IN Lanao del Sur, the intricate, curvilinear patterns of traditional Okir art are finding new life.
The recently concluded second Okir Art Exhibit served as a vibrant crossroads where master artisans and a rising generation of Maranao artists converged, bringing ancient designs into contemporary spaces.
Organized in February by the provincial government and regional trade ministries, the event was more than a gallery show. It featured Okir-inspired visual art alongside traditional crafts, live demonstrations and cultural performances, sparking discussions on heritage and identity among artists, students and the public.
For participating artists like Walad Serad Solaiman, the exhibit represented more than just display space — it was vital recognition.
A freelance visual artist, Solaiman reinterprets traditional Okir patterns through modern themes.
“This helps because it gave us another glimmer of hope to showcase our works,” Solaiman said of the exhibit. “Even a little exposure is a huge help to artists and artisans.”
Hailing from a family of artists, Solaiman used his craft to put himself through school, eventually earning recognition as an Ambassador of Goodwill in Artistry at Mindanao State University. He views Okir not as a static historical design, but as an evolving expression of identity.
“Okir is very important to my art because it shows that I’m a Bangsamoro artist, I’m a Maranao, and also I’m a Filipino,” he said. “I incorporate it because art styles should not be stagnant. It needs to keep up with the generation to survive.”
The event also shed light on the hurdles faced by emerging artists in the province, such as limited access to materials and a lack of recognition compared to established master artisans. Despite these challenges, Solaiman said spaces like this make younger artists feel valued.
“Even for just three days, we felt appreciated,” he added.
That appreciation was mirrored by visitors. Alyza June Lisana, a student from Liceo de Cagayan University, said she was struck by the craftsmanship and the deeper meaning behind the aesthetics.
“These artworks are unique and handmade. You can really see how Maranao artists use what they have around them to create something meaningful,” Lisana said. “Learning about the culture deepened my appreciation of the art.”
Organizers see the exhibit as both a cultural preservation tool and a developmental platform, allowing artists to innovate and reach wider audiences.
For Solaiman, the key for young artists is persistence in bridging the gap between cultural roots and the future.
“Just continue making art because one day you will be recognized,” he said. “You just need to be consistent with your craft.”
PIA
A folk tradition that gives identity to the Bangsamoro
Okir is the exquisite folk-art tradition distinct to the Maranao and Iranun peoples of Mindanao in the southern Philippines. Characterized by flowing, curvilinear designs that mimic the rhythms of nature, Okir is far more than mere ornamentation; it is a sophisticated visual language that articulates the rich cultural heritage and identity of the Bangsamoro region.
The term itself relates to carving or sculpting. The aesthetic is dominated by indigenous plant forms, most notably the pako rabong (growing fern), which twists into elaborate, seemingly endless spirals.
Beyond these botanical motifs, Okir incorporates powerful mythological symbols.
The sarimanok, a legendary bird of fortune; and the naga, a stylized serpent-dragon, are prominent fixtures representing prestige, power and protection.
These intricate patterns adorn a vast array of mediums, from the majestic torogan (ancestral chief’s house) and elaborately carved wooden chests (baul) to brassware, textiles and the handles of weaponry.
Historically, Okir served a sociopolitical function. The complexity and extent of the carving on a torogan, for instance, directly indicated the status and wealth of the residing datu (chief). It is a tangible connection to a precolonial Filipino past that later seamlessly integrated with Islamic artistic sensibilities, which favor masterful abstraction over representational art.
Today, Okir remains a vital, living tradition, evolving in contemporary hands while maintaining its ancestral roots. It stands as a testament to Filipino ingenuity, serving as a vibrant, enduring symbol of the Maranao spirit that continues to captivate observers with its intricate, hypnotic beauty.