00000cam a2200000 i 4500 UP-99796217613218409 Buklod 20230619101907.0 m q i ta 230619s2019 xx d |||| || | (iLib)UPD-00443966551 DAC rda eng DMLUC LG 996 2019 P46 B76 Boquiren, Laya author. The Mandukit of Sta. Ursula, Betis, Pampanga carving sacred images, negotiating heritage Laya Boquiren ; Cecilia De La Paz, adviser. Quezon City Asian Center, University of the Philippines Diliman [2019] x, 521 leaves color illustrations 28 cm text rdacontent unmediated rdamedia volume rdacarrier Thesis (Doctor of Philosophy in Philippine Studies)--University of the Philippines Diliman May 2019. P - the author wishes to publish the work personally This dissertation is about the negotiation of artistic heritage featuring the mandukit of Sta. Ursula, Betis, Guagua, Pampanga. This research centers on producers of sacred images and related objects for ecclesiastical and domestic devotion as well as professionals. Salient to this study is the correlation of the practice of carving sacred images and the performative act of defense of place. I examined the intersections of authorized heritage discourses, heritage productions, and the social dimension of everyday labor. The selected heritage actors specialize in carving sacred images and related objects. They work as freelancers or operate their own workshops with a consistent labor force sustained all year round. Of interest is the significance of pamandukit in the place that sustains and vivifies the members of the community of Sta. Ursula. Their emplacement in Sta. Ursula arises out of the maintenance of social networks, from which knowledge is also transmitted. Moreover, the affinity for Sta. Ursula is sustained even after residing in another province. The talyer or workshop is considered not only as physical site for workers but constituted by networks of consanguineal linkages, sustained by the proximity of neighbors and affective affinity for place. Occupational identities are scrutinized alongside transformations in the physical and social landscape. Added to these is the mediating power of institutions under the auspices of the state through the local municipality, the academe, the church, and the heritage actors who represent these. The dissertation traces the process of heritagization: how the veneer of heritage accrues over time and through the heritage productions of various actors from the state, the private sector, the academe, the church, and members of the community. In tracing a heritage from below, it was necessary to explore how institutions run by state and the private sector generate heritage discourses and disseminate them. The dissertation unravels how the artistic heritage of pamandukit is negotiated through the everyday practice of carving sacred images and the performative tactics initiated by the mandukit who identify with and maintain social linkages in the place. Therefore the production of sacred images sustains the mandukit and his kin networks, providing the impetus to remain in the place that encompasses work and the social space. This community of mandukit and their families who have been disenfranchised and underserved are sustained by pamandukit despite chronic uncertainties. The practice of carving sacred images and the objects produced in the workshop provide distinction to the place and specialists among mandukit from Sta. Ursula. This distinction enables them to establish their own workshop and sustain other members of the community. The dissertation also studied heritage-negotiating collectives as the Mandukit Anluagi Sta. Ursula and the Betis Woodcarving and Multipurpose Cooperative and how, galvanized by the rhetoric "wala nang batang nag-uukit ngayon," they tactically form temporary alliances and assemble to proactively transmit pamandukit to members of the community. The research also examined the Dukit Festival, a community-based heritage production that features a woodcarving demonstration and exhibition. It traduces the everyday gestures, sounds, and spatial arrangements in a talyer. Aside from the performative display of embodied artistic knowledge, the Dukit Festival is also a site of aspirations and conscriptions in various agenda. No longer strictly celebrated on feast days, the Dukit Festival has had numerous iterations in various occasions."--Provided by the author. Cultural property Protection Pampanga (Philippines) Cultural property Social aspects. Pampanga(Philippines) Cultural policy. Pampanga (Philippines) Economic conditions. Pampanga (Philippines) Social life and customs. Pampanga (Philippines) Social conditions. Boquiren, Laya author. De La Paz, Cecilia adviser. Book FI UP UPD DAC LG 996 2019 P46 B76 Book