STATE OF THE BOLO MAKING INDUSTRY IN THE MUNICIPALITY OF BADIANGAN

A Research Proposal
Presented to
Dr. Ma. Eisa Baliao
Prof. Vicente Balinas
Prof. Allan Moscoso
College of Management
University of the Philippines in the Visayas
Iloilo City

In Partial Fulfillment
of the Requirements in
Plan 299 (Research and Planning)
Diploma in Urban and Regional Planning (DURP)

By
Ernest Carl Badana
L’Michelli K. Horlador
March 2010

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 CHAPTER I

INTRODUCTION

In one of the barangays of the Municipality of Badiangan, a 4 th Class town in the

northwestern central part of the Province of Iloilo, there is an existing bolo-making
(blacksmithing) industry that dates back to pre-Hispanic days.

Barangay Bingauan, Badiangan, Iloilo is a small farming village located 3.5

kilometers away from the town proper. It has a population of 911, of which 467 are
female and 444 are male. It has a total of 166 households and 180 families.

Blacksmithing has been a major industry in the area for centuries. The
“pandayan” where blacksmithing takes place is a common sight for many households
and most of the professionals in the barangay finished their schooling because of the
sweat and hardwork of their parents who earn their living through blacksmithing.

Various types of bolo are produced in Barangay Bingauan. The first type is the
“binakuko” which is the most common type of bolo and is used to chop firewood, cut
tree branches and shrubs and slice meat and vegetables; The “sinuwak” and “ginunting”
are bolos that are usually used to cut bamboo and often to get “tuba” or coconut wine.
The ”pinandak” is a common kitchen knife. The “surot” is used for gardening.

. With the bolo or “binangon” being a “must” item in every Ilonggo home because
of its many uses in daily life, “Bingauan” has become a brand name for bolos in the
area. It is also a favorite present for both local and foreign guests and a popular
“pasalubong” item for many balikbayans.

“Bingauan Binangon” as popularly known are preferred in local markets having

been proven to be authentic and durable. Sold at 350-400 pesos per piece, it takes
almost 4-5 hours for a piece of bolo to be produced, sheath and handle included. It is a
household industry with the men taking the hard labor part of shaping the metal with a
mallet while the women mostly take the lighter roles like weaving the “pikit” which
serves as design for the sheath and producing the needed air by way of a “hasiwas” so
the coal will be kindled and eventually produce the needed heat to make the metal
pliable.

Having been in existence for centuries, it is however, unfortunate that not much
has been written about the industry. Apart from limited documentation, there have also
been limited efforts in terms of ensuring the sustainability of the craft as well as its
promotion.

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 Almost 80-90% of the households used to engage in blacksmithing as source of
income in Barangay Bingauan. However, because of high cost of materials, limited
market access and the rigors that one has to endure in manually producing the bolos,
as well as the lack of interest on the part of later generations, the number of households
engaged in blacksmithing trickled to only 20-25 at present.

Support from both local and national government instrumentalities has been
minimal as well. A cooperative has been established as initial channel of support and
marketing outlet, however, mismanagement resulted to bankruptcy.

Showcased for the past six years in the annual Pandayan Festival of the
municipality, the industry is now struggling to keep up with modern times and is faced
with the danger of being listed as part of our rich but forgotten cultural past.

This study seeks to describe the state of the bolo-making industry in the
Municipality of Badiangan.

A. STATEMENT OF THE PROBLEM

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 What is the state of the bolo-making industry in Barangay Bingauan,
Badiangan, Iloilo?

B. OBJECTIVES OF THE STUDY

General Objective:

To describe the state of the bolo-making industry in Barangay Bingauan, Badiangan,

Iloilo.

Specific Objectives:

This study seeks to:

1. Present the general characteristics of the cultural site;

2. Identify the different types of bolos produced in Barangay

Bingauan, Badiangan, Iloilo and describe the specific
functions of each;

3. Illustrate the steps involved in bolo-making and the tools and

materials used for each step;

4. Explain the role played by each household member involved

in bolo-making;

5. Find out the challenges encountered by the industry from the

perspective of the households engaged in bolo-making, the
local government unit and other stakeholders;

6. Know what existing efforts were done by the community, the

local government and other stakeholders in terms of
conservation.

C. CONCEPTUAL AND OPERATIONAL DEFINITION OF TERMS

1. Heritage- something that has been inherited; a legacy that

we received from our ancestors and have to pass on to
future generations which includes both cultural and natural
heritage.

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 2. Cultural Heritage- refers to masterpiece of artistic and
historical value that tells us about the traditions, the beliefs
and the achievements of a region and its people.

3. Cultural Mapping- method of accounting for cultural assets

of a particular region

4. Intangible Heritage- the practices, representations,

expressions, as well as the knowledge and skills that
communities, groups and, in some cases, individuals
recognize as part of their cultural heritage.

5. Bolo- a large cutting tool or a knife used for agricultural

purposes or as a weapon

6. Bolo making- the process of making bolos

D. SIGNIFICANCE OF THE STUDY

The study does not only hope to add to the existing body of knowledge on the
topic but also expects to stir interest in intangible heritage and be able to contribute
to heritage conservation efforts, tourism development, proper land use management
and eventually to socio economic development.

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 CHAPTER 2

CONCEPTUAL FRAMEWORK

Internal weaknesses and external threats are seen as major roadblocks to the
success of the bolo making industry in Barangay Bingauan, Badiangan, Iloilo. Having no
local souce of steel, the high price of steel has become a major consideration for many
“pandays” or blacksmiths to abandon their craft. Added to this are other reasons like the
limited market for bolos, the lack of interest among younger generations, the refusal of
households to mechanize and lack of capital inflow.

The industry has also received limited support from the government. Restrictions
such as the issuance of permit to transport the bolos, the limited access to assistance
from LGUS and NGAs to improve product marketability, the lack of formal training of
bolo makers to improve their technical knowledge and promote innovations in the bolo
making process as well as the limited government effort on the part of government to
nurture the industry by institutionalizing heritage appreciation in local schools, zll
contribute to the gradual decline of the industry.

Figure 1 presents the schematic diagram of the conceptual framework of this

study.

Figure 1. SCHEMATIC DIAGRAM

Internal weaknesses

State of the bolo-making

External threats industry

Support system

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 CHAPTER 3

LITERATURE REVIEW

Heritage Conservation Concept and Definition

Heritage according to James Mozart R. Amsua, “is something that

has been inerited, a legacy that was received from ancestors and has
been passed on from generation to generations”.

The scope and definitions of heritage have gone a very long way.
Yayaha Ahmad in his article “The Scope and Definitions of Heritage:
From Tangible to Intangible” explains the evolution of heritage concept
since the adoption of the Venice Charter in 1964.According to him:

…for the last 40 years…there have been numerous

conservation guideline in the form of charters, recommendations,
principles that among others, have carefully defined the scope of
heritage and its broader definitions. The scope has broadened
considerably from mere concern for individual buildings and sites to
include environment and intangible values…” (2006, pp.292-300).

The article , “Intangible Cultural Heritage: What is Intangible

Cultural Heritage?” published by the UNESCO and Norwegian Ministry
of Foreign Affairs (n.d.) contends:

The term ‘cultural heritage’ has changed content

considerably in recent decades, partially owing to the instruments
developed by UNESCO. Cultural heritage does not end at
monuments and collections of objects. It also includes traditions or
living expressions inherited from our ancestors and passed on to
our descendants, such as oral traditions, performing arts, social
practices, rituals, festive events, knowledge and practices
concerning nature and the universe or the knowledge and skills to
produce traditional crafts.

It further defines intangible cultural heritage as:

Traditional, contemporary and living at the same time:

intangible cultural heritage does not only represent inherited

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 traditions from the past but also contemporary rural and urban
practices in which diverse cultural groups take part;

Inclusive: shared expressions of intangible cultural heritage

that are similar to those practiced by others. Whether they are from
the neighboring village, from a city on the opposite side of the
world, or have been adapted by peoples who have migrated and
settled in a different region, they all are intangible cultural heritage:
they have been passed from one generation to another, have
evolved in response to their environments and they contribute to
giving us a sense of identity and continuity, providing a link from our
past, through the present, and into our future. Intangible cultural
heritage does not give rise to questions of whether or not certain
practices are specific to a culture. It contributes to social cohesion,
encouraging a sense of identity and responsibility which helps
individuals to feel part of one or different communities and to feel
part of society at large.

Representative: intangible cultural heritage is not merely

valued as a cultural good, on a comparative basis, for its exclusivity
or its exceptional value. It thrives on its basis in communities and
depends on those whose knowledge of traditions, skills and
customs are passed on to the rest of the community, from
generation to generation, or to other communities;

Community-based: intangible cultural heritage can only be heritage

when it is recognized as such by the communities, groups or
individuals that create, maintain and transmit it – without their
recognition, nobody else can decide for them that a given
expression or practice is their heritage.

The Damascus experience on Integrated Heritage on the other hand

presents various layers to heritage. In a paper presented by Dr. Hani M. Al
Huneidi during the International Seminar on “Cultural Landscapes in the 21st
Century”, the following table was presented showing the three layers of
Damascus heritage with the corresponding sub layers and subjects per layer.
This has been achieved owing to the rich geological and historical past of
Damascus city civilization which dates back to more than 4500 years.

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Importance of Heritage

Heritage Hongkong states that heritage is important because “it serves to shape
values, ground aspirations and inspire creativity and a sense of belonging within a
community. It also contributes to social stability, civic pride and a richer quality of life by
providing a framework upon which a community, district, even a country can continue to
grow and develop socially and in some cases economically (PDF File,p.3, n.d.)

Socio economic development, the essence of which should be felt in the

manner by which the quality of people’s lives has improved is supposed to be a
product of good governance efforts. This involves proper management of local
resources, effective, efficient and responsive planning through the conduct of
proper sectoral consultations and of course the active participation of the
citizenry.

Socio-economic development to be more meaningful must be sustainable.

This means, development efforts must be geared towards responding to present
needs without compromising the needs of future generations (CLUP Handbook,
2008).

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 According to the United Nations Permanent Forum on Indigenous Issues
and the Convention on Biological Diversity, there are four pillars of sustainable
development: social, economic, environment, the fourth being cultural. The
Universal Declaration on Cultural Diversity (UNESCO, 2001) further elaborates
the concept by stating that:

"...cultural diversity is as necessary for humankind as

biodiversity is for nature”; it becomes “one of the roots of
development understood not simply in terms of economic growth,
but also as a means to achieve a more satisfactory intellectual,
emotional, moral and spiritual existence".
Cultural diversity as an important pillar of sustainable development must
therefore be given utmost consideration in development efforts. The Medium
Term Philippine Development Plan 2004-2010 recognizes this:

The enormous impact of culture on the economy and development

is a reality that many people do not see. The reason for this, according to
scholars, is perhaps a limited concept of culture, which confines it to the
arts. Culture should be seen as central to any form of development in the
pursuit of economic prosperity and national unity. Meaningful and
sustainable development must emanate from the culture of the people.
The protection, development and promotion of culture, therefore, are
imperative responsibilities of the government. Policies and strategies
sensitive to cultural realities must be pursued, so that the country can
embark on a meaningful and relevant development.

From the perspective of culture and poverty programs, culture is

defined as inclusive of creative expression, skills, traditional knowledge
and cultural resources that form part of the lives of peoples and societies,
serving as bases for social engagement and enterprise development.
Allowing for the varying view on culture, the government stands on
supporting culture as a free expression of creativity to serve as the base
for a dynamic process of consolidating human rights and supporting
poverty alleviation. For almost four decades now, the challenge of
developing the Filipino’s creative spirit has been the inspiration of all
organized efforts to raise cultural awareness to the national level. Efforts
have been made by past administrations to conserve and promote the
country’s cultural patrimony and resources.

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 Since 2002, initiatives of the culture sector have been focused on
the implementation of policies and strategies contained in the Medium-
Term Philippine Development Plan for Culture and Arts (MTPDP-CA)
2002-2005. There are seven program thrusts identified in the Plan that
addresses certain needs in the sector: (a) Culture and Education; (b)
Culture and Development; (c) Support for Artistic Excellence; (d)
Promotion of Culture and the Arts; (e) Conservation of Cultural Heritage;
(f) Culture and Diplomacy; and towards the end of 2003, the National
Commission for Culture and the Arts (NCCA) established the 7th program,
i.e., Culture and Peace. These programs were created as the framework
for direction and policy development from where project ideas can be
developed.

In 2002, the Philippine Cultural Education Plan (PCEP) 2003-2007

was also formulated to provide direction for cultural education in the
country. The plan resulted in the setting up of the Speakers’ Bureau in
response to numerous requests from schools, arts councils, local
government units (LGUs), and other cultural agencies, the conduct of
trainings and conferences under its cultural enrichment program for
teachers and students, and education courses in tertiary level, and the
donation of more than 30,000 copies of different publications/books and
almost 2,000 electronic materials to public libraries and schools
nationwide. Through the Institute for Cultural and Arts Management
(ICAM), the NCCA’s educational arm, nondegree courses for cultural
workers and other interested parties have been provided. Training almost
2,500 cultural workers, artists, art managers, cultural officers of LGUs and
private corporations, teachers, and cultural attaches, ICAM has reached
many regions in the country for the past two years. The continuing review
and development of cultural policies and legislative agenda on heritage
protection resulted in the drafting of important bills such as ‘An Act to
Provide Intellectual Rights of Indigenous Peoples’; ‘An Act for Philippine
Cultural Heritage Law’, and ‘An Act Establishing the Artists’ Career
Services and Special Qualification in Government’. These bills will
continually be pushed for until enacted by Congress.

The following illustration shows the inter-relationship between heritage

management, tourism management, land use management and socio-economic
development.

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 HERITAGE TOURISM
MANAGEMENT DEVELOPME
NT

LAND USE SOCIO-

MANAGEMENT ECONOMIC
DEVELOPEMEN
Engelhardt, Richard A.,The Role of Culture
Mapping in Heritage Resource
Conservation Management. PDF File,
( UNESCO:2006)

The study also recognizes crucial role of culture mapping as a crucial tool in
heritage management efforts. Engelhardt explains that the following are the
important uses of culture maps:

1.)Researching historical and physical condition;

2.)Analyzing physical condition, cultural significance, social and
administrative context; 3.) Planning by preparing conservationand
management strategies and plans; 4.) Implementing and monitoring the
site management; 5.) Managing future risks and impact.”

Approaches to Heritage Conservation

There are various approaches to heritage conservation. Engelhardt enumerates

two. The Bottom-Up Conservation Approach which calls for stakeholders cooperation
for the sustainable development of culture heritage tourism. This approach seeks to
catalyze indigenous community management as essential to a a cultural rights
basedapproach to governance. Top down approach involves integration of heritage
plans conservation into national and regional development plans as part of the strategy
for sustainable development (2006, PDF File).

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Law, Issuances and Standards

Various laws and issuances on heritage and conservation have been issued by
international organizations.

• Convention for the Protection of Cultural Property in the Event of Armed Conflict
(1954)

• Convention on the Means of Prohibiting and Preventing the Elicit Import, Export
and Transfer of Ownership of Cultural Property (1970)

• Convention on the Protection of the Intangible Cultural Heritage (2003)

• Convention on the Protection of Underwater Cultural Heritage (2001)

• Convention on the Protection of the Diversity of Cultural Contests and Artistic

Expressions (2005)

• Convention on the Protection of Underwater Cultural Heritage (2001)

E. METHODOLOGY

The study will be conducted at Barangay Bingauan, Badiangan, Iloilo and

will cover some 25-30 households which are currently engaged in bolo-making. A
complete enumeration of these households will be done and using an interview
schedule, based on standards of the National Commission on Culture and Arts,
cultural mapping will be conducted. The study shall describe the bolo making
process and document the various tools used as well as the role of each
household member in each process.

Primary and secondary data gathering based on interviews using a

prepared interview schedule, site visits and review of existing documents and
records will be used. The study will also utilize the Geographic Information
System (GIS) technology to map out the households engaged in blacksmithing or
“bolo”-making.

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 BIBLIOGRAPHY

Ahmad, Yayaha. “The Scope and Definitions of Heritage from Tangible to

Intangible” International Festival of Heritage Studies. 2006 Vol. 12, No. 3, pp.
292-300.

Amsua, James Mozart. “Small Things Forgotten:An Historical and Archeological

Approach”. Handout: University of San Agustin, Iloilo Social Science Department.
2010.

CLUP HANDBOOK, 2008: HLURB.

Engelhardt, Richard A.,The Role of Culture Mapping in Heritage Resource

Conservation Management. PDF File, ( UNESCO:2006)

Huneidi, Dr. Hani. “Damascus Case of Integrated Heritage”. UNESCO Forum.

Cultural Landscapes in the 21st Century. 2005,pp.1-6.

A Position Paper on Heritage Conservation in Hongkong. Heritage Hongkong.

Downloaded File.

Philippine Medium Term Development Plan 2004-2010

Universal Declaration on Cultural Diversity (UNESCO, 2001)

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