The handmade paper industry started in the early 1970s, through the initiative of the Design Center of the Philippines, now known as the Product Development and Design Center of the Philippines. The Center's executive director (Arturo Luz), paper aficionados, and visual artists—including those at the Duntog Foundation in Baguio City and Louie Stuart of Tiaong Paper Exchange2—were looking for alternative, cheaper, and indigenous art materials. They saw the potential of the handmade paper market and joined in its development, helping it grow from a small backyard operation to a full-fledged, income-producing industry in the 1990s. These organizations, other government agencies,3 and several artist groups initiated training programs in papermaking. Papermaking in the Philippines spread, through both small and scattered operations and through community livelihood programs led by those who attended these papermaking workshops.4 In April 1991, the Duntog Foundation, Inc. convened the First Philippine National Handmade Paper Conference in Baguio City. The conference attracted participants from throughout the country and from around the world. It laid the groundwork for the formation of the Federation of Handmade Paper Makers and Converters (FEHPA). FEHPA is a non-stock, non-profit organization of agri-based enterprises and farmers growing fibers, pulp makers, sheetmakers, and paper converters, who create handcrafted gifts and houseware items showcasing the creativity of Filipino designers and artists. Also in 1991, an Inter-Agency Committee (IAC) on Handmade Paper was formed with the task of coming up with a livelihood program on handmade paper.5 The inclusion of handmade paper was requested by then former Philippine President Corazon C. Aquino, who was inspired by a magazine article on handmade paper.6 This effort was designed to prepare an inventory of all handmade paper producers, manufacturers, and converters in the Philippines; conduct training on raw material processing; and arrange field trips to companies and institutions involved in handmade paper. A study of handmade paper, entitled “Profile of the Philippine Handmade Paper Industry,” was the IAC's first project, through the Fiber Industry Development Authority (FIDA). In September 1991, the first major exhibition on handmade paper and paper-based resources was held at the Philippine Trade Training Center in Manila. Aptly called Papel: Likhang Kamay, this exhibition focused on handmade paper products and other paper-based items from more than fifty manufacturers and converters, as well as suppliers and growers of fiber materials, allied industries, and support agencies. Special guests at the opening ceremony included former president Aquino; Heizaburo Iwano of Imadate, Fukui, Japan, through the Japan External Trade Organization (JETRO); and Masahiko Ieda, a long-time Japanese resident of the Philippines. Mr. Iwano, a designated holder of an Important Intangible Cultural Asset of Japan, demonstrated the art of making uchigumo, cloud-like patterned handmade paper. Mr. Ieda initially helped to develop fibers, especially abaca and salago (Philippine gampi), as major export commodities to Japan and now promotes Philippine handmade paper as a world-class specialty paper.  The annual Papel: Likhang Kamay trade fair and exhibition is eagerly anticipated. It has ranged from extravagant to frugal, depending on available funds each year. The event is mainly a selling trade fair, but it includes booths for government support agencies, a hand papermaking demonstration, lectures, slides, and video shows. The development of the Filipino handmade paper industry has been supported by several foreign efforts. A European Community program in the early 1990s provided advice for developing the export of handmade paper and paper-related products, and for improving the quality and productivity of producers and converters.7 The craft has also benefited considerably from Japanese, Taiwanese, and Korean assistance, in terms of human resource development, technical assistance, and the transfer of technology through equipment donation. Japanese assistance has come from both government agencies, like JETRO and the Japan Overseas Volunteer Corporation, and individuals working independently, like Asao Shimura (who initially worked at the Duntog Foundation). In February 1992, JETRO published a survey entitled “Philippine Handmade Paper Market in Japan” that defines handmade papers acceptable to Japanese buyers, the market, demand trends, distribution systems, regulations, problems, and prospects for Philippine handmade paper there. Heizaburo Iwano has visited the Philippines frequently and has willingly demonstrated his unique skills in decorating washi every year during the Papel: Likhang Kamay exhibits. He has also given demonstrations and appeared as a special guest at other activities organized by FEHPA and other paper associations. In July 1992, two Filipinos—Victoria C. Nuñez and Andrew K. Amadora—went to Japan for a month of extensive hand papermaking training in Imadate, home of Echizen washi, under the sponsorship of JETRO. The following month, they demonstrated their acquired skills making paper, in a seminar held in Cebu City. The impression at that time was that Philippine handmade paper was still in an early stage and therefore was utilizing only whatever raw materials and chemicals were available locally. In order to increase demand, it had to use better quality materials. Late in 1993, with Philippine government support, the new Papel: Likhang Kamay Center formally opened, within the International Trade Center in Pasay City. It housed a main exhibit hall, a mini-paper mill, an office, a library and conference room, a retail outlet for over-the-counter sales, and a cooperative storehouse for raw materials. The Paper Center accomplished much. Through the unselfish efforts of Japanese benefactors, the Center forged a sister center relationship with Imadate's highly popular Washi no Sato Kaikan (Paper Village Center). This arrangement furthered the existing friendly relationship between the two paper centers and promoted prosperity and peace between the two nations. Our Japanese benefactors and consultants not only shared their expertise and presence during the Papel: Likhang Kamay exhibits but also donated hand papermaking equipment to augment the hand tools from the old paper center (donated earlier by JETRO for demonstration purposes). This equipment includes a steam boiler, a Hollander beater, a naginata beater, big drain boxes, a stainless steel cooking vessel, and a stainless steel triangular dryer, as well as a vacuum suction system, assorted molds, a sugeta, small tools for drying, and wooden vats. Together these formed the Center's laboratory and mini-paper mill, which were used for demonstrations and hands-on papermaking seminars and workshops. FEHPA held monthly basic hand papermaking workshops there. FEHPA also entertained requests for hand papermaking and paper conversion workshops in far-flung areas of the Philippine countryside, through its “Training on Wheels” program. In March 1995, a new handmade paper association was created, the Chamber of Handmade Paper Industries of the Philippines. The officers and members of this new paper group were mostly former members of FEHPA. They were pioneers in the handmade paper industry and some were successful in their own line of handmade paper and related paper products. Although it has two handmade paper organizations to depend on and promising potential in the world market, the Philippine handmade paper industry is struggling and stagnant. The domestic market is slow, due to a lack of proper and aggressive promotion. The Board of Trustees of FEHPA attended the fortieth anniversary of the town of Imadate in 1996. A special paper show of Philippine handmade paper, paperworks, and paper products, entitled “Sister Center Match Special Exhibition“ was held at Washi no Sato Kaikan that year. A year later I traveled to Imadate for three months of intensive training in washi making at the Udatsu no Kogeikan, a new papermaking facility. I concentrated for one month on proper cooking of raw materials like kozo, mitsumata, hemp, and Japanese and Philippine gampi at the huge Iwano Papermill. Recent years have meant hardship and limited funding for the many programs of FEHPA, including continuing operations at the Papel: Likhang Kamay Center, which closed in February of this year. The Federation, through an agreement with the Cottage and Industry Technology Center (CITC),8 has only been able to continue its operation on a limited basis.  When I started working at CITC in 1999, I began a small pilot garden for new and local fiber plants. My goal has been to look for alternative, good quality fibers for hand papermaking. Through its supply of abaca (Manila hemp), among the strongest material fibers in the world, the Philippines has already made a major contribution to the papermaking world. But abaca is not just used for paper. Because of other commercial and industrial applications, the demand for this fiber is very high, in both pulp and fiber form. While abaca is the base fiber used in most Philippine handmade papers, it is usually blended with other native fibers, to produce different textures, thicknesses, and colors.9 We have more than three hundred different kinds of fibers available in the Philippines.10 In addition to other native fiber plants—pineapple, banana, coco coir, salago, and maguey—even grasses like cogon and agricultural waste like abaca bakbak, sugar bagasse, and rice straw are used for hand papermaking. Unfortunately, most of these fibers are either not available in commercial quantities, have low fiber yield, or are weak and expensive to process.  The first variety the nazu kozo was brought to the Philippines by Asao Shimura and was planted in the mountains of the Cordilleras in cooperation with the Duntog Foundation in the late 1980s. In the early 1990s, a group working with Heizaburo Iwano planted nazu kozo of the akaso variety, in Bohol. It was later propagated in commercial quantities in Laguna and from there it has spread throughout the country, to Nueva Ecija, Isabela, Rizal, Iloilo, Batangas, and Cagayan de Oro City. This is good news for the handmade paper arts and crafts in the Philippines, which are now having difficulty sustaining the golden years of the 1990s. Notes1. Recent literature on hand papermaking in the Philippines will be supplemented soon by a forthcoming book by Peter Thomas, titled A Papermaking History of the Philippines, in which a version of this article will appear as a chapter. See also the following articles from Hand Papermaking: Asao Shimura, "Piña Story", Vol. 8, No. 2, Winter 1993; Jane Ingram Allen. “Papermaking at the Duntog: Report from the Philippines”, Vol. 11, No. 1 Summer 1996; and Asao Shimura, "Piña Shifu" (with samples), Vol. 13, No. 1, Summer 1998. Other articles are mentioned in later notes.2.“Natural Fiber Papers From The Philippines”, Inksmith, Artists’ News From Daniel Smith. Vol. 1, No. 6, November-December 1988.3. Other Philippine government agencies that have been active in this area include: Forest Products Research and Development Institute, Fiber Industry Development Authority (FIDA), Technology and Livelihood Resource Center, Cottage Industry Technology Center (CITC), and the Papel: Likhang Kamay Center.4. Maria Preciosa L. Sibulo. “Handmade Paper Industry, A Sunrise Discovery”, Philippine Products, an Exhibition in Print. Vol. 5, No. 2 1992, pp. 8-11.5. The IAC is composed of FIDA, the Department of Tourism, Bureau of Export Trade Promotions, Department of Science and Technology, and the Center for International Trade Expositions and Mission. 6. Rudy Fernandez, "Papermaking Comes of Age," Filipino Entrepreneur, December 1988, Vol. 1, No. 3.7. This program ended in 1994. See “Plans and Prospects: Development of the Industry Sector”, PDDCP Design Digest. Vol.4, No. 5 1993. See also, Simon Green. “ News from the Land of Fibre.” Bull & Branch. Vol.12, No. 3. December 1993.8. Nelly Favis-Villafuerte. “Technology Center for Entrepreneurs”, Philippine Panorama. January 6, 2002. p. 22. CITC is a government agency mandated with technology transfer and skills development, common facility service, technical assistance and consultancy services, and training technology development.9. Nelly Favis-Villafuerte. “The Gold in Handmade Paper.” Philippine Panorama. February 25, 1996.10. Some of these are mentioned in a book published during the American occupation: William H. Brown. “Philippine Fiber Plants”, Minor Products of Philippine Forests. Edited by William H. Brown. Manila. Vol. 1. 1920.