Manifesto of the Unburied Roots: A Call to Resurrect the Living Soul of Pre-Hispanic Philippines

 

A Filipino Heritage Revolution

New Path for Our Roots

Our home, the Philippines, has a long and rich history. But for over 500 years, that history has been buried. The stories of our ancestors, their art, and their ways of life were pushed aside by Spanish and American colonizers. The lie we've been told is that our true history began when they arrived. We are here to say that's not true.

We believe that our pre-colonial past is not dead, but simply forgotten. It’s like a seed waiting to grow again. The goal of this movement is to remember and honor our roots, not just as a history lesson, but as a living part of who we are today.

The Past Is Not Just the Past

For too long, our culture has been treated as a simple curiosity or something old-fashioned. Traditional writing systems were burned, sacred statues were destroyed, and beautiful art was dismissed. This was a deliberate act to erase our identity and replace it with someone else's.

Today, we see the results of this in our schools, museums, and even in our own minds. We are often taught to feel shame about our indigenous practices, and our ancient knowledge is seen as less important than Western ideas. This is the lasting poison of colonialism, and we must work to flush it out.

We Are Reclaiming Our Culture

We are not looking to go back in time. We are looking to bring the wisdom of our ancestors into the present. This effort runs parallel to movements like the Kutbayin Art Movement, which was started by the artist Fred DeAsis, PhD. The movement takes the ancient Baybayin script and makes it a living part of modern art. It shows how we can respect our past while creating something new and powerful for the future.

Here's how we'll do it:

Learn from our elders:

We will seek out the stories, traditions, and knowledge that still exist in our communities. We will listen to the people who hold on to these practices and learn from them.

Create new art from old wisdom:

We'll encourage artists to study the principles and philosophies behind our pre-colonial art forms. Instead of just copying old designs, they can use that knowledge to create new work that speaks to today's world.

Practice our traditions openly:

Our culture is not just for museums. It is for our everyday lives. We will create spaces where indigenous languages and rituals can be used without apology. We will show that our traditions are not relics, but a powerful part of our identity.

We refuse to let our culture be defined by others. The beauty, wisdom, and strength of our ancestors stand on their own. We will honor them by bringing their spirit into our lives today. We are not just preserving our past; we are building our future.

(Manifesto is originally from an on-line page and with permission from the author.)

The Four Pillars of Kutbayin Art Movement — A Filipino Heritage Revolution

Introduction — The Visionary and the Genius Behind Kutbayin

In today’s age of cultural blending and globalized identities, the Kutbayin Art Movement stands as a vibrant resistance. Founded by Fred DeAsis, an award-winning Filipino artist, educator, and cultural preservationist, Kutbayin transforms pre-colonial Philippine art traditions into a powerful visual language for the modern world.

DeAsis’ genius lies in weaving centuries of heritage into contemporary art. His works revive Baybayin, incorporate ethnic tribal motifs, echo ancestral spiritual geometry, and embrace modern artistic fusion—all in one movement that speaks to the Filipino soul.

1. Baybayin Script — Reviving the Ancient Filipino Writing System

Before Spanish colonization, the Philippines had a thriving literacy culture. Baybayin, from “baybay” (to spell or trace), was the elegant script of the Tagalog people. Written on bamboo, palm leaves, and stone, Baybayin was both a tool for communication and a visual art form in itself.

In Kutbayin, Baybayin becomes glyphic poetry—characters reimagined as abstract, flowing symbols that carry ancestral energy. These scripts, whether representing waves, stars, or reaching hands, invite viewers to connect with pre-colonial history while engaging in a modern visual dialogue.

2. Ethnic Motifs — Indigenous Patterns Reimagined

The Philippines is a tapestry of indigenous cultures, each with distinct visual languages:

Ifugao woodcarvings and bulul rice guardians

T’bolit’nalak dreamweaving patterns

Tausug boat zigzags and maritime designs

Kalinga geometric textiles

Visayan tattoo whorls

Kutbayin art does not replicate— it reinterprets these motifs into a unified visual grammar. This integration celebrates that ethnic means original, not primitive, and positions indigenous art at the forefront of cultural innovation.

3. Spiritual Geometry — The Ancestral Map of the Cosmos

Before the arrival of Catholicism, the Philippines was guided by animist beliefs and the spiritual leadership of the babaylan. Nature was alive—every river, mountain, and tree had a spirit.

Kutbayin captures this worldview through spiritual geometry:

Circles for cycles of life

Triangles for balance between sky, land, and sea

Spirals for ancestral return and eternal continuity

Radiating patterns for Bathala, the creator spirit

These shapes are more than designs—they are encoded prayers, visually mapping the Filipino cosmos in modern form.

4. Modern Fusion — Where Tradition Meets Contemporary Art

Kutbayin thrives not in archives, but in the present day. Ancient Baybayin glyphs and tribal motifs pulse with neon colors, digital layering, and abstract compositions.

This fusion reflects the hybrid Filipino identity—Malay and Austronesian roots, shaped by Spanish, American, and Asian influences. In Kutbayin, tradition doesn’t just survive—it evolves into something alive and relevant for a digital, urban world.

Conclusion — Kutbayin as a Cultural Revival

In an era of cultural erasure, Kutbayin is more than an art style—it is cultural resistance. It invites Filipinos to see their ancestors not as victims of colonization, but as keepers of timeless wisdom.

Fred DeAsis has created more than paintings; he has built a visual movement where the past speaks to the present and inspires the future. Kutbayin shows us that heritage is not a relic—it is a living, breathing force waiting to be rediscovered.

The Enduring Echo of Ancestry: Kutbayin Art and the Reconfiguration of Filipino Identity in the Global Art Discourse

The emergence of the Kutbayin art movement represents a profound and intellectually rigorous intervention in the discourse surrounding Filipino national identity and its articulation within the global art arena. This is not merely a stylistic innovation; rather, it constitutes a critical engagement with the historical weight of colonialism and the persistent influence of Western artistic paradigms. Kutbayin achieves this through a multifaceted approach that requires in-depth scholarly consideration.

• Firstly, Kutbayin operates as a potent act of reclaiming pre-colonial heritage. By consciously integrating the near-extinct art of Kut-kut and the ancient Baybayin script, the movement actively excavates and revitalizes indigenous Filipino visual languages that were marginalized and suppressed during centuries of colonial rule. This act of artistic retrieval serves not simply as a nostalgic exercise but as a deliberate counter-narrative to the dominant Western art historical trajectory that often overshadows non-Western artistic expressions. Furthermore, by countering Western art norms, Kutbayin implicitly challenges the universalizing tendencies of Western modernism and its subsequent iterations. It posits an alternative aesthetic framework rooted in the specific cultural and historical context of the Philippine archipelago, thereby decolonizing the very notion of artistic value and relevance. The incorporation of Baybayin, beyond its aesthetic appeal, functions as a powerful symbol of national identity through collective memory. It connects contemporary Filipinos to a shared past, fostering a sense of continuity and cultural distinctiveness that transcends the ruptures of colonialism. This act of visual remembering reinforces a collective "Filipino-ness" that is not solely defined by colonial experience but is anchored in a deeper, more ancestral consciousness. Consequently, Kutbayin embodies a decolonial aesthetic and advocacy. It reframes the visual landscape through an indigenous lens, asserting the validity and vitality of pre-colonial artistic traditions in the contemporary moment. This decolonial impulse extends beyond mere representation; it actively seeks to dismantle the hierarchical structures that have historically privileged Western artistic forms. Finally, Kutbayin achieves modern resonance and diaspora engagement by demonstrating the enduring relevance of these ancient forms in the 20th and now 21st centuries. It speaks to the experiences of Filipinos both within the archipelago and across the diaspora, offering a tangible link to their cultural heritage in a globalized world often characterized by cultural homogenization. In summation, the Kutbayin movement, far from being a quaint revival, functions as a sophisticated and critical reassertion of Filipino national identity through the conscious reclamation and recontextualization of indigenous artistic languages, directly challenging the historical dominance of Western art and fostering a sense of collective memory and decolonial consciousness within a modern global context.

• Secondly, ensuring the longevity and wider adoption of the Kutbayin art movement necessitates a strategic and intellectually rigorous approach to address inherent challenges and leverage emerging opportunities. While the foundational work of artists like Fred DeAsis, PhD., is critical, the movement's sustained impact requires a broader ecosystem of engagement. This includes the crucial task of pedagogy and knowledge transfer. Robust academic research, museum exhibitions with scholarly catalogues, and dedicated educational programs are essential to codify the techniques, historical context, and theoretical underpinnings of Kutbayin art. This will enable future generations of Filipino artists to engage with its principles in a meaningful and informed manner, moving beyond mere imitation towards genuine innovation within the framework. Furthermore, critical discourse and art historical contextualization are paramount. Engaging with art critics, historians, and theorists both within the Philippines and internationally will foster a deeper understanding and appreciation of Kutbayin's significance within the broader art historical narrative. This scholarly engagement will help to solidify its place as a legitimate and important artistic movement, rather than a fleeting trend. The development of a Kutbayin artistic community, fostering collaboration and shared exploration among artists, will also be vital for its evolution and diversification. This collective energy can lead to new interpretations and applications of the core principles, ensuring the movement remains dynamic and relevant. Finally, strategic institutional support, including grants, residencies, and museum acquisitions, will provide the necessary infrastructure for the movement to flourish. Overcoming the potential challenge of the movement remaining solely associated with its founder requires a concerted effort to cultivate a broader base of practitioners, scholars, and institutional champions who can carry its legacy forward.

• Thirdly, Kutbayin art holds the potential to be a significant and disruptive force within the contemporary global art discourse, offering perspectives that stand distinctly apart from both established Western and dominant Asian art movements. Where Western modernism, often rooted in Enlightenment ideals, frequently emphasized the alienation of the individual and a break from tradition, Kutbayin offers a radical counterpoint by actively reconnecting the self with the ancestral. This emphasis on intergenerational continuity and the embeddedness of the individual within a historical and cultural continuum presents a fundamentally different ontological perspective. Similarly, while Western art often divorces the body from the land in its pursuit of abstraction or conceptualism, Kutbayin, through its material processes and symbolic references, often evokes a deep connection to the Philippine archipelago, its natural environment, and its indigenous cosmologies. This rootedness in place offers a powerful alternative to the placelessness often associated with globalized contemporary art. Furthermore, Kutbayin's engagement with the deep time of cultural memory, through the integration of Baybayin and ancient artistic techniques, provides a stark contrast to the Western preoccupation with linear progress and the constant pursuit of the new. It suggests a cyclical understanding of time and the enduring relevance of ancestral wisdom. This offers a unique perspective in a global art world often fixated on novelty. In summary, Kutbayin contributes to global art discourse by offering a decolonial, indigenous-rooted aesthetic that challenges Westerncentric norms; articulating a uniquely Southeast Asian archipelagic identity that moves beyond continental narratives; incorporating spiritual and ancestral modes of art-making that offer alternatives to secularized Western art; implicitly critiquing Western market structures by prioritizing cultural meaning over commodification; and providing a pathway for cultural healing and solidarity for communities grappling with similar histories of colonialism and cultural disruption. Its value lies in its ability to articulate a distinct and compelling worldview that resonates with a growing global desire for art that is both deeply rooted and profoundly relevant.

• Fourthly, the "evolutionary" nature of the Kutbayin artistic process profoundly influences the interpretation and reception of these artworks, particularly for audiences accustomed to the immediacy of much contemporary art. The layered surfaces, rich with symbolic content and ancestral echoes, demand a different mode of engagement – one that prioritizes contemplation, historical awareness, and a willingness to delve beneath the surface. This contrasts sharply with art that often seeks instant impact or relies on easily digestible conceptual frameworks. The temporal investment inherent in the creation of Kutbayin works – the decades spent refining techniques and the layering of meaning over time – imbues the final product with a sense of depth and historical weight that can be both intriguing and potentially challenging for viewers accustomed to faster forms of artistic expression. The symbolic density, particularly the integration of Baybayin, requires a degree of cultural literacy or a willingness on the part of the viewer to engage in a process of decipherment and learning. This can be seen as both a barrier and an invitation, potentially alienating those seeking immediate gratification while deeply rewarding those who invest the time and effort to understand the layers of meaning. The ancestral continuity embedded within the art also necessitates a sensitivity to cultural heritage and the significance of intergenerational transmission of knowledge. For audiences unfamiliar with Philippine history and pre-colonial culture, appreciating the full resonance of Kutbayin art may require a process of education and contextualization. Ultimately, the evolutionary nature of the process translates into artworks that resist easy categorization and demand a more nuanced and historically informed mode of reception. This can position Kutbayin as a powerful antidote to the superficiality that sometimes characterizes the contemporary art world, offering a space for deeper engagement with history, culture, and the enduring power of artistic tradition.

• Finally, the core principles of Kutbayin – the fusion of ancient techniques, indigenous scripts, and spiritual-symbolic visual systems – possess a remarkable capacity for adaptation and resonance within other cultures globally, particularly those grappling with similar experiences of cultural erosion, colonial trauma, or the fragmentation of identity in the face of modernity. Kutbayin's essence lies not in the rigid replication of specific Filipino forms but in the underlying philosophy of reclaiming and reinterpreting ancestral artistic languages to articulate contemporary realities. For cultures facing colonial residue, the Kutbayin model offers a powerful framework for artistic decolonization, providing a means to visually assert pre-colonial identities and challenge the dominance of imposed aesthetic norms. For communities experiencing language loss, the integration of indigenous scripts, as seen with Baybayin, can serve as a vital tool for cultural revitalization and the preservation of linguistic heritage within a contemporary artistic context. Moreover, for societies facing disconnection from indigenous roots due to modernization or displacement, Kutbayin’s emphasis on ancestral memory and spiritual symbolism can provide a potent means of reconnecting with lost traditions and fostering a sense of cultural continuity. The fundamental principle of merging tradition with modern creative tools is universally applicable, offering a pathway for artists in diverse cultural contexts to engage with their heritage in innovative and relevant ways. Kutbayin, therefore, is not merely a Filipino art movement; it represents a powerful paradigm for cultural self-determination through artistic expression, offering a compelling model for other nations seeking to reclaim the right to define beauty, memory, and meaning on their own cultural terms. Its spirit of creative reclamation holds profound implications for artistic innovation and cultural preservation across the globe.

Fred DeAsis and the Kutbayin Art Movement: A Comprehensive Exploration

Introduction

Fred DeAsis, PhD., is a distinguished Filipino-American artist whose work has significantly contributed to the revival and reinterpretation of ancient Filipino art forms. His dedication to preserving and promoting Filipino heritage is evident in his involvement with the Kutbayin art movement, which seeks to bring traditional Filipino art techniques into contemporary practice.

Fred DeAsis: A Pioneer in Filipino-American Art

Fred DeAsis is celebrated for his mastery of various art forms, including painting, sculpture, and mixed media. His work often reflects his deep connection to his Filipino roots and his commitment to preserving Filipino culture. One of his most notable works is "Christ Carrying the Cross," a life-sized masterpiece rendered in European old masters' classic style and technique. This piece exemplifies DeAsis's ability to blend traditional and contemporary styles, creating art that resonates with diverse audiences.

DeAsis's contributions to the art world extend beyond his own creations. He is also a dedicated educator and advocate for Filipino arts and culture. Through workshops, demonstrations, and exhibitions, DeAsis has played a crucial role in raising awareness about Filipino art forms and ensuring that these traditions are passed on to future generations.

The Kutbayin Art Movement: Reviving Ancient Filipino Art

The Kutbayin art movement is a fascinating and relatively recent phenomenon that seeks to revive and reimagine ancient Filipino art forms. It focuses on the revival of traditional techniques, particularly "Kut-kut art," an ancient art form from Samar, Philippines. Kut-kut combines sgraffito, encaustic, and layering techniques to create intricate and symbolic artworks.

One of the defining features of Kutbayin art is the integration of the ancient Filipino script, Baybayin, into its artworks. Baybayin is a pre-colonial writing system that was used in the Philippines. Its inclusion in Kutbayin art serves as a powerful reminder of Filipino heritage and cultural identity.

Contemporary Interpretations and Community Engagement

While rooted in ancient traditions, Kutbayin artists are not simply replicating old styles. They are creating contemporary interpretations that reflect modern sensibilities and address current issues. This fusion of old and new makes the art form relevant and engaging for today's audiences.

Fred DeAsis is considered a leading figure in the Kutbayin movement. He has dedicated years to researching and reviving Kut-kut techniques, and his work has been instrumental in raising awareness about this ancient art form. DeAsis also actively promotes Filipino arts and culture through workshops, demonstrations, and exhibitions.

The Kutbayin movement is growing through community engagement and education. Artists like DeAsis conduct workshops to teach Kut-kut and Baybayin to others, ensuring that these traditions are passed on to future generations. Exhibitions featuring Kutbayin artworks are increasingly being held both in the Philippines and abroad, helping to raise the profile of the movement and attract new artists and enthusiasts.

Conclusion

Fred DeAsis and the Kutbayin art movement represent a significant effort to preserve and promote Filipino heritage through art. By reviving ancient techniques and integrating them with contemporary practices, DeAsis and other Kutbayin artists are ensuring that Filipino art remains vibrant and relevant in the modern world. Their work not only celebrates the rich cultural history of the Philippines but also inspires future generations to explore and embrace their artistic heritage.

Beyond the Mainstream: The Kutbayin Movement Redefining Filipino Art

 

The Kutbayin art movement is a fascinating and relatively recent phenomenon that seeks to revive and reimagine ancient Filipino art forms. It's not as widely known as some other art movements, but it's gaining momentum and has the potential to make a significant impact. Here's what I know about it:

Revival of Ancient Techniques:

Kutbayin focuses on reviving and reinterpreting traditional Filipino art techniques, particularly "Kut-kut art".  Kut-kut is an ancient art form from Samar, Philippines, that combines sgraffito, encaustic, and layering techniques. It involves scratching through colored slip to reveal an image, applying molten wax, and layering paint. These techniques were traditionally used to create intricate and symbolic artworks.

Integration of Baybayin Script:

The movement often incorporates the ancient Filipino script, Baybayin, into its artworks. Baybayin is a pre-colonial writing system that was used in the Philippines. Its inclusion in Kutbayin art serves as a powerful reminder of Filipino heritage and cultural identity.

Contemporary Interpretations: 

While rooted in ancient traditions, Kutbayin artists are not simply replicating old styles. They are creating contemporary interpretations that reflect modern sensibilities and address current issues. This fusion of old and new makes the art form relevant and engaging for today's audiences.

Leading the Way:

A prominent Filipino-American artist, Fred DeAsis, is considered a leading figure in the Kutbayin movement. He has dedicated years to researching and reviving Kut-kut techniques, and his work has been instrumental in raising awareness about this ancient art form. DeAsis also actively promotes Filipino arts and culture through workshops, demonstrations, and exhibitions.

Community Engagement:

The Kutbayin movement is growing through community engagement and education. Artists like DeAsis conduct workshops to teach Kut-kut and Baybayin to others, ensuring that these traditions are passed on to future generations.

Exhibitions and Recognition:

Kutbayin artworks are increasingly being featured in exhibitions, both in the Philippines and abroad. This exposure helps to raise the profile of the movement and attract new artists and enthusiasts.

Interdisciplinary Collaboration: 

Kutbayin has the potential to expand through collaborations with artists from other disciplines, such as contemporary painters, sculptors, and digital artists. This can lead to innovative and experimental approaches that push the boundaries of the art form.

Social and Political Commentary:

Kutbayin art can be used as a powerful medium for social and political commentary. By addressing contemporary issues through the lens of ancient traditions, artists can create thought-provoking works that resonate with audiences on a deeper level.

Digital Platforms:

The internet and social media platforms can play a crucial role in expanding the Kutbayin movement. Online exhibitions, virtual workshops, and digital documentation can reach a global audience and foster a sense of community among Kutbayin artists and enthusiasts.

While still relatively young, the Kutbayin art movement is vibrant and promising. By reviving ancient techniques, incorporating Baybayin script, and creating contemporary interpretations, it is not only preserving Filipino heritage but also contributing to the evolution of contemporary art.