Title Sop

METHODS OF PRODUCTION:
THE HANDCRAFTED SOFT

WHISK BROOM IN CASTILLA,
SORSOGON
Arao, Cyrus
Ascutia ,Annalyn G.
Jacob, Daniel Eiron
Lobrigo, Shelady M.
Miranda, Ariane Joy
Reales, Joshua
Statement of the Problem
In this research paper entitled, “Methods of

Production: The Handcrafted Soft Whisk Broom
of Production in Castilla, Sorsogon” is to
ascertain background knowledge, learn the
procedure for making soft whisk broom with
the assistance of an expert in Castilla,
Sorsogon. Additionally, this study seeks to
comprehend the background of
handcrafted soft whisk broom, ascertain the
types of materials used and to appreciate
the regional goods in Castilla, Sorsogon.
Specifically the study aims to find
solutions in the following questions.
1. What is the demographic profile of the
workers in terms of:
a. gender
b. age
c. status
2. What are the methods of production and
the materials used in creating their crafts?
3. What are the problems experienced by
workers who make soft whisk brooms.
4. How many items of soft whisk broom can
be produced on a daily/monthly basis
5. What are the factors associated to the
problems experienced by workers who
make soft whisk brooms.
6. What suggestions can be given by the
respondents to address the problems
experienced by workers who make soft
whisk brooms.
7. What implications can be given in line
with the methods of production of
handcrafted soft whisk brooms.
According to Mr. Carlos Alama Jr. one of the makers of
soft whisk broom in Castilla, Sorsogon. He started
creating a soft whisk broom in the year of 2007 with the
help of his wife. In his community the majority of the
producers are 20-50 years of age, male, female, married
and elementary graduate only. Moreover, majority of their
enterprises are single proprietorship and operating for
more than 14 years. And based to our observation the
production process, it was identified that the product of
all producers are purely manual. There were no advanced
equipment that use electricity and computer in operation.
There are various simple tools in the production such as
clamp or locally called “pang-ipit”. Surprisingly, all
producers are using their own houses only as the place
for production meaning no producer invested in a
separate area or building for production.
 In 1987, then President Corazon C. Aquino penned Executive
Order No. 118 creating the Presidential Commission on Culture
and Arts. Five years later, in 1992, this presidential directive was
enacted into law– Republic Act 7356, creating the National
Commission for Culture and the Arts (NCCA). The original bill
was jointly authored by Senators Edgardo Angara, Heherson
Alvarez, Leticia Ramos Shahani, and Congressman Carlos
Padilla. The National Commission for Culture and the Arts
(NCCA), Philippines is the overall policy making body,
coordinating, and grants giving agency for the preservation,
development and promotion of Philippine arts and culture; an
executing agency for the policies it formulates; and task to
administering the National Endowment Fund for Culture and
the Arts (NEFCA) — fund exclusively for the implementation of
culture and arts programs and projects. The government’s
support for cultural development is particularly highlighted by
the passage of R.A. 7356 that created the NCCA.
According to UNESCO (1997) Traditional handicraft is
handmade with distinctive features such as being produced
craft villages or areas using raw materials from sustainable
resources and containing artistic/ creating/ culturally/
attached/ religious/ socially symbolic value.
Most arts and crafts makers are self-employed and earn a
living through direct sales of their arts and crafts. For this
reason, they spend some percentage of their time creating
works and some percentage selling them. Some artists
operate their own galleries or share galleries with other artists
and sell their works through the gallery. Some craft makers sell
their goods online, work with shop owners to sell good in
stores, or operate their own stores. Most arts and crafts
makers occasionally rent booths at local and national art,
craft, or trade shows.
Handicraft products are unique by
their nature, design, materials used
in them and they also reflect the
artistic interest and feelings.
According to Dash (2011, p. 241)
handicrafts are the unique symbol of
a particular community or culture
through indigenous craftsmanship
and material. Due to the increased
globalization, handicraft products
are competing very intensively with
goods from different corners of the
world.
Traditional craftsmanship is perhaps the
most tangible manifestation of intangible
cultural heritage. However, the 2003
Convention is mainly concerned with the
skills and knowledge involved in
craftsmanship rather than the craft products
themselves. Rather than focusing on
preserving craft objects, safeguarding
attempts should instead concentrate on
encouraging artisans to continue to
produce craft and to pass their skills and
knowledge onto others, particularly within
their own communities.
and material.
and material.

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METHODS OF PRODUCTION:

THE HANDCRAFTED SOFT

In this research paper entitled, “Methods of

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