essay about mindanao culture brainly

10 Musical Instruments of Mindanao (You’ve Never Heard Of)

October 20, 2022
Mindanao is home to many unique and rare instruments
Many are in the percussion family
Listen to examples of each instrument
Also, check out our post on instruments from Pakistan

The Filipino musical culture is profound and varied. Some of the best music you’ll ever hear comes out of the Philippines, and best of all, the history behind them is fascinating.

In all honesty, you’ve probably never heard of these 10 amazing Mindanao instruments:

Kulintang A Tiniok

Known for their love of music, it’s no wonder the Filipinos are so renowned for their passionate music that the traditional instruments used by their pre-Hispanic ancestors are so highly revered today.

The rest of this article will walk you through these 10 fascinating Mindanao musical instruments and their use.

10 Musical Instruments of Mindanao

The Kubing is a jaw harp made entirely from bamboo and is one of the more popular traditional instruments found across the Philippines. However, its design and name may change depending on the region.

In the southern region of Mindanao, groups like the Maranao call it the Kubing , while other groups like the Tagalogs refer to it as the Barmbaw.

In other regions, it’s referred to as the Kulaing, the Kniaban, Koding, and Aroding.

The instrument was used by the Filipino ancestors to communicate through song, often as a means of courtship , and is still used as such to this day.

In general, it is used more by males than females and is intended for communication with family or a loved one over a short distance.

It is played by placing the instrument between one’s lips and plucking the end to create different notes. The tempo and rhythm can adjust the dynamics of these sounds.

Much like a lute, the Kudyapi is a stringed instrument often used by males in love songs.

It’s often connected with Meranao, Maguindanao, T’boli, and Manobo since their Lumads are well known for their performances with the Kudyapi .

The female version of this instrument is the Korlong, which can be most closely compared to a zither and is made from bamboo.

Traditionally, the Kudyapi is made with abaca fiber or horse hair strings, but more modern iterations use wires in the same manner as a guitar.

3. Kulintang

The pride and joy of Maguindanao, the Kulintang is a set of 5 to 9 gongs varying in size, pitch, and tone .

Each of these gongs is aligned side by side on a rack and arranged in pitch order, with the lowest-pitch gong located on the left and the highest-pitched one being on the right.

Two wooden sticks are used to strike the gongs and make sounds.

Before World War II, the gongs that create the reverberating sound of the Kulintang were made from bronze; however, due to dwindling resources and the wider availability of less precious metals, any Kulintang you see today will probably be made from brass.

The Kulintang also serves an expressive purpose . The rack used to hold and arrange the gongs is made with wood or bamboo and can be decorated to the user’s preferences.

Most Kulintangs played in ensembles boast intricate designs and beautiful colors . The Kulintang is quite low-profile, only sitting a foot or two above the ground.

As such, players of this instrument will usually be seated. This instrument is vital to several celebrations, festivals, weddings, and healing ceremonies.

Among the instruments on this list, the Kulintang is perhaps the most valuable regarding social value.

The intricate designs and ornate construction makes each Kulintang unique, and they are often viewed as important social property.

Not only does the Kulintang play an important role in the ensemble, but it is also considered a valuable heirloom that can be passed down through generations.

The Tongali has a whole bunch of different names and designs across the Philippines, but its mournful, haunting sound is well-recognized in the region.

This flute has either three or four holes over which the fingers are placed. The wildest part about this instrument is that it’s played using the nose.

The hole in the back is designed so that air from the nose flows through it and exits out of the midway hole.

The result is a sad, mournful sound that is meant to mimic the sound of a human voice.

Despite the connotation, the Tongali is often used in a positive light, marking celebrations, festivals, special gatherings, in courtship, and during the planting season.

In the percussion section of Mindanao instruments, one of the most popular is the Gambal, also referred to sometimes as the Gadang.

These simple instruments are played by different groups across the Philippines, but their purpose remains the same.

Traditionally, the Gambal was used among the Lumads in the Visayas as a way of preparing for war, accompanied by other instruments like gongs.

The drums were meant to boost the esteem of the warriors and are played by striking them with a wooden stick.

Traditionally, the Gambal is made using hollowed tree trunks and deer skins for the drumheads.

Made from a coconut husk and string, the work Buktot means hunchbacked, which is a perfect encapsulation of the way the back of this instrument is arched.

Broadly speaking, the Buktot sounds like a ukulele and is played by strumming its four strings.

Much like other traditional instruments, the Buktot is either played by itself or with the accompaniment of other instruments as part of an ensemble accompanying an event.

A larger percussive instrument, the Dabakan, is often played in a group setting with other instruments and has a conical shape.

It is often no taller than 2 feet, nor wider than 1 foot.

Its intricate design boasts a range of details, and the drumhead is made from deer hide, goat skin, or carabao skin. However, traditional Dabakan users argue that the best drumheads are made from lizard or bayawak skin.

The body is made from jackfruit wood or coconut, making it as sturdy as it is beautiful.

8. Kulintang A Tiniok

Often played alongside the Dabakan, the Kulintang A Tiniok is a metallophone with eight metal plates on a wooden rack.

Each plate is knobbed and tuned to a certain note, and the Kulintang A Tiniok is native to the Maguindanaon people.

The Maaranao people have a similar instrument called Sarunay, which you might have heard of, given its growing popularity in the United States.

You may notice the similarities between the Kulintang and the Kulintang A Tiniok, simply because the latter means “kulintang with string.”

When made traditionally, the Kulintang A Tiniok is crafted with brass for the metal pieces, but modern ones can be made using simple tin cans.

9. Babendil

A gong instrument with great cultural significance, the Babendil is on the larger side and is bigger than most Kuintang gongs.

The sunken boss enables it to make a sharp clanging noise when strung on the rim or flange with a bamboo or rattan stick.

By and large, the Babendil is used to keep time among the gong instruments when played in an ensemble, and with such a distinctive sound, it’s no wonder this instrument is so commanding.

As it turns out, according to the Hornbostel-Sachs classification of instruments, the Babendil is not a gong at all.

Rather, it is technically a bell, given where it is struck, to play it properly.

A gong is struck directly on the boss , but given the sunken nature of the Babendil’s boss , it is rendered useless to this effect.

Traditionally, the Babandil was made from bronze, but the scarcity of this resource in Mindanao means that most modern Babendils are made from brass, iron, and tin cans.

The Babendil can be played either seated or standing, but for the most part, this instrument has fallen into disuse in most ensembles.

10. Luntang

The Luntang is a xylophone instrument widely used by the Maguindanaon people. It contains five logs in an ascending order arranged by pitch , and the strings below are vertically matched.

It’s similar to another instrument called the Kwintangan Kayo, used by the Yakan.

Much like a xylophone, the Luntang is played by striking the logs in a pattern to create music and can be played by one or two people.

A solo player usually uses it for entertaining themselves, such as a farmer keeping themselves awake and scaring birds away from the field.

Due to its reverberating sound, the Maguindanaon people often used it for long-distance communication, while the Yakan used it in select ceremonies like courtship rituals.

Wrapping Up

The art of music is alive and well in Mindanao, and every one of these instruments has a role to play in festivals of celebration, healing, planting, and courtship.

From the Kulintang centerpiece to the Dabakan supporting drum, all of the instruments on this list are influential in the progression of ancient Muslim folk songs and dancing called Estijaro, as well as Uruyan, a Mindanao folk song.

Before you go, check out our guide to the 9 Musical Instruments of India (You’ve Probably Never Heard Of)!

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15 Mar Music in Mindanao Indigenous Practices

Indigenous Philippine folklore is characterized by sacred rituals and practices, and made more fervent and vibrant by the music that accompanies them.

In Mindanao, the sounds of the agum and guimbao signal the assembly of the participants in the performance of sacrifices by indigenous groups. The miminsad , a dance song, is also chanted as they walk before the altar.

The wedding feast is another occasion where music plays a key role. Some Muslim groups play music using small and large kettledrums as accompaniment to dancing, one of the highlights of the celebration.

In Jolo, the sua-sua is a celebrated courtship song and dance that has often been modernized for troupe performances.

A war dance in Bukidnon called the sagayan epitomizes the gallantry of Muslim combatants while little girls perform a festival dance wherein they wear hollow copper anklets and ring little cells to produce certain sounds “to the accompaniment of a variety of tom-tom and an indigenous xylophone.” (Bañas 1975).

In Agusan, the tud-ob, a song composed of four notes, is sung during rice harvests. In Sulu, four gongs are used to produce a kind of music called the tagungo .

Mindanao folk music includes the ancient Muslim folk song and dance called estijaro , and a Mindanao folk song called uruyan . These are usually accompanied by drums, gongs, or other percussion instruments like the subing , a gong.

Bañas, R.C. (1975). Pilipino Music and Theater . Quezon City : Manlapaz Publishing.

Ceremonial music gongs, Marawi City, 1970 (Retrato Photo Archive)

Sophia Verdan

Thank you the article was really helpful since I only saw so much information about Mindanao folk songs here. I really appreciate it pls continue making articles like this to help my fellow students

Cultural Diversity Among the Bangsamoro in Mindanao: A Survey of their Traditional Arts

Dr. Monela M. Mua

The historical roots of people in Mindanao can be traced and understood through their genealogy and the cultural groups they belong to. These different groups are further classified under different ethnic affiliations and identified through their cultures and traditional arts. The culture of the group to which an individual is born into is what identifies him as to his ethnicity or what cultural group he belongs to.

Difference in culture becomes evident as we notice one’s clothing, mannerism, language, beliefs, arts, taste for food or food preferences, ways of doing things, among others. The characteristics, which contrast sharply with one’s way of life, show differences in people. Culture consists of material things, such as arts, tools, weapon, dwelling units, utensils, machinery, clothing and others. Such material culture includes physical objects or artifacts, which are easy to observe and are often impressive. Culture also has non-material aspects which include the general beliefs and patterns of behaviour common to a group of people. These types of culture persist through tradition that characterizes a human group (Panopio and Raymundo, 2004).

The Islamized people in the South, in contrast with the different groups in the North, call themselves Bangsa Muslims. When the Spaniards colonized the North in 1565, the people in the South became more entrenched in their own nationhood. As a result, there arose two lines of historical development: First, the Islamic-Malay orientation which sustains the Bangsa Muslim sense of nationhood; and the second, the Western- Christian orientation which propels the Filipino sense of nationhood. Over time, the Bangsa Muslims in Mindanao and Sulu have developed their own culture, their political institution which is the sultanate, and have since pursued a different political and economic way of life. It was due to the Muslim sense of identity that what used to be called Bangsa Muslims was later called “Moros” or “Bangsa Moro” (Bara, 2009).

The Bangsamoro ethnic groups in the Autonomous Region in Muslim Mindanao (ARMM) are distributed all over Mindanao. According to the ARMM Regional Physical Framework plan 2000-2030, there were twelve major ethnic groups identified in the region in 1995. Of these groups, the most dominant are Maguindanaon, Iranun, Meranaw, Tausug and Samal. In that Framework Plan, it also presents the ethnic composition in each province/ area in recent years, including the dominant ethnic groups. In the mainland, Maguindanaon, Iranun, and Meranaw, who constitute the Lanao del Sur areas, are the dominant ethnic groups in that province. In the island provinces of Basilan, Sulu, and Tawi-Tawi, the dominant ethnic groups are Yakan, Tausug, Sama, and Badjaos (ARMM Regional Development Plan, 2017-2022).

The unity and diversity of these people can be gleaned from the kind of life that they practice, their modes of dressing, though the majority has adopted the modern trends now, their language, religious beliefs and practices, ways of doing things, and the kind of arts and artifacts the people have. Their material and non-material culture is what distinguishes one group from the others.

Today, the Islamized peoples of Mindanao, generally called Muslims, belong to the so called Bangsamoro by virtue of Republic Act 9054 or the Organic Act for the Autonomous Region in Muslim Mindanao or ARMM, recognizing the term “Bangsamoro people” as the cultural identity of the Muslims in the South. Article X, Section 3, states that, as used in this Organic Act, “the phrase indigenous cultural community refers to Filipino citizens residing in the autonomous region who are tribal and the Bangsamoro people.” In Section 3, Subsection B, the Bangsamoro people are referred to as “citizens who are believers in Islam and who have retained some or all of their own social, economic, cultural and political institutions.”

The Dominant Groups and Their Traditional Arts

The Maguindanaon

Maguindanaon, the biggest Muslim ethnic group, live mostly as agriculturist in the seasonally flooded valley of the Pulangi River in Cotabato. Thus they are also known as the “people of the flood plain.” Fishing is also a major livelihood. Rice, corn and mongo beans are their dominant crops. Some Maguindanaon engage in brass making, mat weaving, nipa roof making, basketry and loom weaving.

Known for their metal craftsmanship, the Maguindanaon produce brassware which is considered some of the best in the country. Among the Maguindanaon brassware are the kalanda (cake container), gadur (rice container), talam (tray), talagadan (metal server) and embamanan (betel leaf-areca nut container).

The richness of Maguindanaon art is manifested in their clothing, tools, house types, brassware, weaponry and musical instruments. A relative simplicity highlighted by the use of geometric patterns distinguishes the Maguindanaon art.

During special occasions such as weddings, a palabunibunian or native gong orchestra plays music several days before the event. Eight kulintang (native gongs), each sounding different note; one large gong; four gandingan (graduated gongs); and one debakan (drum) constitute the orchestra.

A babendil, which is the equivalent of a conductor-performer, keeps time for the orchestra by accompanying the kulintang music through beating any part of the kulintang ensemble with a light stick to the rhythm of the music.The types of music commonly played are the binalig (slowest beat) and the sinulog (slightly faster beat).

With their indigenous traditions and rich cultural heritage, the Maguindanaon have remained un-acculturated. Despite foreign cultural influences, they have generally kept intact their traditional life ways and social institutions.

Like all the other Muslim ethnic groups, the Maguindanaon practice the Islamic faith. Their values and attitudes are basically anchored on the principles and laws of the Holy Qur’an. The Holy Qur’an is the fundamental source of law that governs most of the Muslims’ daily conduct and behaviour.

Visual Arts and Crafts of the Maguindanaon. As Muslim lowlanders, the Maguindanaon possess a strong weaving and carving tradition (Casal et al., 1981). As with all other Muslim groups, the Maguindanaon are prohibited from representing animal or human forms in art. This led to the development of an abstract form of artistic representations in Maguindanaon carvings and textiles. These designs are also carved on their weaponry and musical instruments. For example the birdo (vine) motif usually embellishes the musical instrument called kutyapi (see logo of this article), which may be shaped like a mythical animal resembling a crocodile (Darangen 1980: 112-113).

Other metal crafts adorned with okir motifs are the sundang (sword), the gulok (knife), the panabas (long knife), the dilek (spear), the badung, the kris and the bongalambot, the hair clip worn by female royalty (Glang et al., 1978: 15).

The baluyan (carrying basket) found in Maguindanao is usually open plaited with a cover and a handle, and is generally made of bamboo with some into trims. Other basketry items include the salakot, an example of which is the tapisan hat made of finely split soft-strip bamboo over a coarser bamboo frame. Indigenous designs are added either by one-over-one weaving to extended twill patterns, or by introducing into trims or smoked bamboo a contrast to the natural. The tapisan hat is worn over a turban. Another type of hat is the binalonosalakot made of finely woven reed, which, sewn together with thread, is shaped into a dome. A coconut shell and a piece of carved wood top the hat. Like the tapisan, the binalonosalakot is worn over a turban.

The village would be closed to all visitors when a healing or mourning ritual is in progress, in case they are followed by bad spirits which could harm the villagers, especially the sick, when they enter. A sign would be placed at the access to the village to prevent outsiders from entering during this period, which usually takes place for seven days.

The Bidayuh tribe believe that there is a spirit living in everything, animate or not, called semangat. The absence of this spirit will cause illness, while the total departure of the spirit will cause death. Illnesses are the work of an evil spirit called the mundua. Members of the tribe who are sick and could not be cured by traditional medicine would stay in the panggah and given ritual treatment performed by the chieftain.

As per their belief in spirits, the mourning ritual is to invite the spirits of their close relatives to come and help bring the spirit of the dead with them to sidanah, a version of their purgatory where the adult souls would linger for four years before they considered entrance into their heaven, also known as sibayan. During this ceremony, the dead is presented with food and entertainment as prayers are offered to God for their forgiveness and so they would be allowed to go to heaven. In Annah Rais, however, this ritual is no longer practised as the villagers have all converted to Christianity. Of course, rituals that involve celebrating the headhunting warriors are also not a practice today just as headhunting is no longer a part of their livelihood.

The Maguindanaon have recently developed their own mats, which are circular in shape and made from sea grass. Colors used are red, green and blue. These mats measure 180 centimeters in diameter. Other types of basketry items made form sea grass include colorful small containers—round or square—with covers and handles and fans (Lane, 1986: 183-187).

Maguindanaon kadyun (pottery or earthenware) include the kuden (cooking pot for rice and viands), the lakub (vessel covers), the paso (tub for washing rice and vegetable), the buyon (drinking water jar), the kararo (small drinking water jar), the tampad (jar for storing water or salt), the simpi (a covered bibingka or rice cake baking pan), the dapuran (elongated, floored stove), the sinokuran (steamer pot¬¬), the binangka (a buyon-like jar but with decorated shoulders), the pamu-mulan (flower pot), the torsion (coffee pot), the ititi (tobacco jar), the tutugan (square ember holder), and the lagan (cooking pot for fish) (Scheans, 1977: 74-74).

Maguindanaon pottery is made mainly through the “turn-modeling” technique, where a turntable, as well as a paddle, an anvil, and a broken arm are used to mold and shape the pottery (Jose-de la Cruz, 1982: 8-9).

The Maguindanaon have many types of musical instrument: the kyutapi or boat lute (See logo of this article); the suling or bamboo flutes; the kubing or jew’s harp; bamboo zithers and bamboo scrapers; and the most important, the kulintangan ensemble. The kulintangan ensemble consists of five instruments. These are the kulintang (a series of eight graduated gongs), agong (wide-rimmed gong), dabakan (goblet-shaped gong), gandingan (set of four thin-rimmed gongs), and babandir (small thin-rimmed gong). Taken as a whole, the ensemble is called palabunibunyan (an ensemble of loud sounding instruments). It is heard in various occasions like weddings, water baptism called paigosaragat, and curing rites called kapagipat (Butocan, 1987: 17).

In the kulintang, the gongs are arranged horizontally from largest (lowest in pitch) to the smallest (highest in pitch), and laid over an antangan (wooden frame). These are played by striking the knob of the gongs with a pair of basal (light, wooden sticks)

The agong, played exclusively by men, is a large kettle-shaped gong. It displays a high busel (protrusion or knob) and a wide takilidan (rim) of approximately thirty centimeters. Other parts of the agong include the pakaw (collar), biyas (face), and bibir (mouth). It hangs from a horizontal pole or wooden frame and is played when the player holds the knob with his left hand, and strikes the gong with a mallet in his right. The agong is also used to announce an emergency and to mark the time of the day. Moreover, the sound of the agong is believed to possess supernatural powers.

The dabakan is a goblet-shaped drum with a single head covered with skins of goat, lizard or snake. The instrument is played by striking the head with two thin bamboo sticks, each fifty centimeters in length. Traditionally, the instrument is played by a woman sitting on a chair.

The gandingan is a series of four graduated gongs with a thin rim and a low central protrusion. They hang in pairs facing each other and are played by a woman who stands in between them. She uses two mallets, one for each pair, to strike at the knobs.

Finally, the babandir is a small gong with a thin rim and a low central protrusion. The instrument produces a metallic sound when struck with thin bamboo sticks. There are three ways of playing the babandir. The first way is by striking the suspended gong with a pair of sticks. The second way is by striking the gong’s rim with one stick while holding the rim with the left hand. The third way is by laying the instrument upside down and striking the gong’s rim with two sticks (Butocan, 1987: 19-24).

There are four types of musical pieces played in the palabunibunyan: binalig or sirong, sinulog, tidtu, and tagunggo. The first three are heard in various kinds of festive occasions. When a performer plays in mimma (traditional style), the first piece should be a binalig, then a sinulog, then a tidtu.

The tagunggo is used mainly in rituals, and is used to accompany the sagayan dance. Tidtu pieces are played fast to display one’s virtuosity and are often heard in musical competitions. Binalig pieces are played to express different emotions like anger, love, joy. Sinulog pieces, on the other hand, are played slowly in a flowing manner to express loneliness. It is said that sinulog pieces can make their listeners cry and are best played at night or early dawn (Butocan, 1987: 25-26).

The Mëranaw

Mëranaw (Mëranaw: [‘mәranaw]; Filipino: Mëranaw, also spelled Meranao, Maranaw and Maranao) is the term used by the Philippine government to refer to the southern ethnic group who are the “people of the lake” (Ranao in the Iranaon language), a predominantly-Muslim region of the Philippine island of Mindanao. They are known for their artwork, weaving, wood and metal crafts and epic literature, the Darangen.

There are three types of Mëranaw houses: the lawig (small house), mala-a-wali (large house), and the torogan or ancestral house of the datu. Some Mëranaw houses have posts which rest on the rounded boulders; these “floating foundations” prevent the structures from collapsing during earthquakes (Peralta, 1975: 28-31).

The mala-a-walai is a single-room and partition- less structure. It stands thirty to 220 centimeters above the ground, resting on nine to twelve bamboo or wooden poles. A fenced porch serves as the front of the house; the kitchen, which is fifty centimeters lower than the structures, is at the back. The main body houses the sleeping area, which doubles as a living and working area in the morning. Storage space can be found underneath the main house and the kitchen. The widowed line flooring of the house is of split bamboo tied with rattan.

Carved chests, headboards, or mosquito screens divide the interior into the sleeping and non- sleeping areas. Covered with a riyara woven mat, rice-stalk bundles serve as bed mattresses, the head and foot of which are laid out with pillows. Over and beside the bed are the taritib canopy and the curtains respectively. The roof of the mala-a-walai is made of thick cogon grass secured on bamboo frames by rattan. Notched bamboo poles server as the stairs, which are placed at the front and back of the house (Alarcon, 1991: 65-66).

The finest example of Mëranaw architecture is the torogan, which showcases the best of Mëranaw okir (literally, “carving”). On the façade, there are panolong or wing-like house beams with a pakorabong (fern) or naga (serpent) motif. Inside, there are carved panels and the tinai a walai, the “intestines” of the house or central beam (Peralta, 1975: 29). A traditional way of testing the torogan’s durability was to have two carabaos fight inside the structure. If it collapsed, it was not deemed worthy to be occupied.

The torogan is a partition-less structure housing many families. Each is a given a “sleeping space,” provided with mats and sleeping pads, and separated from one other by cloth partition. Each sleeping space also serves as the family’s living room, working space, and dining room. Visitors are not allowed into the gibon or paga, the room for the datu’s daughter, and the bilik, a hiding place at the back of the sultan’s headboard. The torogan may also have the lamin, a tower-like structure serving as a hideaway for the sultan’s daughter. The flooring of the house is of barimbingan wood; the walls of gisuk wooden panels, profuse with okir; and the roof of cogon grass secured on bamboo frames by rattan (Alarcon, 1991: 65-66).

Mëranaw architecture also includes the masjid (mosque) inspired by West Asian architecture. There are two types of mosque. The first is the ranggar, a small Muslim house of prayer and worship made to accommodate a few individuals for the daily prayers, built in the rural areas of the Muslim masses, and more similar in design to Southeast Asian prayer houses (Tan, 1985: 14). The second is the masjid, a bigger, permanent structure which comes in various architectural designs, most of which are simple and decorated with okir.

One outstanding example is the pagoda-like, three-tiered mosque in Taraka, Lanao del Sur. The interior of the mosque is laid out according to the nature of salat (Islamic prayer), which is announced from tall minarets. The direction of Mecca, which the congregation faces, is marked by a mihrab or niche/recess in the wall. Sermons are said by the preacher standing on the mimbar (staired pulpit), which is of okir-carved wood. Wudu or places of ablutions are located near the mosque (Majul, 1977: 80-784).

Very little is known of the early architectural designs of the Mëranaw mosque, because (1) many of the earlier mosques used temporary materials like wood, bamboo, and cogon; (2) the remaining earlier types were either demolished, destroyed by fire or earthquake, or remodelled according to West Asian designs; (3) the yearly sojourn to Mecca influenced and eventually changed all earlier types; and (4) very little has been written on the subject (A. Madale, 1977: 13).

Mëranaw visual arts include weaving (mats, textiles, baskets), carving (wood, stone, bamboo, horn, and ivory), and casting (brass and iron, silver, gold). One underlying feature of Mëranaw visual art—be it brass, silver, textile, wood—is the okir. The term refers to both the technique of carving and types of motif found in the art of Lanao and Sulu.

Basic okir motifs are the (1) birdo, the motif of growing vines or raling plants, often etched on a horizontal rectangular panel, but also on the vertical or oblique; (2) magoyada, the motif dominated by the naga or serpent figure, and complemented by other leaf motifs; (3) pakorabong, the motif of a fern growing in an upward direction, usually from a central point where all other designs emanate; (4) niaga, the motif dominated by the naga plus leaves, vines, and flowers; (5) armalis, the motif combining designs of fern, leaf and the bud; (6) obid-obid or (7) tiali-tali, the coiled rope-like motif; (8) matilak, the circle motif; (9) dapal, the leaf motif; (10) todi, the flower motif; (11) saragonting, the cross-like motif ; (12) binitoon, the star-like motif; (13) pinatola, the adjacent squares motif; (14) biangon, the rectangle motif; (15) pinagapat, the motif consisting of any four-sided design in series; (16) olan-olan, the artificial moon motif; (17) pialang, the square motif; and (18) katiambang, the diamond motif. What is discernible in the okir is that the work of women is generally more geometric, while that of the men, more floral (Saber and Orellana, 1963)

The visual arts of the Mëranaw are also exemplified by the elusive bird of art, the sarimanok or, literally, “artificial bird” or the papanok, its female counterpart.

The Islamic dislike for realistic representations of human or animal forms resulted in nature being abstracted into sophisticated symbolic forms. Exceptions include the burrak (literally, “the bright one”), the horse with a human face on which the Prophet Muhammad is believed to have ascended to Heaven. The burrak appears on carpets, paintings, and sequined cloth panels.

Mëranaw mat weaving designs are purely geometric, and motifs have specific names: binitoon (star-like), onsod (pyramid), matilak (circle), saragonting (cross-like) and others. The mats are woven from local tikug called sesed, which is gathered, dried under the sun, cooked and dyed with different colors called atar. It is re-dried and flattened, after which it is ready for weaving.

The size of the mat is determined by the number of da-ir (panels) which, in turn, are determined by the length of the sesed. Weaving is usually done in flat areas, as these make the process easier. Early morning or late afternoon is the best time to weave, as the cooler temperature not only provides for the personal comfort of the weavers, but also avoids making the sesed brittle. It takes approximately two to three weeks to weave a mat, which is then taken to the market and bought by a comprador. The price is determined by the size, workmanship, and patterns used. The finer the patterns and the more subdued the colors, the higher the price.

Mëranaw textiles can be classified into landap, andon, and karangkali. The most innovative malong makes use of the sewing machine. The landap type of malong is a lakban (vertical women strip) sewn into the entire length of the body of the malong. Ranging from ten to 17.5 centimeters in length, the vertical strip comes in alizarine red base in woven with multi-colored motifs ranging from the strictly geometric and the curvilinear to the leaf and vine. Crisscrossing the strip at two points are two horizontal strips which are smaller and simpler in design. These horizontal strips are called tubiran; all three strips are collectively referred to as langkit. Additional designs called borda, adapted from traditional okir motifs, are embroidered on the malong.

The andon type of malong is made by applying the tie-dye process on the thread. The undyed portion results in the motif. Andon subtypes include the katiambang or complete tie- dye design; the sinalapa or enclosed designs; and patola or vertical and geometric designs (Baradas, 1977a: 672).

The karankali type of malong is an assortment of patterns which can be combined with tie-dye patterns. These include plaids, stripes and checks. Mixed with tie-dye type patterns, the type is called babalodan (Baradas, 1977a: 672).

Muslim basketry consists of small hands baskets, carrying baskets, storage baskets, trays and fishing baskets. Materials include bamboo, rattan, bust, pandanus and others. Motifs are produced in various ways, e.g. weaving black over white or “one-square-over-another.” Cylindrical baskets are made with the radial arrangement of the spokes. Square baskets, e.g. fish baskets, are done with the “over-one, under-one, parallel-open-weave” method (De los Reyes, 1977: 215-217)

Kapangokir or carving can be found in different media, such as wood, stone, bamboo, horn and ivory. The best examples of wood carving are done for the panolong (house beam), arko (arches), musical instruments such as the kutyapi (lute), lansa (motor outboards), house tools, kitchen utensils, agricultural implements, and grave markers. The Mëranaw tinai a walai or central beam is also intricately carved with okir designs. The kaban (chest) may be carved or inlaid with bone or mother-of-pearl.

One outstanding example of Mëranaw wood carving is found in the galingan (spinning wheel), whose base is a solid wood block and whose sides are carved in the magoyada motif. From the base rise two lengths of wood from either side, intricately carved in the armalis motif.

The arko also displays different okir motifs. Some of the most significant show the burrak and naga. In big weddings, the kulintang, a musical instrument consisting of eight graduated gongs laid horizontally on a stand called langkongan, is played on top of an arko. The lansa also has the naga in the prow and stern, and the birdo on both panels.

The most common stone carvings include hollow blocks using okir motifs for house décor, and grave markers which are not as elaborately carved as those of Sulu.

An example of bamboo carving is found in the kubing or jew’s harp, a musical instrument used traditionally for courtship and ordinary communication. The lakub (tobacco container) is another fine example of bamboo craft. The complicated lakub dye technique includes covering portions of the container while dipping the others in dye. Bold primary and secondary colors are used—violet, yellow, dull red, and dull green (Baradas, 1977: 1046; Imao, 1977: 862).

A medium used by the Mëranaw for carving is the horn. Commonly fashioned items include the horn sarimanok, which is smaller than the usual sarimanok, and the gukum or mortar-shaped wax container. From the ivory, the Mëranaw carve dagger or kris handles into mythical creatures, snakes, or leaves (A. Madale, 1976: 43-44).

The Mëranaw and the Maguindanaon are famous for their brassware. The reason is that yellow and gold, the colors of nobility, are approximated by this alloy. Mëranaw brassware includes the talam (tray with stand), panalogadan (vase with stand or holders), sakdo (ladle), pangolain (sieve), salapa (betel leaf-areca nut box), lotoan (silver inlaid betel leaf-areca nut box), pots such as the batidor and kandi, lantaka (canon), and ceremonial and decorative vessels such as the gador, niana, langguay, baong, and kabo.

One outstanding example of Mëranaw metalwork is silver-inlaid brass sarimanok piece of Taraka. The piece, which is used as a wax container, uses silver coins. To date, this is the only known sarimanok piece made from the silver inlaid process.

There are three methods of brass making: the batak or hammering process, garaoang/kapanabas or cut-out process, and the kapanowang or casting process. The first process is composed of two sub-processes: pamokpok or plain hammering, and the stamping process, where the embossed designs are hammered into the article. The first two processes are simpler and take less time.

The Mëranaw employ a modified wax-mold method for kapanowang or brass casting. Okir designs are done with the strip method. To form a waxy substance, paraffin is mixed with almaciga and beeswax. The shape is formed by pressing the substance around a wooden model, after which the mold is removed. Small spaghetti-like strips of wax are made separately, formed into various okir designs and laid together with the mold. The encasement is then made by applying a mixture of bamboo charcoal and muddy soil on and inside the wax mold. Melted wax is poured out and molten brass paired in. The finishing process is done by professionals like engravers, silver inlayers, and polishers (Imao, 1977a: 679-682)

Kakelaya-layang or kite making is an activity enjoyed when the wind is strong and the weather fine. Other occasions for kite making include the sprouting of palay grains and the bearing of fruits from the local nonang tree, the fruits of which are used as paste in kite making. On a bamboo frame work, Manila paper and papel de japon are pasted to create the kite’s “wings.” Tied to the head of the kite is a nipa leaf which vibrates and produces romeging, a sound similar to the drone of an airplane. The kite-making completes when it comes to the size, color, and stability of their kites.

The Tausūg or Suluk people are an ethnic group of the Philippines, Malaysia and Indonesia. The Tausūg are part of the wider political identity of Muslims of Mindanao, Sulu and Palawan. Most of the Tausugs have converted into the religion of Islam whose members are now more known as the Moro group, who constitute the third largest ethnic group of Mindanao, Sulu and Palawan. The Muslim Tausugs originally had an independent state known as the Sulu Sultanate, which once exercised sovereignty over the present-day provinces of Basilan, Palawan, Sulu, Tawi- Tawi, the eastern part of the Malaysian state of Sabah (formerly North Borneo) and North Kalimantan in Indonesia.

The Tausug is a peace-loving people. They are kind to guests and foreigners and are hardworking. Their religious passion has helped them withstand the influence of Western colonization. Thus, throughout the Spanish period, the Tausug continued to develop their own culture from which they derive martabat (honor), the inner strength that inspire them to preserve and defend the freedom of their hula, bangsa and agama (country, nation and ideology).

The Tausug have elaborated a material culture visible in the design of their houses, furniture, attire, interior decoration and jewelry. A typical Tausug bay or house is rectangular and consists of two or three bilik or rooms. It is partitioned by buras or painted rattan mat. The size is about twenty-four feet wide and thirty-six feet long. The height of the posts from the ground is eight to ten feet. Usually, the jati tree is common lumber used for posts, while the floor is made of slabs of the bahi tree. Tiyadtad or split bamboo is the material used for the wall. The roof is made of nipa leaves. The top edge of the roof is decorated with the tadjukpasung, a wooden carving of a dragon or bird.

The ukkil design is also placed at the top edge of the door jamb; the windows are in the shape of interconnected leaves. Luhul, a piece of cloth with a tree motif used as a ceiling for the house, serves as a net to prevent insects from falling and makes the house colorful. In fact, a kikitilan, a long piece of cloth about two feet wide and embroidered with a horizon tree, is usually hung and attached to the four sides of the luhul.

The poor Tausug family house is made of light material such as bamboo and sayrap (woven coconut palm leaves). Bamboo is used in Sulu for house posts, thrust, beams, wall and floor. Typical among the Tausug is the bilik or room with a number of color pillows placed over the tilam (cushion) made of kapok. Like the luhul, pillows are embroidered with the flowers or sometimes with the name of person.

The salas is another feature of a Tausug house, the main room to which are attached the two sides of the house. Guests are often entertained in the salas, which also serves as relaxation area for the household. It is a little lower than the floor of the main house. The common decorations placed on the wall are a picture of the burrak (a heavenly animal with the face of a beautiful woman and the body of a horse), the picture of the Ka’bah (the black stone which serves as the direction of the Muslim prayer) and a mirror.

At the back of the house is the pantan or porch that connects to the kusina or kitchen. It is roofless and without walls, and serves as the washing or bathing area; it also serves as a storage area for farm produce, kibut (water pot) and dagtung (long bamboo used as water container). The kitchen, on the other hand, is a separate structure from the house. Among the most important things found in the kitchen are food containers such as bingki, bugsuk, bakul, ambung; water containers like dagtung, undam, kibut, baung, gayung and sukki; cabinet or lamari; and kitchen utensils such as luwag, kkukuhal, ligu, liisan, kugutan, kawali, tungkanganglit and pipisan.

In sum, according to Dr. Abraham Sakili, “the principal space of the ordinary Tausug house is the sleeping area (bilik). Next in importance are the porch and the kitchen.” (2003: 118)

The expression of Tausug artistry can be seen in their visual arts, music and literature. Tausug visual arts includes the creation of such objects as the ukkil (curvilinear motif), Tausug attire and house decorations. Ukkil is applied on the tadjukpasung (wood curving placed on the opposing ends of the roof), grave, headboard, door, certain furniture, and handle of a bladed weapon and scabbard. It follows different designs, mostly the tree motif, floral leaves and sometimes Arabic calligraphy. Tausug ukkil is similar to other Islamic arts in emphasizing the Oneness of Allah and His Eternity. For instance, in ukkil, the floral motif has no beginning and no end, a sign indicating the majesty and omnipotence of Allah, the Lord of the worlds.

The attire of the Tausug is also another form of artistic expression. Batawi, the female dress, and lapi, the male attire, are heavily decorated with silver buttons to show that the Tausug society once attained prosperity, especially during the height of the Sulu Sultanate’s power. These were the standard attire of the datu and the ulangkaya (the rich people). But today batawi and lapi are worn only by the bride and the groom respectively during a marriage ceremony; they are also worn on special occasions like festivals and centennial celebrations.

The concept of Islamic monotheism is also found in the pis siyabit (Tausug kerchief), the usual design of which a big square in the center is surrounded by other successive squares, which occupy the whole space. The different squares are connected to one another and symbolize the Ka’bah, the single direction toward which the prayers of Muslims are directed. This noble item of attire is reserved for men only and is used as turban by the groom and by warriors during an armed battle.

Tausug music is founded on chanting the sifat (attributes) of the Prophet. Lugu (chant), langan (lullaby) and kissa (ballad) emphasize the glory of the Prophet and the Tausug warriors; they are played during a wedding ceremony, celebration of Idul Fitri and Idul Adha (the only festival of the Muslims), and as lullaby to put a child to sleep. Tausug ethnic songs contain religious lyrics.

The major musical instruments of the Tausug are the gabbang, biyul, agung, kulintang, gandang, suling, sawnay and kuwaing. Gabbang and biyula are used to accompany the kissa, lugu and tunis-tunis. Sometimes biyula and sulling are played together. The agung, gandang and kulintang are played to show that there is a wedding ceremony taking place in the community. They are also played while the groom and his entourage proceed by foot or vehicle to the house of the bride. In ancient times, the agung was used in the astana (palace) of the sultan as means of summoning the people.

Despite the differences in culture and traditions, and the diversity of their traditional arts, these different ethnic groups in the Autonomous Region in Muslim Mindanao live in harmony with one another, especially because they profess the same religion which is Islam. This common religion is what makes them united despite their diversity.

FOR MORE INQUIRIES or CONCERN

JIMMY K. MUSA International Relations Division (IRD) Mindanao Development Authority (MinDA) Philippine Coordinating Office for BIMP-EAGA Fax No.: (082) 221-8108 Mobile No.: +63 977-106-0831 Office E-mail: [email protected] Alternate E-mail: [email protected]

Fruits & Vegetables Supplier in Davao City

MDM HANISAH UNTONG Ministry of Tourism, Arts, Culture, Youth and Sports Sarawak Phone: +60165752572 Email: [email protected]

SOCIAL MEDIA

Human interest

The Wonders & Beauty of Mindanao, the Philippines

april 02, 2012 by Travel , Uncategorized 1

By: Gen V. Caracena

Mindanao: Flora, Fauna and Mountain Resorts

The tropical rainforests are blessed with a diverse flora and fauna and the region’s mountainous terrains are ideal for jungle tracking. For nature lovers who like an adrenalin rush, Mount Apo is a great attraction. Located between Davao City and Davao del Sur province in Region XI and Cotabato province in Region XII of the island, Mount Apo is the country’s highest mountain measuring 3,144 meters above sea level. On average, the summit can be reached in two days. The mountain is volcanic in nature, but history has no verified record of eruption.

Mount Apo is the habitat of over 272 bird species, 111 of which are endemic to the area. Nature lovers can explore through the rain forest of the mountain and discover the country’s national bird, the world’s largest and critically endangered Philippine Eagle. Mount Apo is the only remaining habitat of the Philippine Eagle.

It is in the mountains of Mindanao, especially at the foot of Mount Apo where you can find the original source of the most beautiful varieties of flowering plants like the captivating Philippine Orchids, among which is the rarest Queen of Orchids, Vanda Sanderiana known as Waling-Waling. Davao City, the largest city and most important economic center in Mindanao is named as the ‘City of Blooms’ for its wide plantations and garden resorts that grow rare and exotic orchids and other plants. The city is known in the world specifically for its famous Waling-Waling.

Mount Apo is the ancestral domain and home to six indigenous peoples (Manobos, Bagobo, Ubos, Atas, K’lagans and the Tagacaolo. For them the mountain is a sacred ground because it is their place of worship and burial ground of their great forefather Apo Sandawa where the mountain’s name came from. Culturally and spiritually it is their life and their source of food and medicine.

Davao boardwalk, By: Burgermac

The Department of Tourism in Davao City organizes guided trips for you to personally marvel at the wonders of Mount Apo. A simple walk through the forest and alongside the mountain slopes fascinates and makes you feel part of nature.

Durian, the smelly king of fruits, By: Keith Bacongco

Mindanao is blessed with the bounty of the earth, being the country’s Food Basket. Its fertile soil makes a bountiful harvest of a variety of fruits and other farm products that provides 40% of the country’s requirement.

Durian, the smelly king of fruits grows abundantly in Mount Apo and other parts of the region. It comes in different varieties. Davao City is also named ‘The Durian Capital’ of the Philippines. The fruit is unique for its huge size that grows 12 inches long and 6 inches in diameter, distinct odor, and thorn-covered husk. Durian’s odor is overpowering for some people, but others consider it as fragrant. Despite the distinct odor, many love Durian for its creamy and mouth watering taste. The durian flesh can be consumed when ripe, but it is also used to flavor a variety of sweet savoury cuisines. When you come to Davao or Cotabato provinces do not miss to try Durian and you’ll surely fell in love with its delightful taste.

Mindanao is also blessed with the bounty of marine life and marine resources. One of the country’s biggest producers of Philippine Tuna comes from Mindanao in General Santos City, which lies at the southern part of the country. Tagged as the Tuna Capital of the country, General Santos City also records for one of the largest daily total catch of fish in the country.

Mindanao's enchanting landscape, By: Jojo Nicdao

Mindanao Beaches and Waterfalls

Aside from mountain resorts, Mindanao prides itself in a great number of beautiful and refreshing waterfalls. Iligan is known as the City of Waterfalls because of the presence of more than 20 waterfalls in the city. One of the most resplendent is the famous Maria Cristina Falls, Iligan’s greatest heritage. Standing 320 feet high, Maria Cristina Falls is not just a landmark of Iligan, it is also the source of industrial power in the region. Iligan is a highly urbanized industrial city in the province of Lanao del Norte located at the northern Mindanao region.

Tinago (hidden) falls, By: Volkanoboy

The highest water fall in the country is the 388-meter-high Aliwagwag Falls in Davao Oriental province in Mindanao. Considered one of the most beautiful waterfalls in the country, Aliwagwag Falls is nestled in the middle of the forest and is a series of 84 cascading waterfalls.

The second highest to Aliwagwag Falls is the two-tiered Limunsudan Falls that stands 870 feet also found in Iligan. It’s lower cascade is higher than the entire height of Maria Cristina Falls.

Most of the finest and immaculate white beach resorts and facilities in the country are found in Mindanao. The Island Garden City of Samal (IGACOS) located two kilometers away from Davao City is named by the Department of Tourism as one of the best visiting islands in Mindanao because of its beautiful beach resorts that include the Kaputian Resort, Pearl Farm, Paradise Island and a lot more. For an underwater world adventure, Dakak in Western Mindanao is an ideal destination where the famous Dakak Park and Beach Resort stands. The powdery white sand, blue waters, great dive sites with numerous coral reefs and beautiful sunset best describe this God’s work of art. IGACOS and Dakak are only two of the best leading destinations in Mindanao for your adventure and leisure experience.

Davao beach life in blue, By: Edward Musiak

The People and Culture of Mindanao

Mindanao is composed of a population with diverse ethnicities, cultures and religions. Christians are dominant in the region, but it is also an abode to most of the country’s muslim population comprising various ethnic groups and the collective group of indigenous tribes known as the Lumad. Each group has a distinct culture and language.

Cebuano dialect is the most widely spoken language in the region, except in Muslim areas on the west coast and some hill tribes. In Zamboanga City the primary language is Chavacano. The dialect Zamboangueno Chavacano is one of the six dialects of Chavacano whose native speakers are known as the Zamboangueno latino.

See you in Mindanao, By: Paul David Lewin

The citizens of Mindanao are a people of diversity but co-exist in a peaceful, harmonious and loving community because they have grown in respect and appreciation of the culture, beliefs and religion by numerous ethnic groups. Often attached to the word Mindanao is an impression of a deteriorating peace and order situation. However, besides some parts of the region where there are conflicts due to political rivalries, Mindanao is generally a safe and peaceful destination.

These are just few of the wonders and spectacles of Mindanao. A great number awaits you to uncover. For nature, culture and adventure loving people, Mindano the ‘Land of Promise’, is truly a fun-filled place to visit.

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Philippines: Indigenous Peoples in Mindanao

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Indigenous People of Mindanao

There are 18 Lumad ethnolinguistic groups recognized by the Philippine government. However, there are probably about 25 or more. Owing to the isolation of these groups, the Philippine census has never been consistent. The Lumad are:

The Subanen

Mamanua, and

Manguangan.

There are also 13 Muslim ethnolinguistic groups:

Maguindanao

Ilanun/Iranun

Selected Materials

The Concept of Justice Among the Indigenous Communities of Northeastern Mindanao: a Comparative Study of Customary Laws and Resolution of Conflicts by Erlinda Montillo-Burton, Ma. Easterluna S. Canoy Call Number: DS688.M2 B43 1991 Publication Date: 1991
The Shaman Woman's Dream: How Can We Worship God Without the Forest? by Agnes N. Miclat-Cacayan Call Number: BF1584.P55 C34 2002 Publication Date: 2002
Kaingin, Ethnoecological Practices of 7 Upland Communities in Mindanao by Heidi K. Gloria, Fe R. Magpayo Call Number: DS666 .M34 G445 1997 Publication Date: 1997
Manuvu' Social Organization by E. Arsenio Manuel Call Number: DS666.M34 M36 2000 ISBN: 9715422284 Publication Date: 2000
Magosaha by H. Arlo Nimmo Call Number: DS666.B3 N54 2001 ISBN: 9715503691 Publication Date: 2001-01-01
Rule of the Gun in Sugarland [videorecording] by a film by Joey R.B. Lozano in cooperation with Nagkahiusang Kahugpungan sa mga Manobo ug Talaandig with support from Lifebridge Foundation, Witness and Necessary Illusions Inc Call Number: DVD 11694 Publication Date: 2001

Useful Keyword and Subject Terms

In the One Search catalog, use advanced search using the following terms under "keyword search":

Indigenous people AND Mindanao

Indigenous people AND conflict AND Mindanao

**A search on any of the indigenous groups will most often yield results:

T'boli AND Mindanao

Yakan AND Mindanao

Sama* AND Mindanao

Bajao AND Mindanao

Under "subject search," try the following:

Lumad (Philippine people)

Ethnology--Philippines

Bajau (Southeast Asian people)

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Grade 7 Arts Module: The Land of Promise, The Land of Wealth Arts and Crafts of Mindanao

This Self-Learning Module (SLM) is prepared so that you, our dear learners, can continue your studies and learn while at home. Activities, questions, directions, exercises, and discussions are carefully stated for you to understand each lesson.

Each SLM is composed of different parts. Each part shall guide you step-by-step as you discover and understand the lesson prepared for you.

Pre-tests are provided to measure your prior knowledge on lessons in each SLM. This will tell you if you need to proceed on completing this module or if you need to ask your facilitator or your teacher’s assistance for better understanding of the lesson. At the end of each module, you need to answer the post-test to self-check your learning. Answer keys are provided for each activity and test. We trust that you will be honest in using these.

Please use this module with care. Do not put unnecessary marks on any part of this SLM. Use a separate sheet of paper in answering the exercises and tests. And read the instructions carefully before performing each task.

Ethnicity, diversity, and authenticity define the culture and tradition of the people of Mindanao due to its different indigenous groups with native beliefs that are almost untouched by the influence of colonialism. Just like the other regions in the Philippines, Mindanao has rich culture depicted in their arts and crafts. You have become familiar with the characteristics of these pieces of artwork from the so-called “The Land of Promise” as you encountered them in the previous modules. The traditional textile designsfrom several ethnic groups like the B’laan, T’boli, Bagobo, and Maranao have distinct characteristics that feature varied motifs, colors, functions, and meanings. Seeing their exceptional accessories such as hilot and suwatlmimotis, as well as the extraordinary architecture like the Torogan, the Badjao houses, and the grand mosque of Cotabato will make you wonder whether you are still in the Philippines or not. These art works were made to express their lifestyle, beliefs, and customs. As you explore the next learning stations, more of these arts and crafts will come along your way. You will have a deeper understanding of how lines, shapes, forms, value, color, texture and space give more meaning and significance to the artworks from Mindanao. These elements are applied not just to add appeal to a particular work of art but to give meanings beyond every designs. You are through with characterizing the arts and crafts of Mindanao based on their physical appearance. Analyzing the elements of arts will eventually make young Filipinos like you to appreciate not only the works of our Mindanao brothers and sisters but also the kind of life they have then and now.

Learning Objectives

In this module, you will be able to:

A. identify the elements of arts found in the arts and crafts in Mindanao;

B. analyze how elements of arts are used in the designs of Mindanao Arts and crafts;

C. show appreciation of the design of Mindanao arts and crafts through visual presentation.

Grade 7 Arts Quarter 3 Self-Learning Module: The Land of Promise, The Land of Wealth Arts and Crafts of Mindanao

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Daily Life in Mindanao: Photo Essay

Daily Life in Mindanao Photo Essay by Bobby Timonera

Mindanao in southern Philippines is populated mainly by three groups of people – the Lumads, the tribal people who first inhabited the place but who are now a minority; the Muslim groups; and the Christians who came mostly from the northern part of the country who now comprise the majority.

The mixture of these three peoples has somehow created tension, like the formation of Muslim armed groups that have waged rebellion since the 1970s. But there’s a continuing effort to bring about peace and harmony, the latest of which was the signing last year of the Framework Agremeent on the Bangsamoro between the government and the Moro Islamic Liberation Front.

Meantime, the island’s tourism potentials, despite a number of scenic spots, couldn’t be maximized because of the threats as embassies of many countries regularly issue travel advisories telling its residents to avoid going to Mindanao.

The island is blessed with natural resources so rich that it contributes a lot to the national economy, yet its people complaining it gets little from the national government’s budget.

Kyoto Review of Southeast Asia . Issue 14 (September 2013). Myanmar

Much of what is usually written about Mindanao is usually pretty glum, it’s nice to see something more positive, great photos!

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Essay on Indigenous Peoples In The Philippines

Students are often asked to write an essay on Indigenous Peoples In The Philippines in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Indigenous Peoples In The Philippines

Who are indigenous peoples.

Indigenous peoples are the first people to live in a place. In the Philippines, they have their own cultures, languages, and traditions. They live in mountains, forests, and islands. They are also called “Lumad” and “Igorot” among other names.

Where They Live

Many indigenous groups in the Philippines live in Luzon, Visayas, and Mindanao. They stay in remote areas, which helps them keep their old ways of life. Their homes are often far from cities and hard to reach.

Their Way of Life

These peoples farm, hunt, and fish for food. They respect nature and believe in spirits. They also have colorful clothes, dances, and music that show their culture.

Challenges They Face

Indigenous peoples have problems like losing their land and not having enough rights. Some people don’t respect their way of life, and they struggle to keep their traditions alive.

Protecting Their Rights

The Philippines has laws to protect these peoples. It’s important to make sure they can keep their land, culture, and way of life. Everyone should learn about and respect their contributions to the country’s heritage.

250 Words Essay on Indigenous Peoples In The Philippines

In the Philippines, indigenous peoples are groups of people who have lived in the country for a very long time, even before others came to the islands. They have their own ways of life, languages, and traditions that are different from the rest of the population.

Where Do They Live?

These native groups live in various parts of the Philippines, from the mountains of Luzon to the islands of Mindanao. Some live in forests, while others are by the sea. Each group has learned to live well in their special home environment.

Their Culture and Traditions

Indigenous peoples in the Philippines have rich cultures. They celebrate unique festivals, have their own music, dances, and clothes. They also have special skills in weaving, carving, and making houses that fit their lifestyle. Their beliefs and stories are passed down from old to young, keeping their history alive.

Sadly, these groups often face tough times. Their lands are sometimes taken away for business or other people’s use, which makes it hard for them to live as they always have. They also struggle to keep their culture strong while the world around them changes quickly.

Why They Are Important

Indigenous peoples are very important because they teach us about different ways of living and thinking. Their knowledge of nature and how to care for it is valuable for everyone. It is important to respect and protect their rights so they can continue their way of life and share their wisdom with all of us.

500 Words Essay on Indigenous Peoples In The Philippines

Who are the indigenous peoples in the philippines.

In the Philippines, there are groups of people who have lived there for a very long time, way before others came to the country. These groups are called Indigenous Peoples or IPs. They have their own ways of living, traditions, languages, and beliefs that are different from the more modern Filipino ways. They are like the original Filipinos who have kept their old customs alive.

These Indigenous Peoples live in various parts of the Philippines. Some live in the mountains, some by the seas, and others in forests. They are spread out over the islands, with many living in places like Luzon, Mindanao, and the Visayas. Each group has its own special place where they have lived for many generations.

Their Cultures and Traditions

The cultures of these Indigenous Peoples are rich and colorful. They have special dances, music, and clothes that show who they are. They celebrate festivals that honor their gods, the earth, and important events in their lives. Their stories and art are passed down from old to young, keeping their history alive.

How They Take Care of the Environment

Indigenous Peoples are known for taking good care of nature. They understand the land and the sea very well because they have lived close to it for so long. They use the land to grow food and find medicine but they also make sure not to harm it. They teach us how important it is to respect and protect our environment.

Even though they have been in the Philippines for a long time, these groups face many problems. Sometimes, other people want to use the land where they live for building or for getting resources like minerals. This can make it hard for Indigenous Peoples to keep living their traditional way. They also sometimes struggle to get the same education and healthcare that other Filipinos have.

How They Are Protected

The government of the Philippines knows these problems and has made laws to protect Indigenous Peoples. One important law is called the Indigenous Peoples’ Rights Act. This law helps make sure that their rights to their land and their way of life are respected. It also says that they should have a say in decisions that affect them.

Their Role in Society

Indigenous Peoples are very important in the Philippines. They remind everyone of the country’s history and show the beauty of different ways of life. They also help take care of the environment, which is good for all Filipinos. By learning from them, people can understand how to live in peace with nature and with each other.

In conclusion, the Indigenous Peoples in the Philippines are a vital part of the country’s heart and soul. Their presence enriches Filipino culture, and their knowledge of the environment is invaluable. It’s important for everyone, especially young students, to learn about these groups and to appreciate their contributions to the nation’s heritage. By understanding and respecting Indigenous Peoples, we can all help to make sure their cultures and traditions thrive for many more years to come.

That’s it! I hope the essay helped you.

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Happy studying!