4)

361
Twist the two inner leg strips right over left and interlace in the same
direction with the two outer leg strips; (5) Interlace the second set of four
strips towards the second pair of four, while the rest of the fingers are
providing support to the interlaced end of the pouch; (6) Twist the two inner
leg strips right over left and interlace in the same direction with the two outer
leg strips; (7) Release the other four leg strips and start interlacing the first
set of four leg strips right over left; (8) Interlace the other four leg strips at
the opposite side; (9) With your left hand, hold the other two leg strips while
the right hand interlaces the first two leg strips towards the first head strips;
(10) Interlace the second leg strips toward the second head strips; (11)
Interlace the third leg strips toward the third head strips; (12) Interlace the
fourth leg strips toward the fourth head strips; (13) Interlace right over left
the first four leg strips; (14) Interlace right over left the second four leg strips
on the opposite side; (15) Interlace the first four leg strips toward the two
head strips; (16) Interlace the second four leg strips toward the two head
strips on the opposite side; (17) Interlace the first leg strips toward the
pouch’s opening; (18) Interlace the second leg strips toward the pouch’s
opening; (19) Interlace the third leg strips toward the pouch’s opening; (20)
Interlace the fourth leg strips toward the pouch’s opening; (21) Hold the
finished pouch for tightening; (22) Pour rice grains into the pouch, with the
amount half of the pouch’s size; and (23) Lock the tail strips in preparation
for boiling.
Basic Procedure in Puso-cooking
After the desired number of “puso” has been woven, rice-pouch-
weavers perform the following procedures: (1) Place the finished “puso” in a
clean basket, tray, or container away from dust or any form of dirt to protect
its sanitation; (2) Winnow the rice to remove rice hull, small pebbles and
other particles, (3) Mix together the violet or black rice (Tapul nga humay) to
add color for aesthetic variation; however, this is optional; (4) Hold the
“puso” on your left hand by pulling one of the two strips upheld, to place the
rice by gripping as it slowly loosens to drop inside its surface area; (5)
Calculate the amount of rice half from the rice-pouch’s surface area to ensure
its proper cooking; (6) Loop finally one of the upheld strips to closely tighten
the pouch to prevent the spilling of rice from its surface; (7) Clean a large
can or any cast iron container called “calderong dako” and place it in a large
cauldron called pugon or sug-ang; (8) Regulate the amount of heat for a safe
boiling water and proportional cooking effect; (9) Pour water inside the
container three-fourths from its surface area, enough for the desired volume
of the pouch to be placed inside it and give allowance for evaporation while
the water is boiling; (10) Wait for 15 to 30 minutes to boil water before the
rice-pouch is placed inside it (11) Drip the filled pouch in the boiling water

362
altogether to make sure that water absorbs rice inside the “puso” to have an
equal amount of cooking; (12) Cover the container within 30 minutes to
properly cook the field-rice-pouches; (13) Determine whether this is cooked
by removing its cover and by then pulling up one of these from the cauldron
for the purpose of testing; (14) Observe the drip of water droplets from its
pointed surface. “If it drips one to three times as it vanishes, then the dish is
already cooked, if the droplets continue to drip many times, the “puso” is
still half-cooked, then place it back in the container to ensure proper
cooking” (15) Rinse the cooked “puso” in a clean tray right after these are
pulled up from the container to dry in a few minutes before these are to be
bunched according to the desired number; and (16) Bunch the cooked “puso”
ready for eating, offering, selling, or for consignment delivery.
Puso in a Symbolic Ritual
Loarca, Alciña, and Buenventura’s accounts are enough support of the
writer’s claim that “puso” was used as a ritual object among the Cebuano
farmers before the Spanish colonization was in line with telluric purpose.
The full descriptions on how these bunches of “puso” were used as a ritual
object in its most tacit and solemn form are shown in these photographs.
The picture in the upper left is the “lantayan”
ritual where rice pouches (puso) of different
designs are used for farm rituals. “Lantayan”
is derived from a Cebuano word “lantay”,
which means banquet table (made of
indigenous perishable materials) which is
usually to be constructed on the ground
beside the house to invite the spirits of the
underworld to partake on the banquet.
At the lower left is the “harangan” ritual
where rice pouches (puso) of different designs
are used inside the house. “Harangan” is
taken from the Cebuano word “harang”,
which means to block. The ritual is usually
done on the floor of the house blocking the
main door of the kitchen door to block the
souls of the departed to dine in the banquet.
As shown in the lower end, the late Noy
Paulino who acted as the local
“mananampit” (practitioner), also served as
the intermediary between a person or group
and the spirit to be connected as revealed by
the” tambalan”(the local shaman).
(Source: CNU Museum pictorial collections)

363
Though animistic in context, that is the way Noy Paulino manifested
his tenacity to nature’s reverence and preservation, Like him who was
tendetious about the reverence for nature, the writer tried to imitate it but
dropped the animistic ritual for the sole reverence of one God, but had never
discounted its anthropological significance – a Cebuano heritage worthy of
admiration in the preservation and orderliness of nature.
Farm Rituals Associated with “Puso”
The practice of farm rituals is a set of theurgy – supernatural
practices of farmers who claimed benefits from deities ranging from good
health to abundant harvests and harmony with nature. There are several farm
rituals (butangan) associated with the use of several designs of “puso”, the
Sugbu-anons of Taptap practice according to purpose or family intentions:
(1) “Harang sa mga kalag” (ancestor worship offering), (2) “Buhat Silung”
(diwata ritual for good fortune and thanksgiving for abundant harvest), (3)
“Tigpo” (for farmers’ atonement of sins of the spirits of the underworld), (4)
“Sagangsang” (for tuba gatherers’ ritual for abundant wine), (5) “Damit” (in
preparation for abundant harvest), (6) “Balangkisaw” (rituals for the
atonement in sinning against the spirits of the water gods), and (7) “Pamisa”
(for the souls in purgatory).
Discussion
1. Lukay Art designs of “puso” exhibited certain symbolic and
human dimensions that distinguished ecological, productive, hedonistic, and
ontological orientations of “puso” as a ritual object.
2. “Puso” designs are represented by unique aesthetic elements
worthy of appreciation.
3. Each of the six major designs of “puso” is represented by a set of
common and specific weaving procedures.
4. Whatever design of “puso” is desired by the farmers, it follows a
uniform set of procedure in actual cooking.
5. The use of “puso” is one of the most important ritual offerings by
which every local shaman requires the ritual petitioner for the families to
offer it on the ritual table.
6. Whatever type of farm ritual is officiated, the symbolism of
“puso” can never be ignored as an indispensable object.
Conclusion
Based on the results of the study, it is hereby concluded that any form
of Lukay Art embodied in the “puso” represents a replica of symbolic
meanings and human dimensions in various forms of orientation that
symbolizes the farmers’ relationship with nature. “Puso” has imbibed the

364
complete aesthetic elements with fixed procedures for weaving and cooking.
This has contributed to a certain form of mysticism of farm rituals as a
celebration of a unique farmers’ experience with nature as a form of
intangible heritage of living traditions in a socio-cultural-tourism framework.
References:
Almerino, Corazon M. (2002), Into the Heart of Puso, Life and Leisure
Column, Sunstar Daily, July 25, 2002.
Amma (2003, Developing reverence for nature http://www.ammaaustralia.
org.au/GreenFriends/LivingConsciously/amma-greenfriends-reverence-for-
nature.html
Jocano, Landa F. (1998), Filipino Prehistory: Rediscovering Pre-colonial
Heritage, Pudlad Research House, Inc., Quezon City.
King, Jenny (2002), World’s Religions: Know and Understand Different
Beliefs, World Link Books, http://www.goodreads.com/book/show
/6404326-world-s-religions
Lin, Catherine & Chua Wei Lin (2003) Gateway to Malay Culture, Asiapac
Books, Singapore.
Montebon, Marivir R. 2000, Retracing Our Roots: A Journey Into Cebu’s
Pre-Colonial Past,
Minglanilla, Cebu: ES Villaver Publishing.
Nocheseda, Elmer I. (2011) The Art of Puso Palm leaf Art in the Visayas in
Vocabularios of the Sixteenth to Nineteenth Centuries, Philippine Studies,
No. 2 Ateneo de Manila University.
Nocheseda, Elmer I. (2009) Palaspas: An Appreciation of Palm Leaf Art in
the Philippines, Ateneo De Manila University Press: Quezon City.
Silva, John L. (2010), Loving the arts: a workbook for public school
teachers, aboitiz transportation system & synergia, manila.
K to 12 Modules in Araling Panlipunan for Grade 7, DepEd National Office,
2012.
Republic Act 7356 The Law Creating the National Commission for Culture
and the Arts http://paarl.wikispaces.com/file/view/NCCA%20by%20
Joseph%20Yap.pdf/56618802/NCCA%20by%20Joseph%20Yap.pdf

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