Republic of the Philippines Department of Education Regional Office IX, Zamboanga Peninsula
7 Zest for Progress Zeal of Partnership ARTS Quarter 3 - Module 1: Arts and Crafts of Mindanao
Name of Learner: ______Grade & Section: ______Name of School: ______WHAT I NEED TO KNOW
In this module, you will be learning the different arts and crafts of Mindanao – the salient features of arts of Mindanao by showing the relationship of the elements of arts and processes among the diverse cultural communities in the country. Thus, you will also learn how lines, shapes, forms, value, color, texture and space give more meaning and significance to an artwork. This module will help you explore the arts of people of Mindanao and how animism and the Islamic religion fused together and produced a uniquely Filipino artistic tradition.
The arts and crafts of Mindanao include their cultural attire, textiles, tapestries, crafts, accessories and body ornaments which are a combination of designs from indigenous people that resides in the regions and the colorful and rich influence from their indigenous belief system. Most of their crafts are made of materials that are abundant in their areas. Their designs are derived from their surroundings and represent their cultural community. Some are used for religious activities while some have utilitarian functions and even became large industry for them.
Even until now, the skills in weaving, sculpting and crafting have been an important part of their community. Thus, these become the people’s way of living and their means of survival. These are passed on from generation to generation. And with the influence of modern technology, traces of their indigenous traditions and designs are still visible in their arts and crafts today.
At the end of this module, you are expected to:
a) analyze the elements and principles of art in the production of one’s arts and crafts inspired by the arts of Mindanao A7EL-IIIb-1; b) identify characteristics of arts of Mindanao and crafts in specific areas in Mindanao A7EL-IIIa-2; c) reflect on and derive the mood, idea, or message emanating from selected artifacts and art objects A7PL-IIIh-1; d) appreciate the artifacts and arts objects in terms of its utilization and their distinct use of art elements and principles A7PL-IIIh-2;
2 WHAT I KNOW
Activity 1: Let’s Match! Using the photos below, match arts and crafts of Mindanao in column A to the characteristics being described in column B.
A B
_____1. Vinta A. Yakan’s way of expressing their talents
_____2. Face Make Up B. A musical instrument composed of eight different-sized brass gongs laid upon a rack _____3. Torogan C. A Maranao craft which means a symbol for bravery and nobility _____4. Kulintang D. Oldest watercraft in the Philippines _____5. Sarimanok E. It represents high position in the society F. A dance drama
WHAT’S IN
Activity 2- Distinguish Me! Instructions: Write the following arts and crafts to its appropriate column found inside the box.
saruk kandit Badjao houses Weaving basket wood carving abaca weaving malong okir Fort Pilar Maitum Jars kendi kulintang Grand Mosque badjulapi suwatlimimotis metal casting vinta Panolong
Attire, Textiles, Crafts, Architecture Sculptures Tapestries Accessories, 3 and Body Ornaments
WHAT’S NEW Mindanao referred to as “The Land of Promise”, is the second largest concentration of ethno-linguistics groups and culturally-diverse islands. These groups are mostly Muslims from the Badjao, Iranun, Jama Mapun, Kalagan, Kalibugan (Subanen who were converted to Islam), Manobo, Maguindanao, Sama Bangingi, Sama Pangutaran, Samal, Sangil, Tausug, and Yakan groups. Other groups are the Lumads, or those who have their indigenous beliefs and traditions instead of converting to Islam or Christianity.
Activity 3- Artist’s Eye
Describe the elements of arts and principles of design used in the designs of the different art forms of Mindanao
4 1. Describe the lines 2. What colors made 3. Describe the and shapes used the design more pattern and texture of in the jar. attractive? the fabric.
______
WHAT IS IT
Arts and Crafts of Mindanao
ATTIRE, TEXTILES, AND TAPESTRIES
Traditional Clothing of the B’laan
The Bilaan or B’laan is an ethnolinguistic group that inhabit some parts of South Cotabato, North Cotabato and Davao del Sur. B’laan is a combination of two words, “bila”, which means “house”, and “an” which means “people”.
They are known for embroidery, brass ornaments and beadwork that are integrated in their traditional clothing. They wear clothes woven from abaca embellished with embroidery, buttons, and beads. The women wear heavy brass belts with numerous tiny bells that hang around their waistline. They also cut mother-of-pearl into small shapes that look like sequins called takmun to form geometric patterns.
Traditional Clothing of the Bagobo and the T’boli
The Bagobos are a group of people that live in Davao. The name of this ethnolinguistic group comes from the words “bago” (new) and “obo” (growth). This is because they are believed to have come from the mixture of the native population with the Hindu migrants that entered Mindanao during the Sri Vijayan and Malapahit empires.
5 The men wear t’nalak shorts, an undershirt, and a t’nalak coat. The bagani (hero/warrior) wear blood-red clothes and a head kerchief called tangkulu. These articles of clothing represent their courage.
The T’boli who live in and around Lake Sebu, South Cotabato, are famous for their complicated beadwork, wonderful woven fabrics, and beautiful brass ornaments. Similar to Bagobos, they regard the t’nalak as sacred. Traditional wedding rituals involve the exchange of this textile. During the birth, it is used as cover.
Traditional Clothing of the Mindanao
Maranao means “People of the Lake”, referring to people who occupy the lands surrounding Lake Lanao. They are famous for their artworks, intricate weaving, wood carving, metal craft, and their epics.
The Maranaos are known for their Malong. The malong is a traditional Filipino tube skirt that is made of hand- woven or machine-made multi-colored cotton cloth, bearing a variety of geometric or floral designs. It can be used in many ways.
The malong is similar to the sarong worn by peoples in Malaysia, Brunei and Indonesia. But unlike the Sarong, the malong is longer and is stitched together at both ends to make a tube.
The Malong is an important part of the Maranao life. A newborn is wrapped in it and, as he or she grows, it becomes a part of his or her daily life as clothing and as material for everyday use. A traditional dance called Kapa Malong Malong or Sambisa Malong, demonstrates the various ways of wearing a malong and its uses.
Traditional Clothing of the Yakan 6 Basilan is the home to the Yakans. They are popular for their skills in weaving. They weave very intricate designs in their textiles, which they use for their clothes and other accessories. Yakan hand-loomed fabrics are known for their use of bold colors and geometric patterns. The traditional Yakan art of weaving originated from their hometown Lamitan in the island of Basilan.
Yakan fabrics are traditionally used as garments. The seputangan is a square cloth used by the Yakan women as a head cover or as belt. The badjulapi is a tight blouse with long sleeves. It is ornamented with gold, silver, or bronze buttons.
CRAFTS, ACCESSORIES, AND BODY ORNAMENTS
Sarimanok
The Sarimanok is a legendary bird of the Maranao. It comes from the words “sari” meaning cloth or garment and “manok” for chicken. It has become a significant symbol of Maranao art. It is depicted as a fowl with colorful wings and feathered tail, holding a fish on its beaks or talons. The head is profusely decorated with scroll, leaf, and spiritual motifs. It is said to be a symbol of good fortune.
Okir
It refers to traditional and to unique carving and prominent any design among the Moro ethno- linguistic communities. The name comes from an old Malayan word which means carve or “ukit” in filipino. It is referred to as Okir in Maranao while Okkil in Maguindanao.
7 Face Makeup and Body Ornaments
A distinct form of visual arts of the Yakan is the facial make-up applied on brides and grooms. After applying a foundation of white powder, dots and lines are painted on the faces, creating the effect of formal and elaborate masks which match the ornate costumes of the couple.
T’boli Accessories
1. Hilot – is a heavy brass belt worn by women during festivals. The T’boli nobility wear it with bracelets and anklets, furnished with ball-bearings that make a sound as the wearer walks. The bells that are hung from the distinctive brass or beaded belts signal the approach of a woman.
2. Suwatlmimotis – a wooden comb with colored glass beads hanging from it, worn toward the back of the head.
Brass Making - Kulintang
The Kulintang is a musical instrument composed of eight different-sized brass gongs laid upon a wooden rack. It is made of brass with intricate designs and embossed top where it can be hit by wooden mallets to produce music. Other brass instruments include the gandang, the two -headed cylindrical drums, as well as the duahanagong pair consisting of the bua and pulakan.
8 ARCHITECTURE
Torogan
The Torogan is the ancestral house of the upper-class Maranao. It is the dwelling place of the datu along with his wives and children. There could not be any house larger than Torogan of the datu within the sultanate, for this signifies rank, prestige, and wealth.
The National Museum has declared the Maranao Torogan, specifically the Kawayan Torogan as one of the National treasures through Museum Declaration No. 4-2008.
Panolong
The Panolong is a wing-like ornament of a Torogan flaring out from the beams. This okir carving usually features the naga or serpent, pakorabang or stylized fern, as well as floral and star-and-bud motifs.
Badjaos Houses
The Bajau, also known as Sama-Bajau, are the “Sea Gypsies” or Nomads of the Sulu Sea. Their main source of livelihood is fishing and hunting, thus, most of them live in boat houses or houses on stilts around the Sulu archipelago.
The Grand Mosque of Cotabato
The largest mosque in the Philippines, the Sultan Haji Hassanal Bolkiah Masjid or also known as the Grand Mosque sitting near the idle banks of Tamontaka River is founded by the Philippine Government and the Sultan of Brunei, for whom the masjid was named. 9 Fort Pilar of Zamboanga
The historical Fort Pilar, also called Real Fuerza de Nuestra Senora del Pilar de Zaragoza, was founded in 1635 and still stands strong until today.
Monastery of the Transfiguration of Bukidnon
The Monastery is located a top of the hill of Malaybalay, Bukidnon, founded by Fr. Abbot Eduardo Africa and run by the Benedictine Monks. The pyramid-like structure was designed by the National Artist for Architecture.
Santo Rosario Church of Camiguin
The church is located at the town of Sagay, Camiguin Island. The original church was built in 1882 using coral stones, but the old infrastructures were too weak. It was retrofitted with steel bars using modern building techniques. The builders used local materials, particularly woven bamboo skin which highlights the local traditions of the island.
SCULPTURES Maitum Jar
An earthenware vessel for secondary burial from Sarangani Province. These artifacts were first discovered in 1991 and are now in the protection of the National Museum. Some experts argue that these jars are not only artistically significant, they also hold 10 key information of historical and anthropological importance.
T’boli Wood carving and Brass casting and Pottery
Wood carvers get their inspiration from the wildlife in their local area. Artisans use the lost-wax casting method to produce more copies of sculpture with intricate designs such as bells, boxes and figures.
Maranao Wood Carving and Metal Casting
1. Rarub-A-Klong is a metallic armor made of brass plates, carabao horn and interlocking ringlets. It is a protective armor of Moro warriors as a counterpart to the vest used by the Spanish soldiers.
2. Kampilan is a single-edged steel sword with a handle made of hand carved ivory in a form of the head of the Naga or a serpent, handcrafted gold, and hanged horse hair at the bottom of the handle.
3. Batige is a large manually carved wooden top inlaid with mother-of-pearl. It is used by adult males to test their skills and strength.
4. Kendi is an heirloom teapot or kettle used for hot water, coffee, or tea.
5. Gador is a large intricate decorated white metal tobacco container. It has become an item of interior decoration in proper Maranao households.
FUNCTIONAL ART
Balanghay
The balanghai, also known as balangay or Butuan boat, is a large wooden boat used by the pre-colonial Filipinos to traverse the seas for trade or migration. The finely built boat, constructed without the use of blueprints was taught from one generation to another. This technique is still used up to this moment by boat
11 makers of Sibutu Island.
Vinta
This boat is traditionally made by the Badjaos who live in the Sulu archipelago. The sail, called vinta, consists of several colors and geometric shapes, representing the colorful culture and history of the Muslim people.
These boats are small and not meant to be used for long ocean travel. They are used for livelihood activities such as fishing and diving for pearls and transportation around the archipelago.
Activity 3 – Find me where!
Identify the different arts and crafts of Mindanao and identify their origin. Complete the table below.
Arts and Crafts Place of Origin/ Location
1. Sarimanok
. 2. Fort Pilar Shrine
3. Torogan
4. Face Makeup
5. Grand Mosque
What More
Task 1: Let’s Appreciate! Appreciate the arts and crafts of Mindanao by identifying its use/ function/ purpose and materials used.
Arts & Crafts Materials Used Uses/Function/Purpose Face Makeup
12 Kulintang
Maitum Jar
Batige
Gador
Task 2: Look Closer! Given the pictures below, enumerate the differences and similarities of balanghay and vinta in a Venn diagram.
Balanghay Vinta
I LEARNED
13 WHAT CAN I DO
Activity 5: SARIMANOK PAPER LAYERING ART
Materials: 1. Crayons 2. Pair of scissors 3. White glue 4. Hot glue stick 5. Hot glue gun
Procedures: 1. Color all the Sarimanok images using crayons. Use same colors you used on the identical areas. 2. Cut out all three images. 3. Apply thin coat of white glue on top of the images then let it sit for a while until it turns to clear solid. 4. Glue Sarimanok image 3 on top of image 2 and image 2 on top of image 1. Use hot glue to stick them together but leave a small gap between images. Leave the glue to cool down without flattening it. This will add a shadow effect on your artwork.
ASSESSMENT
Instructions: Identify the following statements below. Write your answer on the space provided for.
______1. The legendary bird of the Mindanao said to be a symbol of good fortune. ______2. It came from an old Malayan word which means carve or “ukit” in Filipino. ______3. It serves as protection from spears and knives during combat and may be fastened around the trousers. ______4. It is a bamboo container for all paraphernalia for chewing betel nut. ______5. A heavy brass belt commonly worn by T’boli women during festivals.
14 ______6. The ancestral house of the upper-class Maranao; the dwelling place of the datu along with his wives and children.
15 ______7. The National Artist for Architecture who designed the monastery of the Transfiguration. ______8. The church was originally made of coral stones then retrofitted due to its weak infrastructures. ______9. An ornament of the Maranao house that has carvings of serpent, floral, and star-and-bud motif. ______10. A square cloth used by the Yakan women as a head cover or as belt.
ADDITIONAL ACTIVITY C.
Instruction: Identify some recycled materials that you can use to create an impressive and creative artwork. List them in the table below and their usage and purpose.
Recycled Materials Uses and Purpose
ANSWER KEY:
REFERENCES: DEVELOPMENTAL TEAM
Writers: ALFIE M. CUASITO, ANIE ROSE PROVIDO Editor: ALFIE M. CUASITO Language Reader: ALFIE M. CUASITO Proof Reader: ALFIE M. CUASITO Illustrator: APPLE O. SAAVEDRA Lay-out Artist: ETHEL M. GREGANA Management Team: JULIETO H. FERNANDEZ, ED.D., CESO VI SDS – Isabela City MARIA LAARNI T. VILLANUEVA, ED.D., CESE ASDS – Isabela City HENRY R. TURA, CID Chief ELSA A. USMAN, LR Supervisor JANI P. ISMAEL, EPS – MAPEH, Coordinator REGION IX: ZAMBOANGA PENINSULA HYMN – OUR EDEN LAND
Here the trees and flowers bloom Hardworking people abound, Here the breezes gently blow, Every valleys and dale Here the birds sing merrily Zamboanguenos, Tagalogs, Bicolanos The liberty forever stays, Cebuanos, Ilocanos, Subanons, Boholanos, Ilongos Here the Badjaos swam the seas All of them are proud and true Here the Samals live in peace Region IX our Eden Land Here the Tausugs thrive so free Region IX our Eden Land With the Yakans in unity
Gallant men and ladies fair Region IX Linger with love and care Our … Golden beams of sunlight and sunset Eden … Are visions you’ll never forget Land … Oh! That’s Region IX
My Final Farewell Farewell, dear Fatherland, clime of the sun caress'd Let the sun draw the vapors up to the sky, Pearl of the Orient seas, our Eden lost!, And heavenward in purity bear my tardy protest Gladly now I go to give thee this faded life's best, Let some kind soul o 'er my untimely fate sigh, And were it brighter, fresher, or more blest And in the still evening a prayer be lifted on high Still would I give it thee, nor count the cost. From thee, 0 my country, that in God I may rest.
On the field of battle, 'mid the frenzy of fight, Pray for all those that hapless have died, Others have given their lives, without doubt or heed; For all who have suffered the unmeasur'd pain; The place matters not-cypress or laurel or lily white, For our mothers that bitterly their woes have cried, Scaffold or open plain, combat or martyrdom's plight, For widows and orphans, for captives by torture tried T is ever the same, to serve our home and country's need. And then for thyself that redemption thou mayst gain
I die just when I see the dawn break, And when the dark night wraps the graveyard around Through the gloom of night, to herald the day; With only the dead in their vigil to see And if color is lacking my blood thou shalt take, Break not my repose or the mystery profound Pour'd out at need for thy dear sake And perchance thou mayst hear a sad hymn resound To dye with its crimson the waking ray. 'T is I, O my country, raising a song unto thee.
My dreams, when life first opened to me, And even my grave is remembered no more My dreams, when the hopes of youth beat high, Unmark'd by never a cross nor a stone Were to see thy lov'd face, O gem of the Orient sea Let the plow sweep through it, the spade turn it o'er From gloom and grief, from care and sorrow free; That my ashes may carpet earthly floor, No blush on thy brow, no tear in thine eye. Before into nothingness at last they are blown.
Dream of my life, my living and burning desire, Then will oblivion bring to me no care All hail ! cries the soul that is now to take flight; As over thy vales and plains I sweep; All hail ! And sweet it is for thee to expire ; Throbbing and cleansed in thy space and air To die for thy sake, that thou mayst aspire; With color and light, with song and lament I fare, And sleep in thy bosom eternity's long night. Ever repeating the faith that I keep.
If over my grave some day thou seest grow, My Fatherland ador'd, that sadness to my sorrow lends In the grassy sod, a humble flower, Beloved Filipinas, hear now my last good-by! Draw it to thy lips and kiss my soul so, I give thee all: parents and kindred and friends While I may feel on my brow in the cold tomb below For I go where no slave before the oppressor bends, The touch of thy tenderness, thy breath's warm power. Where faith can never kill, and God reigns e'er on high!
Let the moon beam over me soft and serene, Farewell to you all, from my soul torn away, Let the dawn shed over me its radiant flashes, Friends of my childhood in the home dispossessed!