The pamagpande (blacksmithing) tradition of Apalit, Pampanga has been one of the prominent cottage industries in the town since the colonial period. Certain oral accounts imply that this practice may have originated from the metallurgical practice of 16th century cannon maker, Panday Pira, who resided in the town after fleeing a battle from Manila. Earliest ethnographic research however can be traced to the efforts of the students of H. Otley Beyer in 1913. According to the earliest ethnographic manuscript on the practice, although men are usually involved in the actual making of the palang (blade) due to the extensive physical demand of the process, women and children also participate in the industry by assisting in dividing the charcoal into smaller pieces, distributing the products, and even completing the articles in the palang. The manuscript also stated that the operations of the practice had to start from 4 o’ clock in the morning and end at around 8 o’ clock in the evening due to high demand. Hence, it can be argued that it was once a communal activity that is intertwined with the lives of many in the town, partly because of how it was able to support livelihood then. These highlights the economic, historical, and social significance of the practice since decades ago. The liveliness of the practice was primarily due to the predominance of agriculture in the province and the region where the town belongs. However, due to the changes in society through the succeeding decades—most especially those related to urbanization, industrialization, and the allure of other lucrative professions—and the influx of cheaper alternatives mostly from foreign countries, the practice of pamagpande has gradually diminished. At present, the town is left with only two pandayan (forge) actively being used by four practitioners in the town. The only master blacksmith left is at his 70’s already, and have already suffered mild stroke, aside from other ailments. Amid this economic and personal condition, he continues to perform pamagpande at least once a week. The project hence is, in the long run, aimed at ensuring the viability of the practice of pamagpande in the town of Apalit. This is a challenging, yet interesting case given how closely intertwined the tradition is with its economics—possibly since the products are primarily utilitarian in nature; given how labor intensive it is—where it takes several decades before someone get to be considered a mestru (lead blacksmith); and given how through the decline of the number of its practitioners, the tradition that was once shared between a community has gradually turned more into individualized creative practices.