Mindanao Rts and Crafts

Leon Guinto Memorial College, Inc.
Mabini Street Atimonan, Quezon.
PHILIPPINE
AND
COMPILATION
By:
marghielyno@gmail.com
marghielyno@gmail.com
Preface
These study aims to give knowledge for us to understands the different Arts and Craft in Mindanao. The
content includes their function, meaning, process on how to make it, materials and the origin of the product itself.
Table of Content
Preface………………………………………………………………………………………1
Table of Content……………………………………………………………………………1-2
Body…………………………………………………………………………………………3-6
Elements of Art……………………………………………………………………….3
Principles of Design……………………………………………………………………3
Mindanao Description………………………………………………………………4-6
Chapter 1 Famous textile in Mindanao…………………………………………………..7-15
Ikat weaving……………………………………………………………………………7-8
Inaul weaving………………………………………………………………………….8-9
Malong…………………………………………………………………………………10-13
Bunga Sama……………………………………………………………………………13
T’nalak…………………………………………………………………………………14-15
Inabal…………………………………………………………………………………...15
Chapter 2 Traditional Clothing in Mindanao……………………………………………16-17
Malong………………………………………………………………………………….16-17
Chapter 3 Famous Festivals in Mindanao………………………………………………..18-28
Kadayawan Festivals………………………………………………………………….18-19
Kalilangan Festivals…………………………………………………………………..19-21
Sibug Sibug Festivals………………………………………………………………….21-22
Higalaay Festivals……………………………………………………………………..23
Kaamulan Fesrivals…………………………………………………………………..24-25
Lanzones Festivals…………………………………………………………………….26-27
Inaul…………………………………………………………………………………….27
Lugahit Festivals……………………………………………………………………….27-28
marghielyno@gmail.com 1
Balangay Festivals…………………………………………………………………….28
Chapter 4 Best Monuments and Statues in Mindanao………………………………….29-33
Statue of Divine Mercy……………………………………………………………….29-30
Lon Wan Temple………………………………………………………………………30-31
World Largest Rosary…………………………………………………………………31-32
Sultan Kudarat Monment……………………………………………………………..32-33
Chapter 5 Other Art and Craft in Mindanao…………………………………………….33-41
Vinta…………………………………………………………………………………….33-35
Balangay……………………………………………………………………………..…35-37
Okir…………………………………………………………………………………….37-39
Panolong………………………………………………………………………………...39
Torogan…………………………………………………………………………………39-40
Sarimanok……………………………………………………………………………….40
Butaka……………………………………………………………………………………41
Bibliography…………………………………………………………………………………42-43
Body
Mindanao is the second-largest island in the Philippines, after Luzon. Located in the southern region of the
archipelago, the island is part of an island group of the same name that also includes its adjacent islands, notably
the Sulu Archipelago. As of the 2010 census, Mindanao has 20,281,545 inhabitants, while the entire island group
has an estimated population of 25,537,691 as of 2018.
Mindanao is divided into six administrative regions: the Zamboanga Peninsula, Northern Mindanao,
the Caraga region, the Davao region, Soccsksargen, and the autonomous region of Bangsamoro. According to the
2015 census, Davao City is the most populous city on the island, with 1,632,991 residents, followed
by Zamboanga City (pop. 861,799), Cagayan de Oro (pop. 675,950), General Santos (pop. 594,446), Iligan (pop.
342,618), Butuan (pop. 337,063) and Cotabato City (pop. 299,438).About 70% of residents identify as Christian
and 24% as Muslim.
Mindanao is considered the major breadbasket of the Philippines,with eight of the top 10 agri-commodities
exported from the Philippines coming from the island itself.
Mindanao is known as the Philippines' "Land of Promise."
Component LGUs
Regional
Region
center  Province
Location (designatio Area Density
(capital  Independent city
n)
region)
 ∗ Associated
island[ii]
Zamboanga 17,056.73 km 2
200/km 2
Pagadian City
Peninsula (6,585.64 sq mi) (520/sq mi) 5
(Region IX)  Isabela City*[iii]
 Zamboanga City[iv]
 Zamboanga del
Norte
 Zamboanga del Sur
 Zamboanga Sibugay
Northern 20,496.02 km2 210/km2 Cagayan de

Mindanao (7,913.56 sq mi) (540/sq mi) Oro City 7
(Region X)  Bukidnon
 Cagayan de Oro[iv]
 Camiguin*
 Iligan[iv]
 Lanao del Norte
 Misamis Occidental
 Misamis Oriental
Caraga 21,478.35 km2 110/km2 Butuan

Region (8,292.84 sq mi) (280/sq mi) 6
(Region XIII)  Agusan del Norte
 Agusan del Sur
 Butuan[iv]
 Dinagat Islands*
 Surigao del Norte
 Surigao del Sur
Bangsamoro 12,535.79 km2 260/km2 Cotabato

Autonomous (4,840.10 sq mi) (670/sq mi) City [v] 5
Region  Basilan*
in Muslim (excluding Isabela City)
Mindanao  Cotabato City[vi]
(BARMM)  Lanao del Sur
 Maguindanao
 Sulu*
 Tawi-Tawi*
Component LGUs
Regional
Region
center  Province
Location (designatio Area Density
(capital  Independent city
n)
region)
 ∗ Associated
island[ii]
Soccsksargen 22,513.30 km 2
180/km 2
Koronadal
(Region XII) (8,692.43 sq mi) (470/sq mi) 6
 Cotabato (North)
 General Santos[iv]
 Sarangani
 South Cotabato
 Sultan Kudarat
Davao Region 20,357.42 km2 220/km2 Davao City

(Region XI) (7,860.04 sq mi) (570/sq mi) 6
 Davao de Oro
 Davao City[iv]
 Davao del Norte
 Davao del Sur
 Davao Oriental
 Davao Occidental
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, ManoboB'laan, T'boli, Mandaya, Mansaka, Tiruray, Higaonon, Bagobo, Bukidnon, Tagakaolo,
Banwaon, Dibabawon, Talaandig, Mamanua, and
Manguangan.
There are also 13 Muslim ethnolinguistic groups:
Maranao, Maguindanao, Tausug, Kalagan, Sangil, Ilanun/Iranun, Palibugan, Yakan, Sama, Badjao, Jumamapun,
Palawanon.Molbog
1. Famous textile in Mindanao
IKAT WEAVING
(Mandaya people of davao oriental, Bagobo and blaan)
Ikat or ikkat, is a style of weaving that uses a resist

dyeing process similar to tie-dye on either the warp or
weft before the threads are woven to create a pattern or
design. A double ikat is when both the warp and the weft
are tie-dyed before weaving.
Ikat which means “to tie” or “to bind” in the
Indonesian language has a Philippine variant known for
its colors and striking designs. Philippine ikat weaving is
mostly practiced in the Cordilleras in northern Philippines
by the Ifugao tribes and other ethnic groups in Mindanao
which employ ikat techniques in producing their
well-known tapestries. Heirloom and antique ikat tapestries from these tribes are collectors items and often fetch
high prices for their outstanding craftsmanship that showcase intricate weave patterns and motifs.
Weaving is culture, identity, and way of life for some of the most illustrious indigenous communities in the
Philippines. The country has a vibrant weaving tradition, from the red and white fabrics of the Gaddang and
Kalinga of the north, to the striped malong of the Maranaos and Maguindanao of the south. “Textiles are
signifiers of meaning,” writes Norma A. Respicio in “The Patterns of Culture in Philippine Traditional Textiles,”
expressing a people’s creativity, worldviews, belief systems, and ideologies.
Mindanao, for its part, shelters weaving communities with shared traditions, their non-Christian motifs
common to some textiles, believed to be an expression of defiance against Spanish and American colonizers.
The Mandaya people of Davao Oriental are known for their

masterful ikat (a weaving pattern) in abaca, the primary fiber they
use for weaving. One of their most popular textiles is called
dagmay, a handwoven cloth designed with patterns of man and
crocodile, for which the Mandaya weavers are known for.
Geometric and curvilinear forms in yellow, blue, and white yarns,
as well as hooks, crosses, and diamond shapes, are favorite
embellishments in the Mandaya’s woven fabrics.
The B’laan inhabit the hills behind the west coast of the
Davao Gulf, as well as the boundaries of the Cotabato and South
Cotabato provinces. They employ similar weaving styles as their
neighbors the Bagobo and the T’boli, also producing ikat
textiles on abaca or handwoven cotton.
They are well known for their embroidery and decorative
skills, as when they utilize cross-stitches and outline-stitches to
embroider stylized human figures, or when they stitch small
discs of mother-of-pearl at regular intervals over the cloth.
Ikat is a method of resist-dye technique, ultimately used to
pattern textiles. A common method of resist-dyeing involves covering areas of fabric to shield specific parts from
penetration of the dye. Then, bunches of several threads are grouped to be tied at once, creating knot units
building an overall pattern.
INAUL
(Maguindanaon)
Inaul, which means “woven” in Maguindaon, is a hand-woven
tapestry fabric with geometric designs. As a status symbol, it is
revered as an object of “bara-bangsa” which means dignity. The
inaul is commonly used in the malong, the multitasking tubular
fabric. One of the best image models is ARMM Deputy Speaker
Congresswoman Bai Sandra Sinsuat Sema who collects the inaul
and wears it with pride.
As one of the province’s major earner, the inaul raked
in P1 million in sales during its first week-long festival
last year. The festival itself generated P20 million in
tourism revenues. The inaul appeals to both domestic
and international clients.
Bai Albaya Wampa, who is a main proponent of
the inaul, preserves the tradition through her store. It’s
located in Datu Odin Sinsuat, a first-class municipality
on the boundary of Maguindanao and Cotabato. The
sultan of this town is her grandfather, and it’s in her
genes to help others.
Weavers use cotton and rayon silk threads inserted on big

looms that can handle huge volumes. Bai Albaya explains that
the process starts with arranging the threads to determine the
colors, the quantity, and the length of the malong. The threads
are put on the wheel, spun, and inserted into the loom’s comb
for the design. To assure quality, weavers are tasked to make
just one inaul tapestry per creation.
“Once the weaver starts on the inaul, she has to finish it. If
she delegates, the result will be different. Each weaver has their
own way with the tension of the threads and the loom,”
explains Bai Albaya.
By convention, the weaving can take as long as a month to produce one four-meter fabric. A fully
embroidered inaul fetches from P1,900 to P2,500. The price is P500 for a 12 inch by 2 meter shawl.
“The inaul has over 100 uses—as bedsheet, turban, table runner, men’s trousers, basket, pillowcase, and
cradle. The special inaul is made from imported thread. They are used for formal clothes like gowns and jackets,”
says Bai Albaya.
Inaul as a Status Symbol

She explains that in the olden times, princesses in royal households wove their own clothes. To denote their
status, they used yellow, maroon, orange, and black for royalty. White threads were used for mourning clothes.
Green symbolized coolness and peace.
The common designs are the rainbows or changing hues of threads, stripes, taro, and wide borders. The
lumbayan na ta’dman is a silhouette of a woman peering from the window, waiting for her lover. Modern designs
consist of twisted florals, the elbow or siko-siko, geometric patterns, triangles, and the reversible fabric.
Inaul is Part of the Philippines’ Culture
Inaul, literally meaning woven, is a handmade fabric with designs handed down from generation to
generation. Its luxurious texture is a blend of silk and gold threads infused into the pure cotton threads and woven
in complicated techniques. Traditionally, there are twenty identified designs ranging from the rare heirloom Riyal
to the rainbow-hued binaludto. Each color knitted into the Inaul has a significance, with white associated with
mourning or sadness, and black symbolizing dignity. The green of nature signifies peace, while red symbolizes
the Maguindanaon’s bravery. Royalty, in their colors of yellow and orange, wore the inaul as a malong, a tubular
fabric, or sablay, a loose garment, as they travelled through the riverways that connected kingdoms. “It is said that
Inaul may be a malong, but not all malongs are inaul. Inaul is synonymous with Maguindanao (the old name
of Mindanao). It is a fabric woven by a great race, a symbol of royalty of a great nation that once ruled Mindanao.
Today, Inaul does not only represent the rulers of the sultanate of this magnificent land, but it also amplifies the
greatness of the people,” says Deputy Speaker Bai Sandra Sinsuat A. Sema, Rep. of the First District of
Maguindanao and Cotabato City.
MALONG
(Maranao)
The malong is one of the most well-known
and widely-used textiles produced by the
weavers of Mindanao. This multi-functional
tubular garment that originates from the
Maranao, a Muslim community that resides
near Lake Lanao in Northwestern Mindanao.
Other weaving communities in the region
also create their own versions of the malong.
The malong measures approximately 4
yards long and 50" high. It is typically worn
draped over the entire body and donned by
both men and women alike. One of the most common ways to wear the malong is as a wraparound skirt from high
up on the waist all the way down to the wearer’s feet. This way of wearing the malong is referred to as
katinambed for women and katampi for men. Women also typically wear the malong around their chest and sling
one of its ends over their shoulder. This style is called kasinambir.
The malong is also known for its versatility. Both its shape and many different forms make the textile ideal
for a variety of uses. Simpler malongs are typically utilized as coverings, such as blankets, mosquito nets,
raincoats, and head gear for protection against heat. The plainest malongs are used as fishnets and basic sails for a
boat, or a bangka. When inserted on each end with two sturdy poles, the malong can be made into a stretcher,
called a dalagan. Young men would even bunch up their malongs into makeshift gloves so they could practice
boxing. The fancier and more ornate malongs are reserved for special occasions.
Knowledge of how to weave malongs is seen as sacred amongst the Maranao and has been preserved across
generations. In many weaving traditions, the responsibility falls to women to carry on this tradition, and thus their
weaving education begins as early as childhood. Their skills are honed until they become expert weavers as adults.
Malong weavers such as our partner artisans in Maguindanao are especially admired as some of the most skilled
artisans.
"MALONG FEATURING HANDWOVEN BINALADUAN PATTERNS"
The malong is one of the most well-known and widely-used textiles produced by the weavers of Mindanao.
This multi-functional tubular garment that originates from the Maranao, a Muslim community that resides near
Lake Lanao in Northwestern Mindanao. Other weaving communities in the region also create their own versions
of the malong.
Maranao dancers and musicians wearing traditional garments. The malong is also known for its versatility.
Both its shape and many different forms make the textile ideal for a variety of uses. Simpler malongs are typically
utilized as coverings, such as blankets, mosquito nets, raincoats, and head gear for protection against heat. The
plainest malongs are used as fishnets and basic sails for a boat, or a bangka. When inserted on each end with two
sturdy poles, the malong can be made into a stretcher, called a dalagan. Young men would even bunch up their
malongs into makeshift gloves so they could practice boxing. The fancier and more ornate malongs are reserved
for special occasions.
Knowledge of how to weave malongs is seen as sacred amongst the Maranao and has been preserved across
generations. In many weaving traditions, the responsibility falls to women to carry on this tradition, and thus their
weaving education begins as early as childhood. Their skills are honed until they become expert weavers as adults.
Malong weavers such as our partner artisans in Maguindanao are especially admired as some of the most skilled
artisans.
MALONG FEATURING HANDWOVEN BINALADUAN PATTERNS

Other Muslim communities, like the Yakan and Samal, also weave the garment but call it by different names.
The Tausug, for example, call their tubular garments tadjung. The northern regions in Visayas and Luzon call
their wraparound skirts patadyong, which are mostly worn by women. The malong is also believed to be
connected to the Indonesian sarong and Burmese loungi, both unisex barrel dresses.
There are over 100 different kinds of malongs. The two most prominent kinds of traditional malong are the
malong landap and the malong andon. The malong landap is mostly plain except for its main feature: embroidered
tapestry bands that run across the length and width of the fabric. These are called langkit. The langkit feature
curvilinear okir motifs and thus must be woven separately before being attached to the main fabric of the malong.
Traditionally, the malong landap comes in yellow with maroon langkit, but other variations also feature shades of
violet.
The malong andon features two main motifs that occupy two halves of the fabric: the pako rabong and the
patola. The pako rabong, or fern motif, refers to the spiraling curvilinear patterns that are woven using a
supplementary weaving technique. The patola, or eight-pointed star, is rendered on the fabric using the ikat
dyeing method, and features symmetrical curving and diagonal forms enclosed in a larger circle.
"DETAIL OF PLAID HANDWOVEN MALONG"

Some of the other kinds of malong include
the malong ampik features checkered
patterns akin to a Scottish kilt, while the
malong bagadat has simple stripes and is
usually worn by elders. Plaid designs are
also commonly used by the Maguindanao.
Their malong inaul are handwoven silk
malongs that have plaid patterns that
exhibit bright color contrasts.
As both weavers and enthusiasts alike continue to carry

on the rich legacy of one of the Philippines’ most illustrious
native garments, the malong endures versatile and beautiful
example of Philippine tradition and artistry.
BUNGA SAMA
(Yakan Tribe)
This fabric features the bunga sama python pattern. It is a pattern consisting of “large sized” hexagons and
rhombuses. The pattern is adapted from the skin of a python.
The bunga sama is a design or category of weaving with floral and bold designs. The cloth is usually fashioned
into upper wear and pants, though only for the dress of a high status Yakan, specially the suwah bekkat and the
suwah pendan. Today, however, the bunga sama is commonly produced and pressed to service as table runners,
placemats, wall decor, or doilies.
T'NALAK
(T'Boli Tribe)
T’nalak is a sacred cloth woven by the T'boli people in communities around Lake Sebu, Mindanao island.
Traditionally made by women of royal blood, thousands of patterns that reference folklore and stories are known
to the T’boli women by memory. Fu Dalu, a spiritual guardian, guides t’nalak weaving, a process that is enriched
with taboo and ritual.
T’nalak has a distinctive tri-colour scheme: White for
the pattern, red for relief elements and black (or deep
brown) for the background. Fibres used in weaving are
harvested from the abaca tree and prepared in a process
known as kedungon. Two metal blades are used to quickly
remove the pulp and reveal the filaments, which are
worked by hand into fine threads. During tembong, an
artisan will connect individual threads end to end. Temogo,
or dyeing, is done in the ikat-style, using beeswax and
natural pigments. Fibres are first boiled in a black dye for
several weeks. Weaving (mewel) is done on a backstrap
loom (legogong) and weaving one piece of cloth can take
up to a month of uninterrupted work. The final stage in
the process, semaki, involves burnishing the fabric with a
cowrie shell that is heated by friction. Nut oil is used to
condition the fabric and add sheen.
T’nalak is used for ritual purposes, as an offering to the spirits and during festival celebrations. It is also
exchanged between families for food and supplies in the T'bolis’ barter economy, which endures to this day.
Many communities rely on the commercial sale of t’nalak to earn a living. For more information and to support
the T’boli weavers, visit One Weave.
T'nalak is a traditional cloth found in Mindanao island made by a group of people in Lake Sebu, South Cotabato
called T'bolis, Tboli people. This traditional cloth is hand-woven made of Abaca fibers which traditionally has
three primary colors, red, black and the original color of the Abaca leaves.
INABAL
(Bagobo Tribe)
Inabal is a traditional textile made from abaca with a special weave, either in patterns of kinatkat or ine, the
cloth with a central panel, worn only by women. These textiles woven in the ikat-style and colored by vegetable
and natural dyes were customarily used as the garment for ancestral royalty
2. Traditional Clothing of Mindanao
MALONG
(Maranao and Maguindanao)
The malong is a large, wrap-around tubular garment, measuring at least 165 x 165 cm. They are used by the
Maranao and Maguindanao from southern Philippines.Traditionally, the malong is handwoven by women using a
backstrap loom.Ferdinand Magellan’s conquest of the Philippines in 1521, through his chronicler, Antonio
Pigafetta, already noted imported weavings from India and were already valued as part of the international trade,
especially in southern Philippines.
Maranao malong can be grouped into two general kinds – with dyed design as seen on the left, and without dyed
design, on the right.For everyday wear, the malong is usually made of cotton with simple plaids and stripes as the
preferred patterns.
The more elaborate malong made of silk, in colors of red, purple, and yellow, is worn for ceremonial
occasions.
In the past, yellow was reserved for the local royalty.Today, the men prefer the malong with dark shades of red
and magenta, and the women prefer yellow.
Other types of malong: "malong a andon" and "malong a landap"
In addition to the two general kinds, the malong can be grouped into three general types as well. Two are
represented in the Ayala Museum Collection: The "malong a andon" on the left, and the "malong a landap" on the
right.
Malong a andon
The "malong a andon" is considered the most expensive and rarest or the oldest of the three types. "Andon" refers
to the "patola" motif.
Malong a landap
The "malong a landap" is characterized by "langkit", or decorative strips of profuse geometric designs, hand-sewn
on the malong.This type is considered the most popular. The two narrow "langkit" are called "tobiran" while
the wider band is called the "lakban".
Malong a ampik
The third type of malong, the "malong a ampik", is characterized by a square pattern with lines and cross
lines of contrasting primary colors along black and white geometrical shapes.
3. Famous Festivals in Mindanao

Kadayawan Festivals
( Davao city)
The Kadayawan Festival is an
annual festival in the city of Davao in
the Philippines. Its name derives from the
friendly greeting "Madayaw", from
the Dabawenyo word meaning good, valuable,
superior or beautiful. The festival is a celebration
of life, a thanksgiving for the gifts of nature, the
wealth of culture, the bounties of harvest and
serenity of living. Previously, this festival held in
the third week of August every year which was
highlighting the 11 tribes of Davao City. In 2019, the celebration was extended and held from 2 to 31 August. In
2020, Kadayawan Festival was celebrated from 10 to 17 August.
The festival’s name is derived from the Mandaya word “madayaw,” meaning treasured or valuable. In
old-time people used to display fruits, vegetables, flowers, rice, and corn grains on mates and were showing the
sign of respect for the great year they have had. Also,
people were dancing and singing in front of their homes, it's
continued today as well.
In the year 1970, Mayor Elias B. Lopez had encouraged all

the Davao tribes to showcase their thanksgiving rituals. After
that in the year 1986, the Davao City government focused on
uniting the people in the turbulent times of the Martial Law. At
this time the festival named "Apo Duwaling". This name was
created as a combination of three natural wonders: Mt. Apo,
Durian, and Waling-waling.
In the year 1988, this festival officially named as "Kadayawan Festival" by then Mayor Rodrigo Duterte. At
present, after over 30 years this gets celebrated with the full of enthusiasm and unity in the people.
Kalilangan Festivals
(General Santods City)
Kalilangan is derived from the rootword

“Kalilang” which typically means celebration
or commemoration in the Maguindanaon dialect.
In a broader perspective, kalilang projects a
positive and dynamic meaning for it engulfs
the artistic, humane and altruistic aspects of
social interaction that takes place in any
occasion or celebration. Kalilangan means
festival, feastivity or jubilee. It is a social
gathering marked by exchanging of amenities
among traditional leaders, elders, allies and
subordinates in varying tones.
It is also a pageantry of unique and colorful ethnic rites, rituals and traditions like marriage celebrations,
religious ceremonies, anniversaries, funerals, enthronement of royal dignitaries, thanksgiving and other social
forms of social, political and economic activities. It is not just an economic activity, but a continuous season of
merriment, gaiety and merrymaking accentuated by sharing of gifts, traditional sports competition, dancing,
singing and instrument rendition and other forms of exhibition games, entertainment and amusement.
Kalilangan is a noble tradition. It is a compleat work of art nourished and nurtured a rich cultural heritage that has
withstand the test of time from generation to generation. General Santos is a part of this tradition. Let us enshrine
the “Kalilangan sa Heneral Santos” in the golden pages of its history.
HISTORY OF “KALILANGAN SA HENERAL SANTOS”
KALILANGAN is Gensan’s cultural festival, a celebration of harmony amidst cultural diversity of its
inhabitants, called Generals. Endowed with colorful, dynamic and mystical existence of its tri people (Natives
(Blaan’s & T’boli’s) , Muslim Tribe and the majority Christian Groups) , a festival fitted for its convergence
whereby peaceful co-existence was conceptualized.
The main uniqueness of Kalilangan is that, it is not religious in nature, unlike most festivals of the country.
But rather, it is a festival of unity , of Gensan’s culture, of Gensan’s way of life. During the advent of festivals,
when DOT’s campaign promoted the Philippines as Fiesta Islands, the Generals now thought of conceptualizing a
festival that will be uniquely Gensan. “Name the festival” contest was widely disseminated and BaiJanena A. Tito,
PhD, entry won the competition . (Please find attached Kalilangan meaning from Dr.. Tito’s entry).
In February 27, 1989, when Gensan celebrated its (50th) ) Golden Foundation Anniversary, the first
Kalilangan celebration was staged. It showcased Gensan’s culture, and for the first time, the people felt proud and
committed to make the celebration bigger every year.
From then on, Kalilangan became the carrier festival for Gensan’s Foundation Anniversary. For the past
years, Kalilangan continued to be a recipient of National Awards from the Association of Tourism Officers of the
Philippines (ATOP) & the Department of Tourism’s “Best Tourism Practices Awards, now known as the “Pearl
Awards” . Gensan garnered 2nd and 3rdplacer during the previous years’ competitions. But in 2009 , 2011, 2012
& 2013- Kalilangan was adjudged as the Best Tourism Event of the Philippines, Culture & Arts Category, City
Level. Kalilangan now on its 27th year, remained to be the most awaited cultural festival of the city. The 2013
celebration was more than a convergence amidst divergence, since the organizers (MSU) successfully bought
back the culture of the people, transforming our Freedom Park down memory lane, with activities and events that
will remind everyone of the games their forefathers used to play. City Mayor Ronnel C. Rivera, Chairperson of
Kalilangan and Atty. Abdurrahman T. Canacan, Chancellor of Mindanao State University & Kalilangan 2014
Co-Chairperson, still crossed their fingers for a more colorful, enjoyable, successful commemoration of
Kalilangan in the years to come.
Sibug Sibug Festival
(Zamboanga Sibugay)
Sibug-Sibug Festival is an annual event held

during the 26th day of February in the province of
Zamboanga Sibugay. This celebration is also the
anniversary of the foundation of the province. The
two-week festivity features colorful street dancing with
ethnic themes, including the ritual that shows of good
harvest, wedding ceremony, and healing rituals. The
local government in the province also wants to
promote the province's major produce - the oyster or
also known as “Talaba”. One of the highlights of the
festivity is the Talaba Longest Grill. Aside from the it,
one of the much-awaited events in the festival is the Sibug-Sibug street dancing competition.
A
large number of participant and viewers are expected in the celebration of the festival. The longest
oysters grill event is held in the town center of Ipil. The guests are also given a chance to watch the
Western Subanen cultural presentations as part of the celebration of the local people presenting
different kinds of rituals such as those for war, marriage, and birth.The production of oyster is said to
be one of the main sources of economic development in the province. Many people are depending on
the oyster business. Meanwhile, the rubber trade is said to be the second source of income generation.
Zamboanga Sibugay has been renowned for having the oldest rubber cultivated area in the Philippines.
Sibugay is a place where you can find the largest and meatiest oysters in the country. The province
is the main supplier of the oysters inside and outside the country, especially in the Asia Pacific region.
There are well-known oyster farms that are located in the municipalities of Kabasalan, Siay, and Alicia.
The townsfolk in the province believe that Subanen, a native group, lived first in Zamboanga even
before the Spanish era. The province was declared a separate province by the proclamation of
Republic Act in 2001. It is also asserted as the province that has the lowest crime-rate record
according to the Philippine National Police (PNP) report for the period 2002-2003.
Higalaay Festivals
(Cagayan de Oro City)
The Higalaay Festival (formerly known as Kagay-an Festival, then to Higalaay Kagay-an Festival in 2014
is a festival held each year in Cagayan de Oro, Philippines, every 28th day of August, celebrating the feast day of
St. Augustine – patron saint of the city. Higalaay Festival means "Friendship Festival", which the word
"Higalaay" comes from the Cebuano word "higala" (friend; chum; pal)[2] which was regarded from what the city
of Cagayan de Oro is being tagged, the City of Golden
Friendship.
Under father Pedro de Santa Barbara, they built the

first Christian church near the fort (Gaston Park before).
Coincidentally, it was finished on August 28, 1780 – the
feast of St. Augustine. Since then, the inhabitants celebrate
August 28 as the feast of the settlement.[3] As years pass
by, the city's festival has been changing identities as the
administration changes, before, Cagayan de Oro's festival
was popularly known as Kagay-an Festival and now called
Higalaay Festival.
Kaamulan Festivals
( Bukidnon Camiguin)
Kaamulan Festival is an ethnic cultural festival held annually in Malaybalay City, Bukidnon in
the Philippines from the second half of February to March 10, the anniversary date of the foundation of Bukidnon
as a province in 1917. It is held to celebrate the culture and tradition of the seven ethnic tribal groups—Bukidnon,
Higaonon, Talaandig, Manobo, Matigsalug, Tigwahanon and Umayamnon—that originally inhabit the
province. It is the only authentic ethnic festival in the Philippines.
Kaamulan comes from the Binukid word “amul” meaning to gather.Kaamulan is gathering for a purpose—a
datuship ritual, a wedding ceremony, a thanksgiving festival during harvest time, a peace pact, or all of these
together. Kaamulan started as a festival on May 15, 1974,during the fiesta celebration of the then municipality of
Malaybalay. A town official thought of inviting some indigenous people to town and made them perform a few
dance steps at Plaza Rizal to enliven the fiesta celebration.The celebration however proved very popular and
together with national coverage the Kaamulan festival has become the regional festival of Northern Mindanao, as
declared by the Regional Development Council of Region 10 on September 16, 1977.Kaamulan was formerly
held in the first week of September but in 1996, it was transferred to the present date to synchronize it with the
foundation celebration of the province until in 2014 it was moved to the month of August in light of the 100th
Founding Anniversary of Bukidnon. The festival was cited for having a great potential to be included in
the UNESCO Intangible Cultural Heritage Lists.
 Late 1960s-Early 1970s – Several efforts were made by different individuals in the province to organize
a celebration to honor the contribution of the indigenous peoples of Bukidnon to the culture of Bukidnon.
Some organize celebrations in Barangay Kalasungay in Malaybalay.
 May 15, 1974 – Kaamulan was conceptualized by the Vice Mayor of the then municipality of Malaybalay,
Mr. Edilberto Mamawag who invited some indigenous Bukidnon tribespeople during the celebration of the
town fiesta in honor of Malaybalay’s Patron Saint San Isidro Labrador. Mamawag thought that few dance
steps by the natives at Plaza Rizal would enliven the fiesta-goers.
 September 16, 1977 – Kaamulan was adopted as the regional festival of Northern Mindanao through a
Regional Development Council resolution
 November 25–27, 1977 – The first organized Kaamulan Festival was held in the province of Bukidnon
and sponsored by the provincial government.Marks the formal establishment of the festival in the province.
 1978-1998 – Kaamulan was held every first Friday of September
 1999 – Date of Kaamulan was moved from September to the second half of February up to March 10, the
Foundation Day celebration of the Province of Bukidnon.
 2002 – President Gloria Macapagal-Arroyo graced the celebration, where several native women dressed
on her in an ethnic costume. First Kaamulan Off-Road Challenge and First Kaamulan Invitational Shoot Fest
were added to the activities of the festival.Bansagen, an exhibit of Bukidnon contemporary art done by a
group of Bukidnon-based artists, was done for the first time.
 2006 – The First National Folklore Conference was held in consonance with the celebration of the
Kaamulan Festival. An indigenous song writing clinic for students and the general public was held. The
champion for the street dancing competition is the municipality of Malitbog.
 2007 – Marks the 30th year celebration by the province of the Kaamulan Festival from its formal date of
establishment (1977). Theme of the celebration is “Spiritual Awakening”.Also marks the 90th Foundation
Day celebration of the province of Bukidnon. The municipality of Kibawe won the street dancing competition,
followed by Talakag and Malaybalay City. Kitaotao won the Float Competition, followed by Kadingilan and
Kibawe.
Lanzones Festivals
(Camiguin)
Lanzones Festival, an annual event marked in the

month of October, is a four-day festival held to celebrate
bounty harvests of the Lanzones fruit. Lanzones, also
known as langsats, is a type of tree in the Mahogany group
of plants, and whose edible fruits are a favorite for many
people in the Philippines. The origin of Lanzones in
Southeast Asia has made it a critical part of this
festival.nThe fruits, whose seeds are not edible, have
numerous health benefits. Low in calorie and packed with
fiber, Lanzones make for a healthy addition to meals. These health benefits, in addition to the fact that Lanzones
is prime produce from Camiguin, makes the festival a rich experience altogether.
Camiguin also serves as the venue of the Lanzones
Festival. At the start of the event, the festival is marked by a
weekend full of activity with street dancing, parades, and
cultural heritage shows that celebrate the region’s rich
history. The event is incomplete without the beauty pageant
where beautiful girls drawn from the area battle it out for
the coveted title. Additionally, the festival is also home to a
trade fair where the works of local artists are displayed.
Look out for handicraft products and works of art that
interest you, and get a souvenir or two.
One of the most remarkable things that tourists will notice about this festival is that houses and street posts
will often be decorated with Lanzones. By indulging in the Lanzones festival, visitors are often awed by the need
to remain grateful for a bounty harvest as well as for a rich cultural heritage in their chosen destination.
Lanzones Festival history
The festival is in its 39th celebration this 2019. With that said, the estimated year where the festival started
was in the year 1979 more or less. That’s about 40 years almost. This is just one of the many festivals that have
been celebrated by Filipinos in different regions and islands that’s quite old.To think, there are some festivities
that has been over a hundred years old or more.
The Lanzones festival celebrates the tropical fruit that grows from the Lanzones tree or what other country calls
the Lansium Parasitucum. Originally, the Lanzones tree can be traced back from Malaysia and not from the
Philippines.
Inaul Festivals
(General Santos City)
`The Inaul Festival in Buluan, Maguindanao is still on its second
year. This colorful and vibrant festival is observed annually on
February 8 to 14. But this festival is actually under a new name or a
continuation of what used to be called the Sagayan Festival. The latter
was already celebrated in Misamis Oriental. The “inaul” is an original
Maguindanaon product, a hand woven cloth. The word inaul literally
means “weaved” in English. This distinct Filipino product deserves
further national attention, and this is the primary purpose of this
festival.
This festival is also sending a message that Maguindanao is relatively a
safe and tourist-friendly place. I say it because I was there, I personally
went there to experience the Inaul Festival. The festival is similar to the
other festivals in the country, where there are products showcase, food feast,
float competition, concerts and, of course the beauty pageant. In Catholic
festivals, it’s about their patron saints, in Inaul Festival, of course the
inaul is the real queen. This beautiful fabric is worn by the candidates of the
pageant they also held.
Lugahit Festival
(Misamis Oriental)
Kap’yaan Festival is a festival of the Day of Establishment
of the town of Jose Abad Santos in the area of Davao
Occidental. The festival held each eighteenth to twentieth of
February, establishing Anniversary of the production of the
region. It is additionally a thanksgiving festivity for the great
year and abundant gather of the region's items like pineapple,
rice, corn and more. The 2014 Kap'yaan Festival was not just
commended on account of the abundance of the region yet additionally the lavishness of its way of life too,
authorities said.
Themed " Salute our Ancestors, Culture and History to a prosperous people," Jasenos took pride in exhibiting
their bounteous culture through ious occasions, for example, social night partook in by educators, customary
stallion battling, agro-exchange reasonable, B'yang JAS Mutyang JAS and the feature which is Sayew de Dalan or
road dancing.
The Jose Abad Santos district Mayor Jimmy Joyce is investigating every possibility in anticipation of the
current week's Kap'yaan Festival, with all the 26 barangays joining to make the yearly celebration a gigantic
achievement. The Kap'yaan Festival praises the establishing commemoration of the region with an agri-exchange
reasonable, inborn introductions and a city military parade. This year, Mayor Joyce acquired a beguilement appear
with a Ferris Wheel and different attractions, the first in the district.
Panagtagbo Festival
(Tagum city)
Panagtagbo Festival one of the most impressive

festivals held just in the outskirts of Davao City and this
side of the Mindanao island, The festival was held every
7th of March to celebrate the foundation of the city of
Taguim, Davao Del Norte’s capital. As the name implies,
panagtagbo stands for a gathering of the people of the city
despite their diverse backgrounds and ethnic origins, and
proceedings has it that the first set of municipal officials
were unveiled in 1941. Civic activities contain most of
Panagtagbo’s events, but other events worth watching out are a citywide loveliness pageant parading the city’s
most stunning gals, an inter-city sports tournament, and a parade complete with a street dance showcase.
Balangay Festival
(Butuan)
The Balanghai Festival is also a celebration in Butuan, Agusan del Norte to commemorate the coming of the
early migrants that settled the Philippines, on board the Balangay boats.[2] When the first Spaniards arrived in the
16th century, they found the Filipinos living in well-organized independent villages called barangays. The name
barangay originated from balangay, the Austronesian word for "sailboat"
4. Best Monuments and Statues in Mindanao
Statue of Divine Mercy

The Divine Mercy Statue in Marilao,
Bulacan, is a 45.72 m (150.0 ft) Roman
Catholic monument of Jesus Christ as the
Divine Mercy. It is the tallest statue of
the Divine Mercy in the Philippines
The Divine Mercy Statue project in
Marilao, Bulacan, was a concept by
Filipino priest Prospero Tenorio, who is
also the secretary general of the Asian
office of the World Apostolic Congress
on Mercy (WACOM) and the shrine
rector and parish priest of the National
Shrine of the Divine Mercy.
Construction of the statue began in January 2016 and was unveiled on January 19, 2017, as part of the 4th
WACOM, the first edition of the congress held in Asia,despite the project only being 70 percent complete with
finishing touches to be done on the statue's neck and shoulders.
A Mass was held as part of the inauguration, with Nigerian Bishop Martin Uzoukwu officiating in lieu of
Malolos Bishop Jose Francisco Oliveros who is already too weak due to prostate cancer.The Mass was attended
by around 5,000 people. At the time of its inauguration, it was the tallest statue of the Divine Mercy in the
Philippines.
The Divine Mercy Statue is situated within the grounds of the National Shrine of the Divine Mercy. The
structure consists of a statue and a building which serves as its podium. The statue alone stands 30.48 meters
(100.0 ft) high while the building it stands on is 15.24 meters (50.0 ft) high.The whole structure has a height of
45.72 m (150.0 ft).The building serves as a multi-purpose hall and a dormitory.
Local construction, architectural, and engineering firm V.B. Columna was involved in the project.
Lon Wa Temple
Lon Wa Buddhist Temple is a must-see tourist attraction in
Davao City. It is one of the biggest Buddhist temples in the
Philippines and the biggest in Mindanao, and the most popular temple
in Davao City. It is located along J.P. Cabaguio Avenue in Agdao
District, some 3 to 4 kilometers northeast of the center of Davao City.
Lon Wa or Long Hua, which means "Temple of the Dragon", is
home to Kung Fu monks and nuns of the Philippine Academy of
Shakya, a Buddhist religion movement. Many Chinese tourists and
migrants visit this place to worship and pay respect.
The Temple's architecture is a marvel in itself. The Temple walls
are laden with slabs of Italian marbles and the grounds are beautifully
landscaped with lush greenery of several varieties of flowering plants
and palm trees. At the entrance, a smiling Buddha awaits visitors to
the Temple where two large lion statues close to the flight of stairs
stand guard at the foreground of the temple. Inside the Temple is a long, high-ceiling hall of well-polished floors
where a huge Buddha at the far end and a long line of several lighted
candles can be seen, as well as the gold Thousand-Armed Kuan Yin
where the ashes of dead members of the Temple are kept, and the
intricate wood carvings that depict the life of Buddha are prominently
displayed
Inside the Temple is a long, high-ceiling hall of well-polished floors
where a huge Buddha at the far end and a long line of several lighted
candles can be seen, as well as the gold Thousand-Armed Kuan Yin
where the ashes of dead members of the Temple are kept, and the
intricate wood carvings that depict the life of Buddha are prominently displayed
Word Largest Rosary
The largest basilica in Mindanao, which was designed like a castle, has its distinctive architecture that most
tourists find amazing and impressive. The cathedral’s design is a touch of modern and traditional architecture
which is different from other churches here in the Philippines. Behind the cathedral sits the largest rosary in the
world that weighs 2,815 kilograms.
Designed by a local artist from Davao City named Kublai Millan, the 85.5-meter-long rosary is made of
linked bead that are made from magcono (iron wood) which can be found in the mountains of Davao Oriental and
Surigao del Sur. The rosary is slated to be the world’s biggest and the locals of Tagum City hope that the
Guinness Book of World Records will officially recognize the giant rosary of Christ the King Cathedral as the
“Largest Rosary in the World.”
The giant rosary of Tagum might be slated to be the world’s biggest but all in all, as Lasquite (City
Information Officer II) said; the Christ the King Cathedral and its record-breaking rosary, do not only serve as the
local people’s claim to fame. Even more significantly, the two have come to symbolize the exemplary spirituality
and sense of community of the proud and faithful Tagumeños that will endure the test of time.
Tourists who want to see the world’s largest rosary can get there by taking a bus in Davao City bound for
Tagum City. The travel time is about two hours or less. Then from Tagum City, visitors can take a tricycle going
directly to the basilica of Christ the King. Tourists will surely love the amazing architecture of the cathedral and
also, their visit will not be complete without seeing the record-breaking rosary of Tagum City.
Sultan Kudarat Monument

This statue of Sultan Kudarat was created by Jose M. Mendoza in
1973. Muhammad Dipatuan Kudarat was the Sultan of Mindanao
during the first half of the 17th century. He united the Muslims of
Lanao, Cotabato, Davao, Sulu, Zamboanga and North Borneo, and
resisted bitterly the Spanish Invasion of his domain. He was a fearless
fighter and Filipino hero in defense of Islamic faith and Philippine
liberty. Kudarat died around 1650.
Muhammad Dipatuan
Kudarat was sultan of
Mindanao during the first
half of the 17th century. Brave, wise and benevolent, he was the
greatest and strongest Mindanao sultan that ever lived. He united the
muslims of Lanao, Cotabato, Davao, Sulu, Zamboanga and North
Borneo and resisted bitterly the Spanish invasion of his domain.
Unable to conquer Kudarat, the Spanish governor signed a pact with
him that led to several years of peace. He was a fearless fighter and
Filipino hero in defense of the Islamic faith and Philippine liberty.
Kudarat died about the year 1650.
5. Other Arts and Craft in Mindanao
Vinta
The vinta is a traditional outrigger
boat from the Philippine island of
Mindanao. The boats are made by
Sama-Bajau, Tausug and Yakan peoples
living in the Sulu Archipelago, Zamboanga
peninsula, and southern Mindanao. Vinta
are characterized by their colorful
rectangular lug sails (bukay) and bifurcated
prows and sterns, which resemble the
gaping mouth of a crocodile. Vinta are
used as fishing vessels, cargo ships, and
houseboats. Smaller undecorated versions
of the vinta used for fishing are known as
tondaan.
The name "vinta" is predominantly used in Zamboanga, Basilan, and other parts of mainland Mindanao. It is
also known as pilang or pelang among the Sama-Bajau of the Tawi-Tawi islands; dapang or depang among the
Tausug in Sulu; and balanda or binta in Yakan in Basilan. It can also be generically referred to as lepa-lepa,
sakayan, or bangka, which are native names for small outrigger vessels.
The vinta has a deep and narrow hull formed from a
U-shaped dugout keel (baran) built up with five planks on
each side. It is usually around 4.5 to 10 m (15 to 33 ft) in
length. The most distinctive feature of the vinta hull is the
prow, which is carved in the likeness of the gaping mouth
of a crocodile (buaya). It is composed of two parts, the
lower part is known as saplun, while the flaring upper part
is known as palansar, both are usually elaborately carved
with okil motifs. The stern has two upper extensions (the
sangpad-sangpad) which either emerge from the back in a
V-shape, or are separated by a space in the middle. The
stern may or may not feature okil carvings like the prow.
Vinta hulls are traditionally made from red lawaan wood;
while the dowels, ribs, and sometimes parts of the
outrigger are made from bakawan (mangrove) wood.
The hull is covered by a removable deck made of planks or split bamboo. It has a central house-like structure
known as the palau. This is used as a living space especially for vinta which are used as houseboats by the
Sama-Bajau. The palau can be taken down to convert the houseboat into a sailing boat. However, this is usually
only done when absolutely necessary for vinta which function as houseboats. When traveling, vinta are usually
paddled or poled in shallow and calm coastal waters, with frequent stops along the way for supplies. They only
sail when crossing seas between islands in a hurry.
have two bamboo outrigger floats (katig) which are supported by booms (batangan). Large boats can have as
many as four batangan for each outrigger. The floats are slightly diagonal, with the front tips wider apart than the
rear tips. The front tips of the floats also extend past the prow and curve upwards, while the rear tips do not
extend beyond the stern. Additional booms (sa'am) also extend out from the hull and the main booms. These
provide support for a covering of planks (lantay) which serve as extensions of the deck.
Vinta are usually rigged with a rectangular lug sail locally known as bukay, on a biped mast slotted near the
front section. These are traditionally decorated with colorful vertical strips of the traditional Sama-Bajau colors of
red, blue, green, yellow, and white. The patterns and colors used are usually specific to a particular family or
clan..
Smaller sailing versions of the vinta used for fishing are known as "tondaan." They are usually undecorated
and lack the upper prow and stern attachments. They are rigged with a mast and a sail at all times, though a
temporary palau can be erected amidships if necessary. Modern vinta are usually tondaan instead of the larger
houseboats. Like other traditional boats in the Philippines since the 1970s, they are almost always motorized and
have largely lost their sails.
Along with the balangay, lightly armed vinta were also used in the civilian squadrons of the Marina Sutil
("Light Navy") of Zamboanga City and Spanish-controlled settlements in Mindanao and the Visayas in the late
18th to early 19th centuries, as defense fleets against Moro Raiders.
Vinta are usually carved with okil designs, similar to the lepa and djenging boats of the Sama people. The three
most common motifs are dauan-dauan (leaf-like designs), kaloon (curved lines), and agta-agta (fish designs). All
three are used in carving the buaya design of the prow. The hull of the vinta is decorated with one to three strips
of curvilinear carvings known as bahan-bahan (meaning "bending" or "curving"), which are reminiscent of waves.
In new boats, these designs can be painted with the same colors as the sails, but once the paint wears off, it is
usually not repainted.
In 1985 the vinta Sarimanok was sailed from Bali to Madagascar to replicate ancient seafaring techniques.
Zamboanga City also celebrates vintas in the annual Regatta de Zamboanga during the city's Zamboanga Hermosa
Festival each October. The participants are usually Sama-Bajau fishermen from the coastal areas of Zamboanga.
Many of these modern "vinta" however, are not vinta, but are other types of bangka (like bigiw) that merely use a
vinta‑patterned sail (often non-functional)
"Vinta" is also the name of a Moro dance that commemorates the migration of Filipinos into the archipelago.
In the dance, dancers imitating the movements of the vinta (vessel) by balancing perilously on top of poles.
PAREF schools in the Philippines have adopted the vinta as their symbol.
Balanghay
Balangay, also spelled barangay, is a type of
lashed-lug boat built by joining planks edge-to-edge
using pins, dowels, and fiber lashings. They are found
throughout the Philippines and were used largely as
trading ships up until the colonial era. The oldest known
balangay are the Butuan boats, which have been
carbon-dated to 320 AD and were recovered from
several sites in Butuan, Agusan del Norte.
In the Visayas and Mindanao islands, balangay were primarily inter-island trading ships, cargo transports,
and warships. Large balangay (especially warships), including the Butuan boats, are commonly equipped with
large double-outriggers which support paddling and fighting platforms, in which case, they can be generically
referred to as paraw. Balangay warships, along with the larger karakoa, were regularly used for raiding
(mangayaw) by Visayan warriors. It is believed that they may have been the "Pi-sho-ye" raiders described as
regularly attacking Chinese settlements in the coast of Fujian in the 12th century AD.
During the 18th to 19th centuries, balangay were
also often used as warships for defending coastal
villages from Moro and Dutch raiders during the Moro
Wars, in conjunction with watchtowers (castillo,
baluarte, or bantay) and other fortifications. The raiders
were regularly attacking coastal settlements in
Spanish-controlled areas and carrying off inhabitants to
be sold as slaves in markets as far as Batavia and the
Sultanate of Gowa. Defense fleets of balangay and
vinta (known as the Marina Sutil, "Light Navy" or
"Defense Navy") were first organized under
Governor-General José Basco y Vargas in 1778. They
were lightly armed but fast, which made them ideal for
responding quickly to raider sightings and attacks.
Notable leaders of these defense squadrons include
Don Pedro Estevan, a principal of Tabaco, Albay; and
Julian Bermejo, an Augustinian friar who commanded ten balangay and established an alarm system using a line
of small forts in southern Cebu. They were responsible for several major naval victories against Moro raiders
from the late 18th to the early 19th centuries. The most significant was the Battle of Tabogon Bay (modern
Tabgon, Caramoan) in 1818, where the combined fleets of Estevan and Don Jose Blanco defeated around forty
Moro warships led by Prince Nune, the son of a sultan from Mindanao. Nune escaped, but hundreds of Moro
raiders died in the sea battle and around a thousand more were stranded and hunted down in the mountains of
Caramoan. The 1818 victory led to increased usage of defense fleets and the reduction of Moro raids to only
sporadic attacks on isolated fishermen or smaller villages until their eventual suppression in 1896.
Balangay were the first wooden watercraft excavated in Southeast Asia.Balangay were basically lashed-lug
plank boats put together by joining the carved out planks edge to edge, using pins or dowels. The planks, which
were made from a hardwood called doongon in the Philippines (Heritiera littoralis), were fastened together every
12 centimetres, also by hardwood pin measuring some 19 centimetres long, which were driven into holes on the
edge of each plank. On the inner side of the boat the planks were provided, at regular intervals, with raised
rectangular lugs, carved from the same plank, through which holes were bored diagonally from the sides to the
surface.
Rib like structures made of lengths of wood were then lashed against these lugs to provide a flexible
bulkhead, to reinforce and literally sew the boat together. Cordage known as cabo negro (Arenga pinnata) was
used for the purpose. The hull, measuring about 15 meters long and 4 meters wide, was ordinarily semicircular in
cross section and with no marked keel. Provided with huge outriggers, the boat was propelled either by a sail or
by paddling
Since the 10th century, Butuan appeared to have been in good relations with the Srivijaya. Being located on
the coast of Mindanao, balangays were often docking at Butuan bay keeping good business between the local
people of Butuan and traders from the neighboring empire and neighboring islands.Various goods, extending to
the statue of Avalokiteśvara and the Golden Tara of Butuan, were traded across Maritime Southeast Asia.
The balangay boats were discovered in the late 1970s in Butuan City, Agusan del Norte. A total of nine
wooden boats were accidentally found by locals searching for alluvial gold on land near the Masao River.The site
was in Sitio Ambangan, Barrio Libertad within an older dried-up river channel, perhaps a former tributary of the
Masao River.
Three of the nine balangays discovered have been excavated by the National Museum and are currently
preserved. The first balangay or Butuan Boat One, was discovered in 1976 and is now displayed in Balangay
Shrine Museum in Libertad, Butuan City. It was radiocarbon tested and was dated to 320 CE. The Butuan Boat
Two was dated to 1250 CE, and is now located at the Maritime Hall of the National Museum in Manila. The
Butuan Boat Five, excavated at Bancasi, Libertad in 1986,has been dated to 1215 CE and was transferred to the
Butuan Regional Museum and is undergoing preservation. The six other boats, which are yet to be excavated,
remain in their original waterlogged condition which is proven to be the best way to preserve the said artifacts.
In 2012, National Museum archaeologists discovered what seems to be a massive balangay "mother boat",
estimated to be 25 meters long, versus the average 15-meter length of the other balangays at the excavation site.
The leader of the research team, Dr. Mary Jane Louise A. Bolunia, reported the treenails or wooden pegs that
were used in the construction of the mother boat to be around 5 centimeters in diameter. As of June 2013,
excavations of the find are still ongoing.
The first wooden watercraft excavated in Southeast Asia, the balangay is only found in the Philippines where
a flotilla of such prehistoric wooden boats exists.Nine specimens were discovered in 1976 in Butuan, Agusan Del
Norte, Mindanao, and 3 have already been excavated.
Okir
Okir or okil is the term for rectilinear and curvilinear
plant-based designs and folk motifs that can be usually found
among the Moro and Lumad peoples of the Southern
Philippines, as well as parts of Sabah. It is particularly
associated with the artwork of the Maranao and Sama (Badjao)
people, although it can also be found to a lesser extent among
neighboring Maguindanao, Iranun, Tausug, Yakan, and
Lumad groups. The design elements vary among these ethnic
groups, with the greatest refinement being found among the
Maranao.
The origins of okir are pre-Islamic. They are believed to have originated from the much earlier okil or
okil-okil decorative carving traditions of the Sama (Badjao) people, which are often highly individualistic and
rectilinear. The Sama are master carvers, and they made lavish decorations on ritual animistic objects, grave
markers (both in wood and stone), and their houseboats. These precursor forms of the okir designs can still be
found in the art traditions of the Maranao in the basak (lowland) regions of Lake Lanao, and they contrast
markedly from the later flowing okir designs
The rectilinear designs of the Sama were adopted and refined by the Maranao to decorate the torogan houses
of the ruling dato class. The most prominent parts of the torogan are the panolong, the carved floor beams
modeled after awang boat prows. These protrude in the front of the house and styled with elaborate okir designs,
usually that of a naga (a sea serpent or dragon). These were meant to drive away evil spirits. Okir were also
featured in the central housebeam, the tinai a walai ("intestine of the house"), which had ritual significance.
Unlike the decorative carving traditions of the Sama, the panolong of the torogan became a symbol of power
and status. As such, they increasingly became more and more elaborate, deuments, betel quid containers,
sculptures, weaponry, silver inlays, and so on. These designs became the standard for what came to be known as
okir.
From the Maranao, this spread to nearby regions
through the migrations of the Iranun people (the
descendants of the merchant and outcast clans of Maranao).
Elements of okir have been adopted by the neighboring
Maguindanao, Lumad, Yakan, and Tausug peoples of the
Mindanao and the Sulu Archipelago; even influencing the
carving traditions of the Sama later on. However, it had
limited penetration among the Visayan-descended
heavily-Islamized Tausug, the dominant ethnic group of
Sulu. They viewed such carvings as "pagan". Okir among
the Tausug is usually limited to the hilts and scabbards of
weapons.
The older Sama carving traditions (okil or okil-okil, sometimes spelled ukkil among Malaysian Sama) differ
markedly from the okir of the Maranao, although elements of the okir were incorporated into later Sama carvings.
Sama okil aren't bound to rules like the okir, and thus tend to be highly variable. Each artist carves according to
his own tastes. Despite this, there are still shared motifs that bind them all together as Sama.
Sama okil can be divided into two types. The most ancient okil which still survive among the animist Sama,
usually the sea-going Sama Dilaut branches, feature representational artforms like human figures. These are
absent in the okil versions of the Sama that converted to Islam. Sama okil also feature designs which are realistic
copies of natural forms, rather than stylized designs like in okir. Marine themes are particularly common,
including depictions of dugongs (duyong), usually with a person riding on its back. The three most common okil
motifs used by the Muslim Sama are dauan-dauan (leaf motifs), kaloon (curlicues and curved lines), and agta-agta
or buaya (fish or crocodile motifs).
Nevertheless, Sama okil share some common motifs with
okir. The Maranao naga (sea serpent) figure is believed to be
related to the Sama agta-agta motifs. They are a particularly
common motif in the beautifully-carved prows, sterns, and
gunwales of various Sama-Bajau boats.
Okil are also highly important among Sama grave markers
(sunduk) which are found in the ancient traditional burial grounds
of the Sama people in some (usually uninhabited) islands of Sulu
and Tawi-Tawi. These include some of the oldest examples of
okil, which are usually carved from coral and limestone. Wooden carved grave markers are common later on,
usually made from or carved from the boat belonging to the deceased. These are usually carved into human
figures that represent the deceased. With graves of women identifiable by the presence of combs and mirrors, and
graves of men by the depiction of head coverings. Graves of children usually have smaller figures. A common
relatively recent tradition is the carving of elaborate stylized bed frames as grave markers. These graves are often
decorated with buntings and food offerings, again reflecting the ancient ancestor worship (anito) traditions of the
Sama.
Panolong
The Panolong is a house ornament fashioned by the Maranao people. It is a carved beam that protrudes in the
front of the house and styled with okir motif. The shape of the panolong is an architectural translation of a "prow"
meaning the protruding part in the front of a ship.
Torogan
A torogan (lit. 'resting place' or 'sleeping place') is a
traditional house built by the Maranao people of Lanao, Mindanao,
Philippines A torogan was a symbol of high social status. Such a
residence was once a home to a sultan or datu in the Maranao
community. Nowadays, concrete houses are found all over
Maranaw communities, but there remain torogans a hundred years
old. The best-known are in Dayawan and Marawi City, and
around Lake Lanao. A torogan is elevated above the ground by
columns cut from trees of huge girth. Its walls are covered with plywood sticks and the roof thatched with dried
coconut leaves. There is no interior partition, so it appears as a huge hall. Apart from the basic elements of this
structure, it is intricately engraved with the flowing geometries of the Maranaw design system called okir. A
torogan is not complete without the legendary bird sarimanok being displayed inside. Furniture is also common
among Maranaws.
The Kawayan Torogan, built by Sultan sa Kawayan Makaantal in Bubung Malanding, Marantao, Lanao del
Sur, the last remaining habitable torogan, was declared as a National Cultural Treasure by the National Museum
of the Philippines in 2008. There are also existing torogans in various locations in Lanao such as the Dayawan
Torogan of Marawi and Laguindab Torogan of Ganassi. All are in need of massive funding for their rehabilitation.
These collection of torogans from various towns in Lanao are being pushed to be included in the tentative list of
the Philippines in the UNESCO World Heritage List.
A TOROGAN is built for a sultan or datu who holds the highest rank in a community. It is an
ancestral-communal house where he resides with his closest relatives. It is a multi-purpose building which
functions as a meeting hall when the sultan or the datu calls for a conference.
Sarimanok
The Sarimanok (Pronunciation: sá·ri·ma·nók), also known as
papanok in its feminine form,[1] is a legendary bird of the Maranao
people who originate from Mindanao, an island in the Philippines and
part of the Philippine Mythology. It comes from the words "sari" and
"manok." "Sari" means "assorted" or "various" while manok means
"chicken" (ie "bird/chicken of assorted colors)".
The Sarimanok is the legendary bird that has become an
ubiquitous symbol of Maranao art. It is depicted as a fowl with
colorful wings and feathered tail, holding a fish on its beak or talons. The
head is profusely decorated with scroll, leaf, and spiral motifs. It is said to
be a symbol of good fortune.
The Sarimanok is derived from a totem bird of the Maranao people, called
Itotoro. According to the Maranao people, the Itotoro is a medium to the
spirit world via its unseen twin spirit bird called Inikadowa.
According to the later Islamic legend, Muhammad found a rooster in
the first of the seven heavens. The bird was so large its crest touched the
second heaven. Its crow roused every living creature except man.
Judgement day would come once this celestial rooster ceased to crow.
Butaka
Butaka is a handcrafted chair with long "arm-rest" which is not used for the arms but for the legs. Butaka was
no ordinary chair.
Butaka is called the "lazy chair" of rich families. During Spanish era, it was used by hacienderos as their
resting chair after a busy day of roaming around their lands and rice fields.
Butaka is also known as the "little hospital". Pregnant women was giving birth to their newborn child in a
Butaka, having their legs comforted by its long arm-rests.
The largest Butaka, awarded by the Guiness Book of World Records, is found in Ilagan, Isabela. It measures 11.6
ft. high, 20.8 ft. long, and 9.8 ft. wide.
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ga-Sibugay
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Mindanao Rts and Crafts

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Leon Guinto Memorial College, Inc.

Mabini Street Atimonan, Quezon.

Mindanao is known as the Philippines' "Land of Promise."

Northern 20,496.02 km2 210/km2 Cagayan de

Caraga 21,478.35 km2 110/km2 Butuan

Bangsamoro 12,535.79 km2 260/km2 Cotabato

Davao Region 20,357.42 km2 220/km2 Davao City

Ikat or ikkat, is a style of weaving that uses a resist

The Mandaya people of Davao Oriental are known for their

Weavers use cotton and rayon silk threads inserted on big

Inaul as a Status Symbol

"MALONG FEATURING HANDWOVEN BINALADUAN PATTERNS"

MALONG FEATURING HANDWOVEN BINALADUAN PATTERNS

"DETAIL OF PLAID HANDWOVEN MALONG"

As both weavers and enthusiasts alike continue to carry

3. Famous Festivals in Mindanao

In the year 1970, Mayor Elias B. Lopez had encouraged all

Kalilangan is derived from the rootword

HISTORY OF “KALILANGAN SA HENERAL SANTOS”

Sibug Sibug Festival

Sibug-Sibug Festival is an annual event held

(Cagayan de Oro City)

Under father Pedro de Santa Barbara, they built the

Lanzones Festival, an annual event marked in the

Panagtagbo Festival one of the most impressive

4. Best Monuments and Statues in Mindanao

Statue of Divine Mercy

Word Largest Rosary

Sultan Kudarat Monument

 en.m.wikipedia.org › wiki › Okir

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