Arts in the Cordillera Region and Muslim

South
Chapter 9

Reporters:
Elisa Joy Unao

Jerlyn Capate

Janna Jean Edios

 Arts in the Cordillera
01 Region

Arts in the muslim

02 South
CONTENTS
03 Muslim Literature

04 Music
Islamic Influence in the Arts of
05 the Muslim South
Concepts
•Wood is the Primary raw material of Cordillera art.
•Cordillera art can be divided into decorative and ritualistic or
magical.
•The technique by which the Cordillera artist transform raw materials
into works of art makes their art distinct to other indigenous art.
•Cordilleran art can be generally characterized as highly
representational of human and animal form.
•The portrayal of the total human form is found fully developed only
among the Bontocs, Ifugaos, and Ibalois.
Concepts
• The predominant materials of Muslim art are wood, brass,
and cloth.
• Islam has greatly influenced Southwestern Philippine art.
• Muslim art is a part of a wide regional artistic tradition that
cuts across political boundaries.
• Representational art is common in the Muslim south.
• Muslim carvers do not usually follow a written design or
blueprint.
Arts in the
Cordillera Region
 Arts in the Cordillera Region
The people of the Cordillera Region comprised of the Isneg
(Apayao), Tinguian (Itneg), Kalinga Bontoc, Ibaloi, Kankanaey, have
a distinct way of life that influenced their art tradition.
 Woodcraft
• Wood is the raw primary
material used the people of
the Cordillera region in
producing artistic shields,
decorated containers, home
utensils, figurines, and
religious images.
• Bamboo is also used,
together with clay, bronze,
brass. Iron is necessary
material in making spears
and head axes.
 Two(2) Types of the Cordillera art

1. Decorative 2. Ritualistic or
Shields, containers, Magical
pipes, fabric color The bulol and bihang
designs and even and other religious
tourist objects belong images belong to the
to the decorative type. ritualistic type.
MUSIC
PAS-ING

• a two-
stringed
instrument
of the
Apayaos
ALBON

• a rice drum,
the sulibao, a
conical drum,
and the
konlinga, a
cylindrical
drum;
KOLELENG or BALI-
ING

• a nose
flute
DIWDIW-AS
• a construction thin
bamboo pipes of
different lengths tied
together, played by
moving the
instrumental across
the mouth without
touching the lips,
while blowing into the
open ends.
Among the percussion instruments used by the Cordillera were:

1. Gansa and the bamboo buzzers

called bilbil or bungkaka; and
2. Bongabong, a pair of percussion
sticks, played to announce a violent
death.
Arts in the Muslim
South
Arts in the Muslim South
The muslim south where the minority Muslim population is concentrated has
about nine (9) ethno-linguistic groups: Tausug, Maranao, Maguindanao, Samal,
Yakan, Sanggil, Badjao, Molbog, and Jama Mapun.
Woodcraft
• The materials
popularly used in
Muslim art are
wood, brass, and
cloth, but no less
important are silver,
gold, iron, horn,
ivory, leather,
bamboo, and
matting materials.
 The Muslim okir or wood carvings, is best represented in
brasswork, in which one sees a rare blending of the
aesthetic, the utilitarian, and the social purposes.
• Best examples of Maranao brass art are the kabu and gadua,
jar like containers with covers; langguay, coverless
containers with decorated rims; kendi, an ornamented teapot;
salapa and lutuan, both associated with the betel-nut
chewing common among some Muslim Filipinos; and talam,
the gorgeous tray often used as modern table top or wall
decoration.
• Brass art seems to take the place of pottery for the
Maranaos for even their cooking pot, the kodon, is made of
brass.
• Muslim carving is a highly-skilled, well-developed, and
broadly-based art. Sulu artists use instruments like axe
( kapa ), planes ( katan ), gauge ( songa )for scouring, and a
knife ( lahot ).
• Muslim carving artist do not usually follow a written
design or blueprint.
• Brass work in the past was found among the Maguindanao
and the Tausug. The technique in brass working is
complicated but is also deeply rooted in tradition.
• Non-figurative art is predominant among Muslim
Filipinos.
• The most obvious is the Maranao Sarimanok where
both bird and fish representations are clearly
depicted.
SARIMANOK
• Is unmistakably fowl-
like in form. The
wings are always
present. A fish
invariably is
associated with it,
either hanging from
the beak, held in the
claw, or serving as a
base from the
sarimanok.
• The most important quality of the
sarimanok in its traditional form is the fact
that it is always executed in the round and
never like the naga or niaga (dragon-like)
motif.
• The sarimanok has been transformed into a
symbol of power, wealth, and rank.
• Representational art is common in Sulu. The
gravemarkers of the Samal, carved out of wood or
corals, show distinct human and animal figures.
• The grave-framers are all filled with okir designs
and do not show figurative art.
• Aside from using wood, bamboo and weaving
materials for cloths and mats, Muslim Filipino also
use brass, ivory, silver, gold, stone, and animal
parts such as horn and hide.
• Some muslim Filipino brass artifacts, one which is called
“ kendi a burunai ,”are either imported from Brunei or are
made according to styles found in Brunei.
• The brass cannon or lantaka is found practically among
most Muslims in the Philippines, Indonesia, and Malaysia.
• The kris, kampilan, barong, and gunong are examples the
early weapons in the Muslim South. Muslim Filipinos also
used animal hide or carabao horns linked with brass rings
as armor.
Below are some of the Muslim percussion instruments:
• The gamelan is an ensemble of a variety of gongs.
• Agunay is a gong with a boss made of brass. It may be
alone or found in a set suspended from a frame in
rows. It gives off a thick muffled sound.
• Babandir is usually made of thin bronze, wide-rimmed
and big-bossed. Because of the fineness of the bronze
of which it is made, its sounds are very resonant but
low when beaten.
Muslim Literature

Some examples of the Muslim literature are presented below:

• Darangen, sometimes called the story of Bantugan is a popular

epic of the South. The epic tells the adventure of the
characters aboard swift boats in search of rich booty and
slaves from far lands, and of love, courtship, and marriage
binges.
• The epic Kapmabaning: so Kiyaprawa’a Ko Lawanen which
means “The Abduction of Lawanen,” is about the exciting
search of Prince Mabaning his princess.
• The epic Ag Tobig Nog Keboklagan (The Kingdom of Keboklagan)
from the Subanons of Zamboanga Peninsula is about the adventure
of the hero Taake. One of the themes of the epic is human sacrifice.
• The epic Tudbulol of the T’ Bolis is sung during a wedding feast or
during annual gatherings to celebrate a good harvest. It describes
and praises the “being” of Tudbulol.
• “O Papanok” and “Bansamoro” are two revolutionary songs from
Cotabato thatr eveal the aspiration and perceptions of the native
Mindanao people against migrants.
• “Parang Sabil” is a ballad or narrative song about an outlaw or
bandit. Literally, the term means “to fight in the path of God or
Allah.”
Music
Below are some of the Muslim string instruments.
• Serogaganding is a two-stringed zither.
• Kudyapi or boat lute is the most popular stringed
instrument among the Maguindanao and Maranao.
It has two metal strings which are raised on small
bridges.
• Gandingan has a low, thick sound. It is usually made of brass
and often big but narrow-ridged.
• Kulintang or brass xylophone is a row of 7 or 8 gradually-
pitched gongs set horizontally on a designed wooden
framework.
• Gabbong is the Sulu and Yakan version of the xylophone, a
series of bamboo slate nailed on wood. It is played by
striking the slate with a rubber covered hammer.
• Dabakan is a single-headed drum, primarily used as a
supportive instrument in the Kulintang ensemble.
• Kubing is a jaw harp.
Below are some of the wind musical
instruments in the Muslim South.
• Palendag- a lip valleý flute
• Sahunay- a pipe with reed
• Suling – a ring flute
• Tumpung – a chip-on-tube flute
Islamic Influence in the
Arts of the Muslim
South
 Islamic Influence in the Arts of the Muslim
South

Islamic influence has been observed in Southwestern Philippine art. Among

the people who have imbibed the Islamic cultural specialization in varying
degrees are the Maranao, Tausug, Maguindanao, and Samal-Badjao.
• The decorative or ornamental art okir or
okil distinctly belongs to this part of the
country. The male art is predominantly
curvilinear design, while the female art
is largely geometric in form. What
prevails in both arts is an abstracted
decorative art that reduces nature to
symbolic art motifs that are combined in
increasing complexity.
• Representations in both art forms are
not realistic especially for living things-
this is frowned upon due to Islamic
influence. Masculine decorative
compositions are usually devised from
few basic motifs like circle, bird, leaf
and fern, and flower.
• It is believed that when a Badjao dies,
parts of his boat frames are turned into
his grave marker. Distinct part of the
marker is the abstracted form of the
sea cow with a stylish form of a person
riding its back. The female figures are
identified with combs, while the males
are provided with turbans. A more
recent appearance in Sulu are stylish
frames of beads that are ornately
conceived to mark graves. Canopies,
buntings, flags, and food offerings in
the grave yards exude a feeling of life
and the continuing relationship with
the non-living.
THANK YOU
FOR LISTENING