Pangasinan State University

Bayambang Campus
Laboratory High School
Bayambang Pangasinan
A. Y. 2025 - 2026

A SEMI-DETAILED LESSON
PLAN
IN
GRADE 7
ARTS OF LUZON: HIGHLANDS
AND LOWLANDS

SUBMITTED BY:
RONNA FAYE A. PALISOC
BPED 2-1

SUBMITTED TO:
MR. JOEL M. CASTELO, LPT, MED-PE
INSTRUCTOR 1

DATE OF SUBMISSION:
SEPTEMBER 3, 2025

DATE OF TEACHING:
SEPTEMBER 24, 2025
I. OBJECTIVES
a) Classify the arts and crafts of Luzon as Highland or Lowland.
b) Draw or sketch one art or craft from both the Highlands and Lowlands
with a brief explanation.
c) Reflect on the cultural significance and values of Luzon’s arts and crafts
and explain why preserving them is important.
II. SUBJECT MATTER
A. TOPIC
Arts of Luzon: Highlands and Lowlands
B. REFERENCE
Cortez, L. J. (2020). Arts Quarter 1 – Module 5: Arts and Crafts of Luzon
(Highlands and Lowlands) Attire, Fabrics, and Tapestries.
Department of Education. [Link]
quarter-1-module-5-arts-and-crafts-of-luzon-highlands-and-
lowlands-attire-fabrics-and-tapestries/
Cortez, L. J. (2020). Arts Quarter 1 – Module 6: Creation of Arts and Crafts
of Luzon (Highlands and Lowlands) Crafts, Accessories, and Body
Ornamentation. Department of Education.
[Link]
content/uploads/2021/10/Arts7_Q1_Mod6_CreationOfArtsAndCr
aftsOfLuzonHighlandsAndLowlandsCraftsAndAccessoriesAndBody
Ornamentation_v2.pdf
Cortez, L. J. (2020). Arts Quarter 1 – Module 7: Arts and Crafts of Luzon
(Highland and Lowlands) Architectures. Department of Education.
[Link]
content/uploads/2021/10/Arts7_Q1_Mod7_CreationOfArtsAndCr
aftsOfLuzonArchitecture_v2.pdf
Cortez, L. J. (2020). Arts 7 Quarter 1 – Module 8: Creation of Arts and
Crafts of Luzon (Highlands and Lowlands) Sculpture. DepEd
Tambayan. [Link]
content/uploads/2021/10/Arts7_Q1_Mod8_CreationOfArtsAndCr
aftsOfLuzonScultpture_v2.pdf
C. INSTRUCTIONAL MATERIALS
a) TV for presenting powerpoint presentation
b) Printed objectives and classroom rules
c) Ballpen and printed master list for checking of the attendance
d) Whiteboard marker for discussion
e) Cut-out picture/s of highland and lowland Luzon and its arts and
crafts.
D. VALUES INTEGRATION
a) Respect and Appreciation
b) Creativity
c) Discipline and Responsibility
III. LEARNING PROCEDURE
A. PRELIMINARIES
1. Prayer
2. Greeting of the Class
3. Checking of Attendance
4. Classroom Rules
B. MOTIVATION
“Highland or Lowland?” is a mini starter game where the teacher
will give the two group of students a cut-out picture of the arts and crafts
of Luzon for them to identify whether the art is from Lowland or
Highland. They will paste the picture to a landscape showing the scenery
of lowland and highland Luzon. Then the teacher will check if they
grouped the cut-out pictures right or wrong.
C. LESSON PROPER
Attire, Fabrics, and Tapestries Meaning
 Fabric or textile is a cloth produced by weaving, knitting,
tufting, knotting or bonding together using natural or synthetic
threads, yarns, and other materials.
 Attire refers to the clothes or outfits worn by the group of
people in a specific area or community.
 Tapestry corresponds to any piece of decorative fabric to where
the designs were originally applied through weaving as the
fabric is being made. It is used to cover furniture or floors, hang
on walls and clothing decorations.
Kalinga (Cordillera Region)
Fabric:
The Kalinga natives are highly skilled weavers known for
embedding geometric motifs into their textiles. Upper Kalinga weavers
often use the twill-weave technique, where the weft thread passes over
multiple warp threads to create diagonal patterns. Their textiles feature
tiny motifs and embellishments such as miniature lattice, continuous
lozenge patterns called inata-ata, and pawekan or mother-of-pearl
platelets. The colors also hold cultural meanings: red for bravery, black
for the land, white for flowers and coffee trees, yellow for sand, and
green for mountains.
Attire:
Male Kalingas traditionally wear the bahag (or bag), a long cloth
about 10–15 inches wide and 3–5 feet long, wrapped securely around
the waist to cover the lower body. Their attire is often complemented
with feathered headgear and arm bands. On the other hand, female
Kalingas, especially in the north, wear the saya, a skirt that covers from
the waist down to the feet. In earlier times, both men and women did not
wear upper garments; instead, their upper bodies were adorned with
tattoos as part of their cultural identity.
Tapestries:
The kagoy is a traditional cotton blanket of the Kalinga people,
originally from Malbakan. It is a large rectangular blanket made by
sewing together three strips of material. Its design features a white base
cloth decorated with red, yellow, and green stripes, making it both
functional and culturally symbolic.
Ilocos Region
Fabric:
The Inabel fabric of the Ilocanos is admired for its softness,
durability, and intricate designs. It is traditionally woven using the
pangablan, a wooden or pedal loom, which allows weavers to apply
different weaving techniques and patterns.
One of the most notable designs is the binakul weave, also known
as the dizzying weave. This double-toned basket weave forms patterns
resembling sea waves, believed to protect the wearer from evil spirits.
The binakul, along with other techniques, reflects the Ilocanos’ creativity
and their inspiration from natural elements such as landforms, flowers,
vegetation, animals, and even the night sky.
Attire
The traditional Ilocano attire made from inabel consists of a two-
piece set: the kimona and the pandiling. The kimona is a plain white or
pastel blouse, often with a cowl neckline, while the pandiling is a full-
length, cone-shaped skirt with a drawstring at the waist. These garments
are worn over a kamison, a full slip that serves as an undergarment. For
footwear, Ilocanos use tsinelas, simple everyday leather slippers, while
on Sundays and fiestas they wear kutso, formal beaded felt and leather
footwear.
Tapestries:
The wasig blanket from the Ilocos Region is a handwoven
masterpiece created by the skilled weavers of Bangar, La Union. Made
using abel weaving techniques on a two-pedal wooden loom, this
blanket features striped designs that highlight both artistry and
tradition. Each wasig blanket is valued not only for its beauty but also for
its durability, preserving its usefulness and cultural significance for
many years.
Crafts, Accessories, and Body Ornamentation
Tattoing
Kalinga tattooing is a traditional art form considered both
clothing and decoration, as it covers the chest and arms with symbolic
designs. The last known traditional tattoo artist, Apo Whang-Od,
practices this ancient method using a thousand-year-old technique. The
process begins by scraping charcoal (uling) from a rice pot, which is then
mixed with fresh water to create a pigment paste called merteka. After
kneading it to the right texture, patterns are laid out using dry straw
dipped in the pigment. The actual tattooing is done with thorns from the
pomelo tree, tapped into the skin to embed the design. Despite its painful
process, Kalinga tattooing remains a powerful cultural symbol of identity
and tradition.
Burnay Pottery
The burnay pottery of the Ilocanos is a traditional unglazed
earthen jar known for its durability and sturdiness. Made by mixing clay
with fine gravel, sand, and ashes, the jar is then fired to achieve its heavy
form. It usually has a small opening and may feature simple designs such
as curved patterns around the shoulders. Another decorative technique
involves pricking the jar’s surface with a stick while it is still soft, adding
texture and uniqueness to each piece.
Ling-ling or dinumug
The ling-ling-o, also called dinumug, is a traditional Ifugao amulet made
from materials such as jade, gold, copper, bronze, stone, and shells. The
 choice of material often indicated social status, with gold or brass
versions symbolizing higher standing. Still worn by the Ifugao and Igorot
today, the ling-ling-o is commonly crafted as pendants or earrings.
Beyond adornment, it also serves as a fertility symbol, reflecting its deep
cultural and spiritual significance among the tribes of Northern
Philippines.
Architectures
Calle Crisologo
Calle Crisologo, also known as the Heritage Village in Vigan,
Ilocos Sur, is a narrow cobblestone street lined with Spanish colonial
houses. These houses feature high-pitched roofs, spacious rectangular
living rooms, hardwood floors, terracotta, adobe, bricks, lime, and capiz
shell windows. Built with mortared bricks and stones on the first floor
and timber on the second, the structures were designed to withstand
earthquakes and storms. Today, these well-preserved houses showcase
the enduring legacy of Spanish-era architecture in Vigan.
Ivatan's House
The Ivatan houses in the Batanes Islands are uniquely built to
withstand frequent typhoons and earthquakes. Their walls are made of
limestone, while roofs are covered with reed and cogon. These houses
are divided into two parts: the main house, made of lime and stone, and
the kitchen or storage area, usually built with wood and thatch. With
ceilings only 1.60–2.00 meters high and small door and window
openings, the design helps maintain warmth inside.
Sculpture
Sculpture is the art of creating two- or three-dimensional forms,
either realistic or abstract, through carving, molding, or casting. It can be
made using various materials such as polymer clay, earth clay, play
dough, soap, plaster of Paris, wax, balsa wood, and paper mâché.
Sculpting involves two main processes: additive, where materials are
added to build up the form, and subtractive, where materials are
removed to reveal the shape.
Bul'ul
The bul’ul is a traditional wooden sculpture of the Ifugao,
representing rice granary spirits. Carved from narra wood, it symbolizes
wealth, happiness, and well-being. This simplified human figure plays a
central role in rituals, especially during the tunod or planting season,
where it is dipped in pig’s blood to invoke ancestral protection, drive
away pests, and ensure a bountiful harvest.
Ukit
Paete, Laguna, known as the Woodcarving Capital of the Philippines,
is famous for its traditional craft called “ukit” or carving. Paete artisans
are skilled in creating wooden religious images, decorative panels, and
intricate designs featuring floral and geometric patterns. As a subtractive
form of sculpture, this art highlights the town’s rich cultural identity and
craftsmanship.
D. ENRICHMENT ACTIVITY
Sketch or draw an art or crafts of Luzon whether it is from Highland or
Lowland and give a brief explanation or information about it.
 E. GENERALIZATION
a) How can we identify the different arts and crafts of the highlands
and lowlands of Luzon?
b) Why is it important to recognize which arts and crafts belong to the
highlands and which belong to the lowlands?
c) How do the arts and crafts of Luzon show the culture, values, and
traditions of the people, and why should we preserve them?
IV. EVALUATION
Instruction: Read each question carefully and encircle the letter of the
correct answer.
1. Which weaving technique is commonly used by Kalinga weavers to
create diagonal patterns?
a. Plain weave
b. Basket weave
c. Twill weave
d. Satin weave
2. What does the red color in Kalinga textiles symbolize?
a. Bravery
b. Land
c. Flowers
d. Mountains
3. What traditional attire do male Kalingas wear to cover the lower body?
a. Kimona
b. Pandiling
c. Saya
d. Bahag
4. Which traditional attire is worn by female Ilocanos?
a. Kimona and Pandiling
b. Bahag
c. Saya
d. Dati
5. What is the weaving technique used to make the Ilocano wasig
blanket?
a. Twill weave
b. Single-pedal loom
c. Two-pedal wooden loom
d. Basket weave
6. Which description fits Burnay pottery?
a. Lightweight and fragile
b. Unglazed, heavy, and sturdy
c. Painted with vibrant colors
d. Made of metal
7. Who is the last traditional Kalinga tattoo artist?
a. Apo Whang-Od
b. Bul’ul
c. Paete artisans
d. Ling-ling-o makers
8. What does the bul’ul represent?
a. Fertility symbol
 b. Protection against evil spirits
c. Rice granary spirits
d. Decorative wall hanging
9. Which town in Laguna is famous for woodcarving and intricate
designs?
a. Vigan
b. Paete
c. Batanes
d. Malbakan
10. Why are Ivatan houses built with thick walls, low ceilings, and small
openings?
a. To preserve heat
b. For decoration
c. To keep insects out
d. To withstand typhoons and earthquakes
V. ASSIGNMENT/AGREEMENT
Instruction:
Write a reflection in 2 short paragraphs (5–7 sentences each) about the
arts and crafts of the people of Luzon. In your reflection, explain:
a) How these arts and crafts show the culture, values, and traditions of
the community.
b) Why it is important to preserve these cultural practices for the next
generations.
Scoring Rubric for Reflection
Criteria Excellent (5 pts) Good (3–4 pts) Needs
Improvement
(1–2 pts)
Content (10 pts) Clearly explains Explains one part Very incomplete
culture, values, well but the other or off-topic (1–5
traditions AND is missing or less pts).
importance of detailed (6–8 pts).
preservation (9–
10 pts).
Clarity (5 pts) Well-organized, Somewhat clear, Hard to follow or
easy to read and minor confusion confusing (1–2
understand (5 (3–4 pts). pts).
pts).
Grammar (5 pts) Few or no errors Some errors but Many errors, hard
(5 pts). still to understand (1–
understandable 2 pts).
(3–4 pts).
Total: 20 points