Pre-colonial Philippine Art

In art historical terms, we refer to art before the coming of the

first colonizers as “pre-conquest”. In stylistic terms, we refer to it as
“indigenous” to emphasize the idea that our ancestors have been
making art even before colonization. It is also described in cultural
terms as “pre-colonial” as a term to use for the general way of life
before colonization. Although the terms are interchangeable, it is also
useful to keep these distinctions in mind when studying the art of the
past.
 Prior to colonization, art of the ancient Filipinos were woven into
the fabric of everyday life. They do not refer to “art” as we do today,
that is, as an expression of an individual, and seen largely in museums
and concert halls. They did not distinguish forms into different
categories like music, theater, visual arts, etc. Everyday expressions
were all integrated within rituals that marked significant moments in a
community’s life, like planting and harvesting, rites of passage, funerary
ceremonies, weddings, among others. Aside from the communal
functionality of indigenous art, creative forms such as pottery, weaving,
carving, metalwork, and jewelry also embody aesthetic, technological,
and ritual values that exist in various forms with the present.
 Our ancestors, just like all others in the world during those times,
were hunter-gatherers. Before there were cities and large monuments,
the pre-colonial Filipino hunted food and game that were shared
among members of a community in a gathering where they told stories
about the hunt. They imitated the movement of animals and prey, and
the sounds that they made. In this simple activity alone evolved ritual,
music, dance, theater and yes, even literature.
 As these hunter-gatherer societies prepared themselves for the
hunt and prayed to be endowed with the strength of the animal that
they hunted, they were in fact performing a ritual. When they
partitioned what they hunted and gathered and feasted on the fish that
they caught or the pig that they slew, this too was a form of ritual.
When they told stories about the hunt, this form of oral storytelling
marked the beginnings of literature. In time, they would learn to devise
an alphabet and write these stories down. When they imitated the
movements of the animals that they learned to add drum beating and
attach a rhythm to their movements, they had given birth to music and
dance.
Many of these rituals which we can consider as
the earliest forms of theater:

Rituals Region/Province
Mayvanuvanua Batanes
Canao/Kanyaw (Officiated by Cordillera Autonomous Region
Shaman or mumbaki)
Kashawing Lake Lanao / Lanao del Sur
Tagbanwa Palawan
 Many of these rituals, which we can consider as the earliest
forms of theater are still alive in the various regions. We will learn
about the mayvanuvanua in Batanes. A similar ritual known as cañao
or kanyaw is found in the Cordillera Autonomus Region. Officiated by a
shaman or mumbaki, the cañao also involves animal sacrifice, where
the entrails are read through a process of divination that is performed
either for healing, to announce the birth of a child, or a coming of age,
during wakes, weddings, and burial ceremonies.
 In Lake Lanao in Mindanao, a Kashawing ritual to ensure
abundance during rice planting and harvesting is still observed and
performed. This ritual involves a reenactment of the pact made by the
ancestors of the community and the unseen spirits that inhabit the
lake.
In Palawan, the Tagbanwa believe that every thirteenth moon,
three goddesses descend from the heaven to bless the planting of rice.
The shamans go into a trance amidst ritual chanting and dancing and
are believed to be taken over by the goddesses themselves.
Music Culture
The country’s indigenous cultures through the existence of ethnic
musical instruments such as pipes, flutes, zithers, drums, various
string instruments such as:

Musical instrument Description

Kudyapi A three stringed guitar
Kulintang An array of bossed gongs
Gansa or flat gong Bamboo percussion instruments
Agong Large bossed gong
 Long before the coming of the Spaniards, the pre-colonial
peoples of the Philippines already possessed a varied and vibrant
musical culture. The country’s indigenous cultures through the
existence of ethnic musical instruments such as pipes, flutes, zithers,
drums, various string instruments like the kudyapi a three stringed
guitar, the kulintang—an array of bossed gongs, the gansa or flat gong,
bamboo percussion instruments, and the agong---a large bossed gong.
Kudyapi – a three stringed guitar
Kulintang – an array bossed gongs.
Gansa or flat gong – bamboo percussion
instrument
Agong – large bossed gong.
Native Dance forms
Dance Form Province / Description
Pangalay Sulu – mimetic of the movement of seabirds
Kinabua Mandaya Imitate the
movements of
Banog-banog Higaonon and the B’laan communities predatory birds.
Man-manok Bagobo
Talip Ifugao – used in courtship and is mimetic of the movements of wild fowls

Inamong Matigsalugs Represent the comedic

movements of monkeys.
Kadaliwas T’bolis
Tinikling Tagalog folk dance – evocates the movements of the crane, balancing
itself on stilt-like legs or flitting away from the clutches of bamboo traps.
 This wealth of ethnic musical instruments is further
complimented by native dance forms whose movements often imitated
the movements of animals, humans, and elements from nature. The
Pangalay from the Sulu archipelago is mimetic of the movement of
seabirds, the Mandaya’s kinabua, the banog-banog of the Higaonon
and of the B’laan communities, and the man-manok of the Bagobos of
Mindanao imitate the movements of predatory birds.
 The talip dance of the Ifugaos is used in courtship and is mimetic
of the movements of wild fowls, while the inamong of the Matigsalugs,
and the kadaliwas dance of the T’bolis represent the comedic
movements of monkeys. The tinikling, a popular Tagalog folk dance
often showcased for tourists, is evocative of the movements of the
crane, balancing itself on stilt-like legs or flitting away from the clutches
of bamboo traps

Folk dance - a mixture of indigenous and foreign culture: oftentimes, uses

indigenous dance steps while using foreign music.
Pangalay (Sulu) – mimetic of the movement
of the seabirds.
Kinabua (Mandaya) – imitate the movements
of predatory birds.
Banog-banog - imitate the movements of
predatory birds.
Man-manok
Talip (Ifugao) – mimetic of the movements of
wild fowls.
Inamongs (Matigsalug)
Kadaliwas (T’boli)
Carving
Carving Name Province / Description

Bulul Cordillera – regarded as a granary god. This also appears

in containers, bowls, and spoons.
Hagabi Ifugao – a wooden bench that marks the socioeconomic
status of the owner.
Okir (Ukkil in Woodcarving that has sensuous figures sometimes
Tausug/Samal/Badjao) painted in primary colors follow the basic designs of the
mythical sarimanok, the naga or serpent, and the pako
rabong or fern.
 Pre-colonial Filipinos have been making images before
colonization. This is exemplified by the country’s rich tradition in
carving. People of the Cordilleras carve the bulul, regarded as a granary
god that plays an important role in rituals. The anthropomorphic bulul
also appears in containers, bowls, and spoons. The Ifugaos also produce
the hagabi, a wooden bench that marks the socioeconomic status of
the owner.
 In the southern Philippines, curvilinear decorations called the
okir (termed ukkil in Tausug/Samal/Badjao) are employed in
woodcarving. Sensuous figures somestimes painted in primary colors
follow the basic designs of the mythical sarimanok, the naga or
serpent, and the pako rabong or fern. Elaborate okir designs can also
be found in the panolong or protruding beams of the sultan’s house
called the torogan. The ubiquity of okir is evident in its diverse
applications, from ornamentation in musical instruments and sheaths;
to grave markers called sunduk, as well as marking for ceremonial
boats.
Bulul (Cordillera) – regarded as granary god.
Hagabi (Ifugao) – a wooden bench that marks
the socioeconomic status of the owner.
Okir
Pottery
Terra cotta Province / Description
Manunggul Jar Manunggul Cave, Lipuun Point, Palawan – dated to
(Burial Jar) the late Neolithic Period (890-710 BC).
Anthropomorphic burial jar Ayub Cave in Maitum, Saranggani province –
produced during the Metal Age (5 BC – 225 AD).
Palayok For cooking.
Banga As a container.
Tapayan For fermenting food or keeping liquids.
Pagbuburnay Vigan Thrives, currently valued in Ilocos as part of
its creative industry.
 Some of the most ancient forms are made out of terracotta. The
Manunggul Jar, discovered at Manunggul Cave, Lipuun Point, Palawan
is dated to the late Neolithic period (890-710 BC). It is a secondary
burial vessel, where buried and exhumed bones are placed. Glazed with
reddish hematite and incised with curvilinear designs, it has two
anthropomorphic or human forms atop the lid: a boatman paddling to
transport his deceased charge, whose journey through water is
interpreted as a metaphor of travel to the afterlife.
 Another type of anthropomorphic burial jar was produced during
the Metal Age (5 BC-225 AD). It was found in Ayub Cave in Maitum,
Saranggani province. The human figure is more pronounced in these
jars, with the lid taking the form of a head and the base, its body. On
the other hand, other forms of pottery that remain in use are the
palayok for cooking, and containers such as the banga and tapayan for
fermenting food or keeping liquids. The traditional pagbuburnay in
Vigan thrives and is currently valued in Ilocos as part of its creative
industry.
Manunggul Jar (Burial Jar)
Anthropomorphic Burial Jar
• this was believed that the facial
expression in the jar would
represents the character of the
buried person while he/she was
still alive. If he/she is cheerful,
thus the expression in the jar is
also happy, and so on.
Palayok – for cooking.
Banga – as a container.
Tapayan – for fermenting food or keeping
liquids.
Weaving Industry
Woven Textile Province / Description
Pis Siyabit A headpiece woven by the Tausug of Sulu

Malong With exquisite tapestry panels called langkit by the

M’ranao of Lanao del Sur.
Tepo Mat Of the Sama of Tawi-tawi, made of pandan leaves.

Ovaloid Basket Itbayat, Batanes, made of nito and bamboo are used as a
head sling to carry harvest.
Bubo Fish traps in the Ilocos region, made of sturdy bamboo
strips.
 Another cherish living tradition is weaving. According to Respicio,
textile weaving has a long history that Philippine ethnolinguistic groups
have a rich textile weaving tradition. Textiles are not only functional,
they also impart knowledge about people’s belief system: the
reverence for spirits and nature, criteria for the beautiful, and their
societies sociopolitical structures. In traditional weaving, the fibers are
gathered from plants like cotton, abaca, and pineapple leaves while the
pigments are extracted from clay, roots, and leaves of plants.
 A backstrap loom or a pedal loom is used to weave designs that
hold special meaning for a particular cultural group. Examples of woven
textiles include pis siyabit, a headpiece woven by the Tausug of Sulu
and malong with the exquisite tapestry panels called langkit woven by
the Maranao of Lanao del Sur.
 Aside from textiles, other forms of weaving include mat and
basket weaving. The colorful double-layered tepo mat of the Sama of
tawi-tawi made of pandan leaves is a remarkable example of a
mundane or everyday object with high artistic value. In Itbayat,
Batanes, ovaloid baskets made of nito and bamboo are used as a head
sling to carry harvests. Weaving techniques are also applied in creating
tools for agricultural purposes. In the Ilocos region, study bamboo
strips are woven to creat fish traps called bubo.
Pis Siyabit
Malong
Tepo Mat
Ovaloid Basket
Bubo
Ornaments
Type of Ornament Description
Boxer Codex An illustrated manuscript featured representations of various
ethnolinguistic group. An upper class Tagalog couple was
portrayed wearing gold jewelry.
Tattoo/s Visayas as “Islas de los Pintados”, aside from aesthetic function,
tattoos were valued because it was believed to protect the
individual from evil spirits. Tatooing include the Kalinga,
Kankanay, Ibaloy, and Ifugao.
Jewelry The T’boli in particular are known to wear brass chains, bells,
and colorful beads to complete their elaborate ensemble.
 Description

Lotoans or Betel Nut Made of brass or bronze produced chiefly by the M’ranao of
Boxes Lanao del Sur.

Kendi A vessel used for pouring liquids.

Gadur A container with a tapered top, a round body, and a flared

base.
 The tendency toward ornamentation could also be seen in the
way early Filipinos adorned their bodies. In the 16th century, the
illustrated manuscript called the Boxer Codex featured representations
of variation ethnolinguistic groups. An upper class Tagalog couple was
portrayed wearing gold jewelry while the Visayans are shown fully
covered in tattoo, corroborating early accounts that referred to the
Visayans as “Islas de los Pindatos.”
 Aside from its aesthetic function, tattoos valued because it was
believed to protect the individual from evil spirits, and in some cases, it
was considered as a badge of maturity and bravery. Shared by other
region in Southeast Asia and New Zealand , other Philippine
ethnolinguistic groups which practiced tattooing include in Kalinga,
Kankanay, Ibaloy, and Ifugao. Aside from bodily inscriptions, jewelry is
also believed to make the wearer more attractive to the opposite sex
inasmuch as it is considered pleasing to the gods. The T’boli in
particular are known to wear brass chains, bells, and colorful beads to
complete their elaborate ensemble.
 As with jewelry, painstaking attention to detail is manifested in
metalwork, such as the lotoans or betel nut boxes of various shapes,
made of brass or bronze produced chiefly by the Maranao of Lanao del
Sur. Textured designs of rhombuses, spirals, circles, and tendril swarm
over the exterior of functional containers. The design is achieved
through a special technique of metal casting called the lost wax or cire
perdue process which involves the use of moulds filled with liquefied
metal that eventually hardens.The removal of the mold reveals the
designs in relief.
 Other vessels that employ the same techniques are the brass
kendi and the gadur, which are used in ceremonies and are cherished
as status symbols or as heirloom pieces. The kendi is a vessel used for
pouring liquids. It has a round body with no handle; while the gadur is a
container with a tapered top, a round body, and a flared base.
Tatoo
Jewelry
Source:
• Dautin, Flaudette May, Robert Paulino, Eileen Legaspi-Ramirez, and
Louise Marcelino, Contemporary Philippine Arts from the Regions.
(Manila: REX Book Store, 2016)