Sheryll B.

Cabaddu
BCAE – III

1. Describe the artifacts of the Srivijaya and Majapahit period.

The Srivijaya Empire
Srivijaya empire, maritime and commercial kingdom that flourished
between the 7th and the 13th centuries, largely in what is now Indonesia. The kingdom
originated in Palembang on the island of Sumatra and soon extended its influence and
controlled the Strait of Malacca. Srivijaya’s power was based on its control of international
sea trade. It established trade relations not only with the states in the Malay Archipelago
but also with China and India.
Srivijaya was also a religious centre in the region. It adhered to Mahayana
Buddhism and soon became the stopping point for Chinese Buddhist pilgrims on their way
to India. The kings of Srivijaya even founded monasteries at Negapattam (now
Nagappattinam) in southeastern India.
Srivijaya continued to grow; by the year 1000 it controlled most of Java, but it soon
lost it to Chola, an Indian maritime and commercial kingdom that found Srivijaya to be an
obstacle on the sea route between South and East Asia. In 1025 Chola seized Palembang,
captured the king and carried off his treasures, and also attacked other parts of the kingdom.
By the end of the 12th century Srivijaya had been reduced to a small kingdom, and its
dominant role in Sumatra had been taken by Malayu (based in Jambi), a vassal of Java. A
Javanese kingdom, Majapahit, soon came to dominate the Indonesian political scene.

The Majapahit Empire

Majapahit empire, the last Indianized kingdom in Indonesia; based in
eastern Java, it existed between the 13th and 16th centuries. The founder of the empire
was Vijaya, a prince of Singhasāri (q.v.), who escaped when Jayakatwang, the ruler of
Kaḍiri, seized the palace. In 1292 Mongol troops came to Java to avenge an insult to the
emperor of China, Kublai Khan, by Kertanagara, the king of Singhasāri, who had been
 replaced by Jayakatwang. Vijaya collaborated with Mongol troops in defeating
Jayakatwang; Vijaya then turned against the Mongols and expelled them from Java.
Under his rule the new kingdom, Majapahit, successfully controlled Bali, Madura,
Malayu, and Tanjungpura. The power of Majapahit reached its height in the mid-14th
century under the leadership of King Hayam Wuruk and his prime minister, Gajah Mada.
Some scholars have argued that the territories of Majapahit covered present-day
Indonesia and part of Malaysia, but others maintain that its territory was confined to
eastern Java and Bali. Nonetheless, Majapahit became a significant power in the region,
maintaining regular relations with China, Champa, Cambodia, Annam, and Siam
(Thailand). The golden era of Majapahit was short-lived; the empire began to decline
after the death of Gajah Mada in 1364, and it was further weakened after the death of
Hayam Wuruk in 1389. The spread of Islām and the rise of the Islāmic states along the
northern coast of Java eventually brought the Majapahit era to an end in the late 15th or
early 16th century.

2. Describe the Lingling-o of the indigenous cultures.

Lingling-o or ling-ling-o, is a type of penannular or double-headed pendant or
amulet that has been associated with various late Neolithic to late Iron Age Austronesian
cultures. Most lingling-o were made in jade workshops in the Philippines, and to a lesser
extent in the Sa Huỳnh culture of Vietnam, although the raw jade was mostly sourced from
Taiwan.. The term was first popularized by H. Otley Beyer, who adapted it from the
Southern Ifugao name for such ornaments. The Lingling-o is used as either an earring or a
necklace pendant by Filipino tribes on the island Luzon in northern Philippines. It is also
found in other areas within the Philippines. The Ifugao, Bontoc, Kalinga, and Gaddang
tribes wear them as pendants on necklaces or as earrings. Filipino lingling-o have been
dated circa 500 BC. The lingling-o worn by the Ifugao, Bontoc and Kalinga in the
mountains of Cordillera are frequently made of silver. Considered very valuable fertility
charms lingling-o are often wedding gifts. Lingling-o can be made of gold, jade, shell, clay,
stone, brass or copper. The material used, when making a lingling-o, is a sign of its owner’s
social status.
3. Name the four suyat scripts.
The Philippines has numerous indigenous scripts collectively called as suyat.
Various ethno-linguistic groups in the Philippines prior to Spanish colonization in the 16th
century up to the independence era in the 21st century have used the scripts with various
mediums. By the end of colonialism, only four of the suyat scripts survived andcontinue to
be used by certain communities in everyday life. These four scripts are hanunó’o/hanunoo
of the Hanunoo Mangyan people, buhid/build of the Buhid Mangyan people,
apurahuano/tagbanwa of the Tagbanwa people, and palawano/pala’wan of the Palaw’an
people.
Hanunó'o alphabet
Hanunó’o is one of the indigenous suyat scripts of the Philippines and is used by
the Mangyan peoples of southern Mindoro to write the Hanunó'o language. It is an abugida
descended from the Brahmic scripts, closely related to Baybayin, and is famous for being
written vertical but written upward, rather than downward as nearly all other scripts
(however, it's read horizontally left to right). It is usually written on bamboo by incising
characters with a knife. Most known Hanunó'o inscriptions are relatively recent because of
the perishable nature of bamboo. It is therefore difficult to trace the history of the script.
Buhid alphabet
Buhid is a Brahmic suyat script of the Philippines, closely related to Baybayin and
Hanunó'o, and is used today by the Mangyans, found mainly on island of Mindoro, to write
their language, Buhid.
Tagbanwa script
Tagbanwa, also known as Apurahuano, is one of the suyat writing systems of the
Philippines used by the Tagbanwa people as their ethnic writing system and script. The
Tagbanwa languages (Aborlan, Calamian and Central), which are Austronesian languages
with about 25,000 total speakers in the central and northern regions of Palawan, are dying
out as the younger generations of Tagbanwa are learning and using non-traditional
languages, such as Cuyonon and Tagalog, thus becoming less knowledgeable of their own
indigenous cultural heritage. There are proposals to revive the script by teaching it in public
and private schools with Tagbanwa populations.
 Palawano/Pala’wan
There are three Palawano languages: the Quezon Palawano which is also known as the
Central Palawano; Brooke's Point Palawano and its dialect the Bugsuk Palawano or South
Palawano and Southwest Palawano. The three Palawano languages share the island with
several other Palawanic languages which are not part of the Palawano cluster, though they
share a fair amount of vocabulary.

4. Describe the Bul-ul of Ifugao people, what is the importance of this figure in the life
of Ifugao?
A Bulul is a carved wooden figure used to guard the rice crop by the Igorot peoples
of northern Luzon. The sculptures are highly stylized representations of ancestors, and are
thought to gain power from the presence of the ancestral spirit. The Ifugao are particularly
noted for their skill in carving bululs. Bululs are used in ceremonies associated with rice
production and with healing. Creation of a bulul involves alwen bulol ritual by a priest to
ensure that the statue gains power. The bulul is treated with care and respect to avoid the
risk of the spirits of the ancestors bringing sickness. The figures are placed in rice granaries
to bring a plentiful harvest. A large granary may need two bululs, and a wealthy noble may
also have one or more bululs in his house. Male and female Bulul statues are often found
together, with sex-related symbols such as the mortar for the female and pestle for the male.
A male bulul may sometimes be decorated with a g-string, and a female with a waist cloth,
earrings and anklets. Although the form varies, the bulul is commonly represented as seated
on the ground, with arms crossed over his upraised knees. The bulul has a simplified form,
and is traditionally carved from narra or ipil wood or sometimes stone. The bulul is touched
by hands dipped in blood of a chicken or pig in ritual called tunod during the rice planting
season. Over time the blood imparts a dark color to the figures, overlaid with a patina of
grease from food offerings. Bululs are handed down to the first child of a family. Typically
the older statues have beetle holes made by insects in the granary.

5. Describe the Sarimanok of the Maranao people.

The name of the legendary bird of the Maranaos comes from “sari” which means
cloth or garment, generally of assorted colors; and “manok” which means chicken.
 A ubiquitous symbol of Maranao arts, the Sarimanok is depicted as a fowl with
colorful wings and feathered tail, holding a fish on its beak or talons. With the head
profusely decorated with scroll, leaf and spiral motifs, it is said to be a symbol of good
fortune. The Sarimanok is derived from the totem bird of the Maranaos called Itotoro, a
medium to the spirit world via its unseen twin spirit bird called Inikadowa.
According to a folk belief of the Maranao people which was derived from Islamic
traditions, the sarimanok was said to be a giant rooster which Prophet Muhammad(PBUH)
encountered in heaven. However, it actually relates to an earlier, pre-Islamic belief that the
bird was a spirit medium that could communicate messages to its twin in the spirit world.
Today, belief in such folk traditions is no longer widespread but the sarimanok has come
to be celebrated as a symbol of the Maranao people and is often seen displayed at public
events.

6. Name some of the different dances of the Filipinos.

1. Tinikling – A Philippine folk dance that originated in Leyte

2. Itik-Itik – A cultural dance in the Philippines that originated in Surigao del Sur
3. Maglalatik – An example of Philippine folk dance that originated in Biñan, Laguna
4. Binasuan – Binasuan is a tribal dance in the Philippines that originated in Pangasinan
5. Singkil – Singkil is a Mindanao folk dance that originated in Lake Lanao
6. Kappa Malong-Malong – A tribal dance in the Philippines that originated from the
Maranao tribe in Mindanao
7. Cariñosa – A local dance in the Philippines that originated in Panay Island
8. Sayaw sa Bangko – A traditional folk dance in the Philippines that originated in
Pangasinan
9. Pandanggo sa Ilaw – An ethnic dance in the Philippines that originated in Lubang Island,
Mindoro
10. Pandanggo Oasiwas – A folk dance in the Philippines that originated in Lingayen,
Pangasinan
11. Kuratsa – A type of folk dance in the Philippines that originated in Samar Island
12. Pantomina – A type of dance in the Philippines that originated in Bicol
REFERENCES:

https://www.zenrooms.com/blog/post/philippine-folk-dances/

http://www.tribalartasia.com/Tribal%20Art%20Asia%20Ifugao%20Tribe/AUGUST2015/IFUG
AO-ANCIENT-STANDING-MALEBULUL.html

https://www.roots.gov.sg/Collection-Landing/listing/1238645

https://www.manilatimes.net/2019/03/25/supplements/sarimanok-a-rooster-in-the-first-of-seven-
heavens/530576/

http://n6xre.duckdns.org:8000/wikipedia_en_all_maxi_2018-
10/A/Hanun%C3%B3'o_alphabet.html

https://amp.en.google-info.in/56143399/1/lingling-o.html

https://www.britannica.com/place/Majapahit-empire