Volume XX • Number 6 • November-December 2017 • For Artists and Cultural Workers • ISSN 0119-5948

Strings that bind, Rhythm that defines Official Newsletter of the National Commission for Culture and the Arts ommunities in socio-cultural environments possess an Volume XX, Number 6 November-December 2017 identity based on their language, race, cultural practices, ISSN 0119-5948 religion, social mores, ideology and behavioural conduct. While a country exists with a national image in terms of The is a knobbed metal of the used in various communal rituals. heritage and governance, it is made up of different socio-cultural Suspended in the air by rope or metal chains, the is also employed by C some indigenous groups as a means to announce community events, and as an indicator communities that enrich its uniqueness, its history and its dynamic of the passage of time. existence. This brief discourse shall focus on the small cultural Agung is published bimonthly by the National Commission for Culture and the Arts. communities that provide the deeply rooted distinctions to a national polity in terms of one of the most overt material emblems of their cultures—the musical instruments, their functions both VIRGILIO S. ALMARIO chairman musically and extra-musically, and their distinctions yet relatedness About the cover to the larger Southeast Asian expressive community. RICO S. PABLEO, JR. The different The Philippines is one country where multiculturalism exists. executive director boat-shaped lutes of different ethnic Among its 90-million population, there are more than 170 ethno- MARICHU G. TELLANO groups in and linguistics groups that are scattered in the 7,100-island archipelago. deputy executive director These 170 ethno-linguistics groups can be grouped together into five to six cultural communities that are characterized by topographic Rene Sanchez Napeñas location, religion and historico-cultural affinities. editor-in-chief In the north of Luzon, there are the Cordillera Mountain Leihdee Anne Cabrera Roel Hoang Manipon communities which are quite related to aborigines in Taiwan and May Corre Tuazon managing editor Roezielle Joy Iglesia southwest China. In Mindanao, the upland groups called Christine Sarah Sy Mervin Concepcion comprise another cluster, separate from the Islamic communities Arcie Millare Vergara that may still be divided into those on the island of as well Harvey James G. Castillo art director Ramil Adrian Fariñas as the Indonesian and Malaysian peoples. The mid-west islands of public affairs and information Marne L. Kilates Palawan and have their own distinct culture. And then section staff consultant there are the Christian folk communities as against the urban Faith L. Yangyang residents that comprise the largest population in the entire country. photographer The musical instruments are a distinctive material culture of the traditional communities in that these play an important role in the social life of the people, both in their physical and metaphysical dimensions. The National Commission In Philippine indigenous groups, just like other cultural for Culture and the Arts traditions in , and bamboo are the predominant materials in the manufacture of the most valued instruments, which As the government arm for culture and the arts, the National are used for different purposes, such as communication with the Commission for Culture and the Arts (NCCA) is the overall spirit world, rituals, music making that mark the different life cycle and occupational events, as well as public or personal entertainment. policy-making, coordinating, and grants-giving agency for the The use of gongs is an integral part in the lives of the people in preservation, development and promotion of Philippine arts the Southeast Asian region. In the Philippines, one will find gongs in and culture; and executing agency for the policies it formulates; both the highland as well as the Islamic cultures of the Philippines. and an agency tasked to administer the National Endowment Ownership of the gongs is a sign of prestige and its high value is Fund for Culture and the Arts (NEFCA). The NCCA traces its manifested when it is given as dowry in a marriage contract. In the olden roots to the Presidential Commission for Culture and the Arts times, the gongs were used only for sacred rites and communication (PCCA), which was created when President Corazon Aquino with the spirits. It was also played in order to transmit messages in signed Executive Order No. 118 on January 30, 1987, “mindful far off places. Thus, in the gong culture, gongs are non-tempered and of the fact that there is a need for a national body to articulate pitches are not as important as the sound, power and resonance of the a national policy on culture, to conserve and promote national instruments, since their use is related to the metaphysical nature of heritage, and to guarantee a climate of freedom, support and man, his physical environment and the entire universe. On the other hand, other instruments made of bamboo, wood dissemination for all forms of artistic and cultural expression.” and strings have a different purpose, and that is to communicate On April 3, 1992, President Aquino signed Republic Act No. with fellow human beings. Thus, there are scales and intervals 7356 creating the NCCA and establishing the NEFCA, a result of between tones, which would correspond to linguistic norms in over two years of legislative consultations among government human message transmission. and private sector representatives. The bill was sponsored by In the Cordilleras, all the communities use the flat gong, senators Edgardo J. Angara, Leticia Ramos-Shahani, which during ancient times must have come from China and Heherson T. Alvarez and congressman Carlos Padilla. Vietnam. While the flat gongs are only found in the Cordilleras of The NCCA Secretariat, headed by the executive director and Northern Luzon, the different communities play it in a variety of headquartered at the historic district of Intramuros, provides ways. Among the Kalinga, Bontoc and Tingguian, the flat gongs administrative and technical support to the NCCA are played by six persons in an interlocking manner. There are two and other units, and delivers assistance to the styles of performance, one called toppaya is when the gongs are played with bare hands as they lay on their laps and attached to culture and arts community and the public. Musical Instruments as Emblems

in the Socio-Cultural Communities in the Philippines

By Dr. Ramon P. Santos

NOSE FLUTES OF THE CORDILLERAS: TONGALI and KALELENG flute is a common instrument in the Cordilleras. It is called tongali among the Kalinga; kaleleng among the Bontok; kulasing among the Ibaloi; -ing among the Isneg; and ungiyong among the Ifugao. The nose flute from the Cordilleras is a long bamboo tube with three finger holes, and is played by blowing through a small hole with the nose. The tongali is the most favored of the four types of blowing ends and is best cared for by its owner. Its music is played for courting and for entertaining one’s self especially during night time. One can study this music instrument as it is still actively taught in the University of the Philippines’ College of Music /Photos from the exhibit “Philippine Traditional Music Instruments from the Collections of Lucrecia R. Kasilag and Ramon P. Santos, National Artists for Music” of the Filipino Heritage Festival, Inc. 4 Agung • Number 6 • November-December 2017

their belts, while another style is beating the the main rhythmic mode of the entire group. gongs with sticks, as they are held by the left Among the upland peoples like the hand, and this is called palook. The gongs Bagobo, Blaan and the Manobo, the agung are played either with dancers or the players is a principal -drone instrument themselves dance to their playing as in the which is hung from a frame, with a number palook or pattung style. of agung ranging from five to eleven gongs. The Ifugao play at least three flat gongs It is played by at least two people, one in different ways, one is sounded with fists, playing the drone and the other playing the while the two are beaten with sticks. The melody. Sometimes, the players also dance, Ibaloi have only two flat gongs called kalsa exchanging beaters with other musicians. and pinsak and they are played with two The other material used as instruments called sulibao and kimbal. is the bamboo. There are different types The gongs in Palawan and Mindanao of bamboo instruments. In the north, are all bossed, but having different sizes. the instruments are mostly made up of The most common bossed instrument is bamboo—various types of flutes and tube the , five to thirteen, but in most whistles, (polychordal and half- cases eight, gongs that are laid in a row tube), buzzers, scrapers, and other types and serves as the melody bearer in Islamic of . Among the Kalinga alone, ensembles consisting of deep-rimmed gong there are some nine different instruments called agung, shallow rimmed gongs called that are made of bamboo, such as the tongali , and medium size gong called (nose flute), paldong (lip-valley flute) kolibit babandir. They are usually reinforced by a (polychordal ), tambi (parallel zither), called . In the archipelagic tongatong (stomping tube), patang-ug (quil- Islamic communities, there are three large shaped bamboo tube), balingbing (bamboo suspended gongs called bua, tamuk and buzzer), saggeypo (stopped pipe), and pulakan. (jews harp). The eastern part of Mindanao In other cultural groups in the south, Island is the home of different mountain there is the bamboo gabbang (), communities surrounding the highest peak the gandang (cracked bamboo drum), and in the Philippines, Mount Apo. They also the serong aganding (bamboo zither with practice agriculture. Among the lumad or flap). These instruments fulfil different roles highland indigenous peoples, the kulintang in community life, such as courtship, driving is played by at least two persons, one on away evil spirits, and for entertainment. the drone gong and the other on the upper In the family, there are five gongs called tagungguan. The tagungguan basic mouthpieces or embouchures or their player at times leaves the instrument and blowing ends that typify all the traditional dances. The same is done when the gongs flutes in the Philippines, and these are (1) are large agungs numbering from five to the nose flute, (2) the ring flute, (3) the lip- nine pieces with one large drone gong called valley or notched flute, (4) the whistle flute, bandilan. and (5) the chip-on-ledge flute. They also One of the main characteristics in vary according to the bamboo that is used gong playing is the communal nature of the to make them. music. Just like its counterparts in , Nose flutes are prevalent among the , and Vietnam, the gongs Cordillera mountain groups as well as are usually played in an ensemble. In the in the Central West islands of Mindoro southwestern part of Mindanao Island which and Palawan. In the Cordilleras, different is predominantly populated by Muslim groups have their versions of the nose flute. communities, their musical expression Among the Isneg, it is called bali-ing, and shows kinship with both the Hindu-Malay several names for the Kalinga like enonggol traditions as well as the Arab cultures. or inonggol, innung-ngor, tongali or tongale. The principal musical instrument is the Among the Kankana-ey and the Bontok, kulintang, a set of small, bossed gongs laid in it is kalaleng or kaleleng and kurareng. a row on a wooden frame. As the principal SULIBAO Among the Ifugao, it is ungiyung. The nose melody instrument, it is supported by other Sulibao is a conical drum common in the Cordilleras, flutes vary in sizes, from a foot-long to two bossed gongs like the agung, a large deep- specifically among the Ibaloi of Benguet. Strikingly, feet. It is used for courtship as well as self- rimmed gong, the babandir, a medium size some are long- and narrow-shaped. Sulibao is entertainment especially at night time. bossed gong, and the gandingan, a set of four a longitudinal, lightly barrel shaped, hallowed- The second type of flute is thesuling , narrow-rimmed gongs that is characteristic of out logs with deer skin on one end. The sulibao or the ring flute, so called because of the accompanies the Ibaloi flat gong ensemble with the Maguindanao kulintang ensemble. The another conical drum called kimbal. /Photo from the ring that half covers the mouthpiece only non-gong instrument is the dabakan or exhibit “Philippine Traditional Music Instruments of the instrument. dubakan, a goblet-shaped drum that plays from the Collections of Lucrecia R. Kasilag and The third type is the lip-valley flute. It Ramon P. Santos, National Artists for Music” of the Filipino Heritage Festival, Inc. November-December 2017 • Number 6 • Agung 5

SULING The is a ring flute, and is called as such because a rattan ring acts as the flute’s mouthpiece. Among the Maguindanao flutes, the suling is the only one classified as a ring flute and the smallest bamboo flute of the Maguindanao. /Photo from the exhibit “Philippine Traditional Music Instruments from the Collections of Lucrecia R. Kasilag and Ramon P. Santos, National Artists for Music” of the Filipino Heritage Festival, Inc. is also called the notched flute because of have meaning when stringed together in a who belongs to the entourage of a datu or the shape of the blowing end. The Manobo rendition. sultan. The music consists of the different has the palendag, a long lip-valley flute The Mindanao communities, on the modes used in kulintang music, and is also with four finger holes, the first and the last other hand, have the different two-string a discursive instrument, which means it can finger holes are twice as large as the distance lute types. Sometimes, it is shaped like send out messages and tells stories, through between the second and third finger holes. a boat, or sometimes like a lizard or even improvisation and variations. The palendag’s total length can sometimes crocodile. Among the highland peoples, the These then are the instruments from be three feet long. The Kalinga on the other most famous is the kudlung, in which the the cultural heritage of each and every hand, has the paldong which is shorter than two strings function as one, a drone and country in Southeast Asia. While they do the Mindanao upland type. the other the melodic carrier. The different have similarities in form, their materials Another instrument that is made cultural communities such as the Tboli, and shape vary according to the evolution of bamboo is the gabbang, a xylophone Blaan, Manobo, Ata, Bagobo Monobo, and historical development of each and that is found in the Sulu archipelago. The Mansaka, Mandaya, and the Tiruray have every culture in terms of aesthetics, in Tausug and the Yakan of Basilan are the each a version of the kudlung, or hagelong, function, and in the social contexts wherein cultural communities where the gabbang or hegelong, or the fegrong of the Tiruray. these instruments provide the metaphysical is played. The Tausug gabbang has about Among the Manobo, the kudlung is dimension in human expression. Through thirteen blades and is usually played with played together with the sauroy or sludoy, the movements of people who engaged biyula or violin. The Yakan gabbang which a polychordal zither, by a pair of a man in trade, in war, and in other forms of a is portrayed in the exhibit is played solo or and a woman. What is unique about this dynamic exchange of peoples in the region, with the ensemble. Another main feature performance is that both of them also dance these emblems continue to provide identities of the Yakan gabbang is that it has only five and the woman sings a narrative story. to individual societies, at the same time, blades, but the playing is quite intricate Among the Maguindanao and the enriching the whole sound environment in that it is based on nuclear figures called Maranao, the version of the two-string in its diverse variety of imagination and the lebad, or short melodic motifs. These lute is called the kudyapi or kutyapiq. It creativity in the lives of communities in motifs may be likened to words which can is usually played solo by a master artist Southeast Asia.

SLUDOY/TOGO The tube zither is a whole internode of bamboo with six strings cut free from the body itself. Strings are lifted up with two small bamboo pegs for each string. In Mindanao, it is sludoy among the Tboli people, and togo among the Teduray people. It is played in upright position held by two hands. The strings are plucked by the fingertips and its music is usually heard during festive occasions like wedding. /Photo from the exhibit “Philippine Traditional Music Instruments from the Collections of Lucrecia R. Kasilag and Ramon P. Santos, National Artists for Music” of the Filipino Heritage Festival, Inc.

Dr. Ramon Pagayon Santos, composer, conductor and musicologist, is a National Artist for music. He is currently the coutnry’s foremost exponent of contemporary Filipino music. A prime figure in the second generation of Filipino composers in the modern idiom, Santos has contributed greatly to the quest for new directions in music, taking as basis non-Western traditions in the Philippines and Southeast Asia. He is the chair of the Department of Composition and Theory at the College of Music of the University of the Philippines. This paper is to be delivered by Dr. Santos during the opening of the exhibit, “Philippine Traditional Musical Instruments,” on May 10, 2018, at the Embassy of the Philippines in Tokyo, Japan. In partnership with the Filipino Heritage Festival Inc., the exhibit will run until May 31, 2018. TRADITIONAL MUSICAL INSTRUMENTS OF THE PHILIPPINES FROM THE COLLECTIONS OF NATIONAL ARTISTS LUCRECIA R. KASILAG AND RAMON P. SANTOS

Music has been a catalyst of connecting Filipino communities together, and has existed for several thousands of years. Even among the earliest ancestors, the of Palawan, chanting and gong-playing are practiced in solemnity for their religious rituals. These musical instruments evolved over long periods of time, overlapping among ethnic groups of the North and South, creating several varieties of instruments that possess parallel characteristics with deviations in names. Interactions with Western music reached Philippines shores and exposed to music that is structured, methodical, and theoretical. Ushering a new wave of music—varying in composition and sound—rouses a fusion of the traditional and the contemporary. This can be observed through the works of National Artists Lucrecia Kasilag and Ramon Santos. The sense of national identity is strongly infused in these compositions and further weaves itself with contemporary musicality. The international acclaim of Kasilag and Santos roused new directions in music in the modern century. Comprising the National Artists paraphernalia are their audio recordings and collection of indigenous instruments, this exhibition celebrates Kasilag and Santos’ trajectory to the avant-garde and expressionist thought in music.

This article is culled from the photograph exhibit “Philippine Traditional Musical Instruments from the Collections of Lucrecia R. Kasilag and Ramon P. Santos, National Artists for Music” of the Filipino Heritage Festival Inc. (FHFI). The featured items are from the collections of Kasilag, which is housed at the Philippine Women’s University’s School of Music, and of Santos, loaned [to FHFI to be photographed by Cinematic Studios and displayed for the exhibit, which travels around the country, especially during May for the celebration of ]National Heritage Month. AGUNG are played in played are Agungs . The Maguindanao people also The . datu posseses supernatural power. power. posseses supernatural marks the time of the day, signals the village people the time of the day, marks ensemble during festive occasions such as weddings. such as weddings. occasions ensemble during festive agung agung kulintangan is a large, deep-rimmed gong that is suspended from a frame. Because of deep-rimmed a frame. is suspended from gong that is a large, agung The The its size, low and loud sound comes from it when struck by a padded . In southern a padded mallet. by it when struck from and loud sound comes low its size, believe that the sound of the that believe in case of emergency, and announces the death of a of the death and announces in case of emergency, Philippines, the sound of the Philippines,

pairs to accompany the accompany pairs to ] KULINTANG The community is to function as social entertainment. associal community isto function The music as an of the instrument and functions asaresonator.of theinstrument andfunctions isknown It Meranaw. The ofthe mainpurpose wooden beaters. Thewooden gongs laidhorizontally inarow onawooden rack and is played ofthegongswithtwo thebosses by striking kulintang antangan is uniquethat isconsidered apublicmusic. isaninstrument consisting ofeight graduated by and theMaguindanao kulintang has reached the farthest islandsofSulu. Aminiaturehas reached thefarthest and anniversaries. The and xylophone also called alsocalled xylophone of Basilan hasonlyfiveof Basilan keys. The Tausug shaped intrapezoid.shaped Generally, ithas17to 19keys. an important instrument that accompaniesan important secular songs for ofguestsinweddings theentertainment Gabbang frame is a necessary part frame part isanecessary is popular among the Samal people and people amongtheSamal ispopular kulintang langkonga musicinthe gabbang gabbang’s by the ofthe Yakan people resonator isabox- gabbang is GABBANG GANDINGAN a secondary melodic instrument. melodic a secondary When played solo, the sound. oftheir Used by aspart theMaguindanao less prominent bosses. The tones languagehasgiven of theMaguindanao itsconnotation—“talking gongs.” Gandingan instrument. The , called isasetoffour large, hanging, gongswithnarrow knobbed rimsand gandingan balu, are usedto strike to achieve theknobs the isusuallyplayed the whilestandingbehind kulintang gandingan’s ensemble, it functions as ensemble,as itfunctions ability to ability imitate stye) in an stye) topayya style) or with their bare palms ( style) or with their bare is played in a group of six. Each player strikes the surface strikes of six. Each player group in a is played pattung gangsa is a flat gong that is played in an ensemble of two or more gongs of varying gongs of or more in an ensemble of two is played gong that is a flat among the rich class. The flat gongs are made of , , and iron. brass, made of bronze, gongs are flat The among the rich class. Gangsa interlocking manner that creates a resultant melody. Its music usually accompanies Its music usually accompanies melody. a resultant creates manner that interlocking of the gong with a beater ( of the gong with a beater sizes. In Kalinga, the sizes. most valuable instrument in the Cordillera region. It is a traditional signifier of wealth signifier of It is a traditional region. in the Cordillera instrument most valuable dances in festive gatherings such as peace pacts and weddings. A set of flat gongs is the A set of flat pacts such as peace gatherings and weddings. in festive dances DABAKAN pitched sounds. Used by theMeranaw intheir andMaguindanao from agoat, lizard, orsnake. isstruck withtwo It sticksthat thinbamboo produce high performance, ofthe theposition Dabakan the endofitsframe. Traditionally, itisconsidered asamasculineinstrument by the headed, drum goblet-shaped withanimalhidestretched ontop. may skin come Its the dabakan isaconical drumandtheMeranaw. amongtheMaguindanao isasingle- It Meranaw butafeminine instrument by theMaguindanao. accompanies the dabakan kulintangan isto theright ofthe withitsrhythmic patterns. a During kulintang kulintang player, near ensembles, LIBBIT is generally used in rituals is generally is a single-headed conical- libbit libbit within the agricultural cycle. cycle. within the agricultural Used by the Ifugao, the the Ifugao, by Used shaped drum with a deer- or goat-skin head. The drum is drum The deer- or goat-skin with a shaped head. drum played with the hands. The The with the hands. played

BANDURRIA neck. It is the principal instrument of the istheprincipalinstrument It ofthe neck. rounded sound hole and a short fretted rounded soundholeandashort instrument ofthelute familythat is The pear-shaped with a rounded back, witharoundedpear-shaped back, Philippine RondallaEnsemble. bandurria is a stringed musical isastringedmusical GITGIT FEGARONG

. . and fegarong is an expression is an expression ambahan are the musical are gitgit

laminggang as the for courtshipfor and makigidawgidaw instrument is usedinstrument Used by the Tiruray Tiruray the by Used the repertoire of the people, the people, is a two-stringed lute with 5 to 11 . This This 11 frets. with 5 to is a bowed instrument of the instrument is a bowed entertainment. Part ofentertainment. pieces pieces fegarong of consoling one’s self in times of one’s of consoling three-stringed relatively fiddle is loneliness or love for someone. It someone. for loneliness or love people of Mindoro. The The people of Mindoro. Mangyan music of the in standing or sitting position. The The position.in standing or sitting Gitgit poetry knownMangyan among the can also put a child to sleep or as ancan child to also put a small that a player vertically plays it vertically plays a player small that is also played to accompany the sung accompany to is also played entertainment in social gatherings. Itentertainment in social gatherings. GITGIT KUDLONG follows thefootsteps ofawoman playing anddancingwith The sarimanok Mindanao groups—theMindanao Tboli, Blaan,Manobo, Ata, Bagobo with two headsofeithera Manobo, andMandaya. Mansaka, Among theAta people wooden tightening rods andfrets madeofbeeswax. One string plays adrone andtheotherstringplays amelody. of southernMindanao, thelong-neck played by amanwhodances withtheinstrument ashe The body is also carved toThe represent isalsocarved body amythical animal kudlong . The a polychordal zithercalled is a two-stringed lute that isatwo-stringed isboat-shaped with kudlong is distributed among the southern isdistributed amongthesouthern naga (serpent), crocodile, orthe saluray kudlung . is usually isusually KUDYAPI

is kudyapiq kudyapiq is a respected kudyapi different from other Mindanao lutes. from different is a lute with eight frets and two strings—one and two used frets with eight is a lute kudyapi predominates in the northern of Mindanao—the groups predominates instrument among the Meranaw. The Meranaw Meranaw The among the Meranaw. instrument especially distinguished because of its ornate designs, and designs, especially distinguished because of its ornate is played as a solo instrument by musicians associated with musicians associated by solo instrument as a is played like the Meranaw wooden carvings, it could be identified as carvings,be identified wooden it could the Meranaw like the entourage of a datu or sultan. The The or sultan. of a datu the entourage Manobo. Among the Maguindanao, the two-string the Maguindanao, Among Manobo. Subanen, Maguindanao, Meranaw, Higaonon, and the Agusan Higaonon, and the Agusan Meranaw, Subanen, Maguindanao, The The for making the melody and one is for the drone. The instrument The making the drone. for the melody and one is for PALDONG PATATAG of the shape ofitsblowingof theshape hole. Like inthenoseflute, itsmelancholysoundisused to court agirl intheoldendays.court one’s usedto alsobe entertain can It self. iscommonly It lips. Lip-valley flute is made of bamboo and is also knownlips. asanotched andisalso flute Lip-valley flute ismadeofbamboo because as musical instrumentsmusical inthePhilippines, xylophone. thebamboo The flute lip-valley hasamouthpiece that ismade to follow oftheplayer’s theshape blades ingraduated sizes, played separately by sixplayers. anddampened Ringing like a xylophone andisplayedlike axylophone sticks. hassix thebladeswithbamboo by It striking patteteg Patatag tones are very important intheinterlocktones to method arecreate important very theresultant melody. derived itsnamefrom amongtheKalingapeople. The group bladesismeant ofbamboo to sound known as known paldong pateteg amongtheKalingapeople. , an Ilocano term for, anIlocano oneoftheindigenous

Patatag is also known isalsoknown KUBING BUNGKAKA is another was used to was bungkaka are bamboo tubes are bungkaka drive evil spirits away. spirits away. evil drive bungkaka The The to high pitches. Slits are cut on its are Slits high pitches. to the hard ulnar partthe hard it the hand, of one end while the other is cut into is cut into while the other one end of different sizes that are closed at closed are that sizes of different sides that when it is struck against struck when it is sides that are graduated, producing from low from producing graduated, are Kalinga bamboo instrument played played Kalinga bamboo instrument a resultant melody is created. In the melody is created. a resultant two two The blades. vibrates with a buzzing sound. Again, Again, with a buzzing sound. vibrates as an ensemble of six players. Its sizes of six players. as an ensemble using the interlocking way of playing, of playing, way using the interlocking olden days, the olden days, is kubing middle part, called kubing’s is commonly called jaw harp or called jaw is commonly serves as the resonator and changing serves as the resonator Kubing in the different language groups in the groups language in the different tonal colors. Traditionally, the Traditionally, colors. tonal country. It is a type of mouth resonated It is a type of mouth resonated country. Jew’s harp. Made of bamboo, it is played it is played Made of bamboo, harp. Jew’s the shape of the mouth creates different different the shape of the mouth creates “tongue,” vibrates as the player strikes or strikes as the player vibrates “tongue,” instrument horizontally with its “tongue” “tongue” with its horizontally instrument hits the end of the kubing with his thumb. hits the end of the kubing with his thumb. communication or is played for recreation. recreation. for or is played communication put in between the player’s lips. His mouth lips. the player’s put in between To produce the sound, the player holds the the player the sound, produce To considered an intimate instrument used for used for instrument an intimate considered

instrument. The The instrument. KUBING PALDONG The scraper is a whole of bamboo with notched edges on one side. On the other side of the bamboo is a long slit that serves as a resonator. It is called tagutok among the Meranaw and kagul among the Maguindanao. It can be played with two sticks. One hand scrapes the notches to and fro creating a continuous sound; and the other stick strikes certain rhythmic patterns. It is a popular instrument in the Visayas and Mindanao, and is played to scare birds from the rice fields.

The sulibaw is a shorter version of the sulibao. The sulibao and sulibaw are both conical drums common in Cordillera specifically among the Ibaloi of Benguet. The sulibao is a longitudinal, lightly barrel-shaped, hallowed-out logs with deer skin on one end, and it accompanies the Ibaloi flat gong ensemble with another conical drum called kimbal.

SULIBAWTAGUTOK/KAGUL DIWDIW-AS TAMBI

The tambi is a whole node of bamboo. Its two strings are cut free from the bamboo itself with rattan rings at the end to support them. The strings are lifted by small bamboo pegs. A piece of bamboo or platform is placed in the middle to connect both strings. A hole is bored under the platform as resonator. It is played by striking the platform with a stick. The Kalinga people play the tambi in a group of five to six in graduated sizes, producing a series of pitches that create a melody through interlock.

Diwdiw-as consists of small bamboo pipes of different lengths tied together, closed off, and joined at the bottom. Played by the Kalinga and Bontok people, its music is usually heard while resting in the rice field after work for entertainment.

SULIBAW DIWDIW-AS 22 Agung • Number 6 • November-December 2017

of the Philippines are very rare. These boat lute? What’s that? In the instruments are often just mentioned Philippines, people usually with a few sentences that can be found refer to it as kudyapi. It’s a Some Names of Boat Lutes of in books and articles. The firstkutiyapì Amusical instrument with two strings and Philippine Ethnic Groups recordings ever were made by José Maceda a narrow resonating body that reminds in 1955 and released on a double album of a boat or canoe. Boat lutes come in Kutiyapi entitled The Music of the Magindanao in many different sizes and designs (“types”), Meranaw, Maguindanao, Higaonon Manobo, the Philippines (1961). They were followed depending on the ethnic group using Arumanen Manobo and Tagbanwa by Maceda’s Ph.D. dissertation (1963), them. All boat lutes are basically carved with a chapter on the kudyapi and the first out of one solid block of wood. The detailed description of the instrument. resonating body is hollowed out from Katiyapi Much later, his famous book, Gongs and the back and covered with a wooden Talaandig Manobo Bamboo: A Panorama of Philippine Musical Kudyapi board. The frets are usually made out of Instruments (1998), included a chapter on pieces of wood, bamboo, coconut shell or Katjapi Philippine boat lutes. other materials and are glued to the neck Alangan Mangyan Manolete Mora studied important and resonating body by means of black aspects of Tboli hegelung music, and I beeswax. In most cases, the instruments published a number of articles on Philippine are played by using a plectrum that is tied Kutapi boat lutes in general. Maceda also released Subanen to the index or middle finger of the player. record albums on the music of Kulintang and The symbolic meaning of the instru- Kudyapiq (1988) and, together with Nicole ments actually does not refer to boats, but Ketyaphi Revel, on Palawan Highlands Music (1992). to animals, namely crocodiles, monitor Teduray There are also record albums available that lizards, horses, roosters and herons, as include performances of lute music played well as to the human body and to specific Piyapi by the Manobo, Higaonon and Banwaon of parts that can be found on royal houses. Higaonon Manobo Agusan del Sur and by the Tboli. However, In most traditions, the lutes are merely no comprehensive study on Philippine boat played as solo instruments; in others, they lutes has been published, up to now. And are combined with bamboo zithers. Kusyapi and kudlungan this was to become my plan. In the Philippines, boat lutes nowadays Pala-wan For Agung, I was asked to write an are exclusively played on the islands of article on the Philippine boat lutes. I have Mindanao and Palawan. There is no proof Kuglung published several scientific articles on these for the claim made by some scholars that Matigsalug Manobo, Ata, Tigwa,Obo Manobo, Mamanwa and Tagakaulu instruments, in the past. However, I think boat lutes could be found all over the that such an article would be much too Philippines in former times. It is true, technical and much too long for Agung. however, that there used to be boat lute Kudlung Instead, I decided to write a report about my Mandaya, Mansaka, Mangguangan, Dibabawon, Bagobo Manobo, traditions on Mindoro until around 1970, past experiences in conducting my fieldwork. which are now extinct, as well as on islands Umayamnon Manobo, Batak and Tagbanwa I want to talk about the researcher as a of and Samar-Leyte, during Spanish human being who is struggling to get things colonial times, as reported by Francisco Kudiyung done, just like everybody else. Because this is Ignacio Alcina in 1668. Nevertheless, the Agusan Manobo an aspect that is usually ignored. term kudyapì was also used in many areas of So, what made me interested in the the northern and central Philippines where Philippines? It was because my sister had it seemed to refer exclusively to small lutes Hegelung moved to Manila at the end of the 1960s. Tboli with a resonating body made from half a And why the boat lutes? It was because coconut shell, equipped with four strings, I was a passionate player with a that were later called “gitara.” Faglung strong interest in all kinds of plucked The origins of boat lutes lie in India. Blaan, Ubo and Tasaday Manobo string instruments. At that time, in the From there, certain construction features, early 1970s, I was still a recording and as well the instrument’s names (most of performing artist, one half of a duo called Fuglung Flute & Voice, where I also used to play them deriving from Sanskrit kacchapa, Blaan and Blit Manobo “turtle”), first found their way to mainland the Indian sitar, aside from singing and Southeast Asia where they developed playing the electric and acoustic guitar. into the crocodile zithers of Burma, Fegereng The first time I saw a picture of a Kampuchea and Thailand. These crocodile Teduray Meranaw kutiyapì was in 1975, when zithers spread to insular Southeast Asia, I wrote a term paper on the musical to Sumatra, , Sumba, Borneo Peglung instruments of the Philippines for my and the Philippines where they were Dulangan Manobo course in ethnomusicology at the Free transformed into an impressive diversity of both, lute and zither instruments. Facing page: Hans Brandeis with his first kutiyapì of Published sources on the boat lutes the Higaonon, somewhere in the mountains between Cagayan de Oro and Iligan Ciy (Winter 1982-83). Kudyapi

A Boat Lute Odyssey By Hans Brandeis 24 Agung • Number 6 • November-December 2017

Tboli hegelung virtuoso Mâ Fil Angkoy from Lake Sebu, South Cotabato (2004). November-December 2017 • Number 6 • Agung 25

University in Berlin, Germany. It was on New Year’s Eve when I was purchase my firstkutiyapì , incidentally one of the most beautiful compiling my sources, while firecrackers were exploding, outside the Philippine boat lutes that I have ever seen. However, seeing this house. Well, people have different preferences. instrument would remain a rare exception during the coming years. In winter 1976 to 1977, I went on my first field trip to the Boat lutes have been fascinating me ever since I started researching Philippines. As there was hardly any literature on Philippine music on the traditional music of the Philippines that I kept on asking available at that time, my plan was to travel to the Philippines first questions about them. However, among the Binukid-speaking lumad and, after interviewing some people, to decide which musical culture I of Mindanao (Higaonon, , Talaandig and Banwaon), the should focus on. I contacted Prof. José Maceda who was considered the traditional kutiyapì seemed to be virtually extinct. This sad truth led ultimate expert on Philippine traditional music. He proposed me three me to focus on the general musical culture of this area, instead, which choices, one of which were the Higaonon of Agusan del Sur. I forgot I thoroughly documented during the early 1980s. which were the other two choices, but I didn’t know anything about During my subsequent trips to Bukidnon, I almost lost track of any of them, anyway. My Filipino brother-in-law, José “Pepito” Bosch, the Philippine boat lutes that proved to be so rare. I had two piyapì had an issue of National Geographic magazine from 1971, with an article of the Higaonon made especially for me, in two places in Misamis by Kenneth MacLeish, “Help for the Philippine Tribes in Trouble.” I Oriental and Bukidnon, respectively, but never found anybody saw pictures of Higaonon men with long beards, tree houses and other who was able to play them. The piyapì has a very unique design, picturesque views, and I decided that I have to go there and see that all! with a box-shaped resonating body that cannot be found in any Unfortunately, during that first research trip, I didn’t see a single other boat lute tradition of Mindanao, but rather reminds of the boat lute, although I repeatedly inquired about these instruments. lutes that are used on the island of Palawan. The fact that hardly My Higaonon informants always pointed towards Bukidnon. If I anybody, including the people of Bukidnon, has ever heard of the wanted to see the “real thing,” I should go there. And, by the way, in piyapì speaks for itself and suggests that this tradition has already the end, I didn’t see any long-bearded men or tree houses in Agusan disappeared. The two piyapì instruments that I was able to acquire del Sur either. But at least the data that I was able to collect were are the only ones which I know to be in existence. sufficient to write my M.A. thesis in ethnomusicology. During these years, at least, I was able to document Talaandig After having finished my master of arts in 1981, I finally wanted overall Datu Kinulintang (Anastacio Saway; †1991) playing his to see the “real thing,” and I embarked for my second field trip to the katiyapì, as well as two Tigwahanon musicians from southeastern Philippines in winter 1982 to 1983. In a small Higaonon settlement Bukidnon performing with their kuglung. I also systematically in Misamis Oriental, along Iponan River, I was able to see, hear and searched for musical instruments in the antique shops of Metro

Mâ Fil Angkoy playing the hegelung of the Tboli, while accompanying a mimetic dance performed by the famous singer Ye Gas. Lake Sebu, South Cotabato (2004). 26 Agung • Number 6 • November-December 2017

Tboli hegelung virtuoso Mâ Fil Angkoy from Lake Sebu, South Cotabato (2004).

Manila, and I was very lucky to find, one by one, six of the last Western Bukidnon Manobo, Maguindanaon, Obo Manobo, Ata, available kutiyapì of the Meranaw. Later on, I never saw a single Matigsalug and Tigwa Manobo, Subanen, Blaan, Tboli, Ubo, Meranaw kutiyapì for sale anymore, anywhere, and I never heard Dulangan Manobo, Tasaday, Mangguangan, Dibabawon, Mandaya, one played, despite of my many efforts to find a Meranawkutiyapì Pala-wan and Batak. All in all, I was able to personally collect fifty- player, ever since that time. This is especially amazing because seven boat lutes from the Philippines. the kutiyapì of the Meranaw is clearly the most decorative of all Just recently, I made my latest acquisition. Over the Internet, I Philippine boat lutes. Nevertheless, my findings resulted in a bought a very big and beautifully decorated kutiyapì of the Maguindanao number of short publications, in which boat lutes are mentioned. that was made around the year 1900 and that used to be part of the The obvious lack of research possibilities led me to the collection of Stanford University Museum. But I also documented conclusion that the boat lute traditions of the Philippines had, more many instruments in private collections, e.g. of ethnomusicologist or less, died out; researching them did not seem to be very promising. Frank Englis, and in museums, in Manila at the National Museum, In 1993, however, I visited two settlements of the Tigwa Manobo in the museums of the Cultural Center of the Philippines, University of southeastern Bukidnon to conduct a general survey of their musical Santo Tomas, and UP’s College of Music, Xavier University Museum in culture, as I had done before, among the Binukid speaking people. I Cagayan de Oro and Palawan Museum in Puerto Princesa. found a rich and vital boat lute culture, in this area. This experience I did not only study boat lutes within the Philippines, but changed my mind, as I thought: if the traditional boat lute music also visited museums abroad where especially antique instruments is so very much alive in these places, the same should also be true from around 1900 are kept: the Field Museum of Natural History for other areas of Mindanao. Therefore, I decided to focus on the (FMNH) in Chicago, the American Museum of Natural History Philippine boat lutes, in the years to come. (AMNH) in New York City, the Musée du quai Branly in Paris, the From 1997 on, I systematically tried to visit all the places in Museums for Ethnology in Berlin and Vienna, among others. Mindanao and Palawan, where boat lute music was still practiced. It is needless to say that I had many remarkable encounters Until 2011, I was able to document, at least partly, boat with interesting people and amazing musicians. And there were a lute performances of the Agusan Manobo, Higaonon, Talaandig, number of situations when I smelled danger in the air. Sometimes, November-December 2017 • Number 6 • Agung 27

The adorable Ganay Delikan playing her hegelung of the Tboli, Lake Sebu, South Cotabato (1997).

I didn’t even smell it, but it still was there! In 1977, only three days biologist, spy for the government, spy for the NPA, anthropologist, after my brother-in-law and I had left the house of overall Datu whatever, and finally, well, maybe an ethnomusicologist. In the end, Mabalao (Ricardo dela Camara; †1977), our Higaonon host in they did believe me, because I often knew more about their musical Agusan del Sur and had returned to Manila, he was kidnapped, traditions than they knew themselves. I remember that occasion, later on also his father-in-law Datu Dumagata and the latter’s two when I tried to make my advocacy clear by singing a traditional sons. None of them was ever seen alive again. They were probably Bukidnon song, and one of the old Bukidnon men looked at me, kidnapped, tortured and killed by members of a Lost Command with eyes wide open, and said: “My son cannot do that!” from Esperanza chasing after a hidden treasure. I was always too scared to go to Muslim areas, though. In 1997, While I was doing research in Bukidnon in the 1980s, the however, when I started to communicate with Maguindanao kulintang NPA was rather actively moving around in the area, and I kept on virtuoso Danny Kalanduyan (†2016), who was already living in the asking my informants where they were, at a specific moment, and if United States, back then, it turned out that I had already met his it was possible for me to go to certain places at that very time. I still relatives from Cotabato City, when they had been performing in remember the roaring thunder of heavy artillery at a distance, when Berlin, Germany, ten years earlier. Now, this was my chance to visit I tried to fall asleep at nighttime in a remote Higaonon settlement Maguindanao territory, and it turned out to be quite enlightening called Kalipay, Misamis Oriental. Later, I heard that one of my to live with a Muslim family in Cotabato City for one week during informants from that place, who had brought me some rare kind Ramadan. It was in the house of my Maguindanao friend and musician of bamboo from the rainforest for making flutes, had been shot by Musib Kamensa that I met one of his relatives, famous kutiyapì virtuoso soldiers at a checkpoint. He had refused to undergo a security check. and Manlilikha ng Bayan Samaon Solaiman (†2011). He had considered himself invulnerable, because of an anting-anting Musib sent his car to fetch Samaon from his place, some one- that he was wearing. I’m very sure that I was always checked by hundred kilometers away from Cotabato City. Samaon had played resident members of the NPA whenever I entered a Bukidnon during a wedding celebration the whole night before, and he had settlement. And I’m sure that, at first, they never really believed that hardly slept at all. No wonder he was very tired when he arrived in I was an ethnomusicologist, but a geologist, missionary, linguist, Cotabato City. 28 Agung • Number 6 • November-December 2017

Elena Manioba, a resident of Kulaman, Senator Ninoy Aquino, Sultan Kudarat, is playing the peglung of the Dulangan Manobo (2010).

When he started playing, his face looked so exhausted, but his the Meranaw lutes the most beautiful of all Philippine boat lutes, nimble fingers danced like quick, little weasels across the fretboard with their abundance of intricate carvings and painted designs. of his kutiyapì. I was more than happy when Samaon Solaiman even When I came to know a Meranaw student from Mindanao State sold me one of his kutiyapì instruments. University in 2004, I felt that I should not pass up this opportunity. The second Manlilikha ng Bayan I was able to document was All the way coming from Marawi with the car, he fetched me in Masino Intaray (†2013), the highly praised epic singer of the Pala- Iligan City. On the way back to Marawi, he told me, with a mocking wan people living in the Makagwa Valley, in the mountainous area smile: “By the way, Sir, this is the highway where all the kidnappings near Brooke’s Point, southern Palawan. He was not only an expert occur!” Later, when I moved around MSU campus, nobody there in performing Pala-wan vocal music, but also in playing the basal knew anything about the once famous kutiyapì. At the Aga Khan (gong), aroding (mouth harp), babarak (ring flute) and kusyapì or Museum, there was only one of these instruments exibited, which kudlungan (boat lute)—a multi-instrumentalist, like many of the had been donated by a Meranaw university professor. According to indigenous musicians in the Philippines. her, the only time she had seen a kutiyapì player in the Marawi City I always wanted to visit Marawi City so that I could finally area was thirty years ago, when she used to be a member of the witness a performance on the kutiyapì of the Meranaw. I consider Darangan Cultural Ensemble of MSU, and that player had also been November-December 2017 • Number 6 • Agung 29

A Matigsalug Manobo couple playing kuglung (Camilo Gulam) and salurey (Ahunay Empolok), Marilog District, Davao City (1997). a member of that ensemble. When we walked through the university ride of four hours by car. She was accompanied by her three brothers, offices, I asked the employees if any of them knew a kutiyapì player, as her bodyguards, all carrying armalites. They sacrificed eight hours of and one of them answered me by asking: “Sir, what is a kutiyapì?” I their precious time just to fetch me. And what was even more surprising haven’t found a Meranaw kutiyapì player, up to now. was how meticulously Bae Sonita had organized my stay in Buug. Another dangerous area that gave me headache was Zamboanga Beside her royal palace, with its floors out of Italian marble, there Peninsula, which had seen many kidnappings, especially of foreigners, was a traditional community house that she had prepared for the coming in the past. In 2008, finally, I came in touch with a Subanen princess, performances, with a huge wall hanging, saying, “Welcome/Hans Bae Labi Sonita Manlin Mande-Ryde, thanks to social media. She Brandeis/Ethnomusicologist.” And when I left, she gave me a Subanen holds three royal titles, which are recognized by Muslims and lute kutapi and simply said: “This is yours!” I was deeply humbled by alike: Bae of the Subanen in Western Mindanao, Bae Gamtebeng of Bae Sonita’s generosity. I had not expected that, and something similar 42 Tribes of Mindanao, and Bae Labi of 42 Tribes and the Muslims never happened to me again, neither before nor after. of Western Mindanao. One of my most interesting research experiences was the When I arrived at Zamboanga airport, she fetched me there, documentation of Tasaday boat lute music in 2004. The case of coming all the way from Buug, Zamboanga Sibugay, which means a the Tasaday has been controversial ever since the day they were first 30 Agung • Number 6 • November-December 2017

The late Manlilikha ng Bayan Masino Intaray playing the big kusiyapì of the Pala-wan, in the sitio of Cabangaan, barangay of Samariñana, Brooke’s Point, Palawan (2006).

A typical ensemble of the Pala-wan, composed of two big kusiyapì lutes (Masino Intaray and Beryong Intaray) and a heterochord bamboo zither pagang (Salimuna Intaray), in the sitio of Cabangaan, barangay of Samariñana, Brooke’s Point, Palawan (2006). November-December 2017 • Number 6 • Agung 31

During a recording session among the Subanen, Hans Brandeis sits beside Subanen Author with Higaonon musicians at ECO Village, Cagayan de Oro (2006) /Photo princess Bae Labi Sonita Manlin Mande-Ryde, in Buug, Zamboanga Sibugay (2009) by Elson Elizaga pulled into the international limelight, as the alleged last survivors Presently, I’m working on a book with the title The Singing of a Stone-Age people living in the Daguma Mountains of South Crocodile—Boat Lutes the Philippines, where all 240 instruments that Cotabato. Selling them to the international public as a Stone-Age I collected or documented will be described in detail, on more people was definitely a hoax. Aside from that, however, my than 1,400 pages, presenting about 1,950 photographs. stand is that human beings as such are never a hoax: they This, however, will still take some time. The book will be are born into a social environment, raised and educated, meant as a handbook in which all the important aspects according to traditional values and beliefs, which they of Philippine boat lutes will be discussed. There will be truely represent, during their lifetime. In fact, the a comparative study of the historical sources from the Tasaday were a small group of hunters and gatherers living Spanish colonial times, ethnographic data about the in the forest, leading a poor life that did not allow them present distribution of Philippine boat lutes, a thorough to always buy the clothes or tools that they needed so description how the instruments are carved out of a block that they had to rely on what nature offered them of wood, word lists of the indigenous terminology in the as a substitute, occasionally, including stone tools different local languages, a typology of the instruments and clothes made from leaves. Although describing the differences in design, explanations they were constantly moving around about the symbolic meaning of the lutes and within their territory, they returned to information about performing practice, like context, the same places, once in a while, so that playing techniques and ensemble playing. All this there were times when they also lived information will allow the reader to clearly identify in the caves that later should become the origin of a particular instrument, it will provide their infamous “trademark.” They led a basic information for collectors, museum staff and lonely forest life, but they were never indigenous craftsmen many of whom are starting completely isolated from the lumad to forget the basic features that are typical for the groups living nearby. boat lute traditions of their own people. The Tasaday, beyond any doubt, My documentation of Philippine boat lute speak a dialect of the Cotabato Mano- music has just scratched the surface of a virtually language, which is closely related to unknown world. There is still so much research Blit Manobo. It was also the Blit Manobo to do. But it is high time, because many of the with whom they fostered cultural rela- master players whom I documented have already tions, and in their villages, the Tasaday passed away, in the meantime. Aside from those traded their forest products and even who left us that I have mentioned above, let found their women. us remember the virtuosos of the hegelung of When I met a group of about thirty the Tboli, Ganay Delikan (†2010) and Mâ Tasaday who had come down to Lake Sebu, Fil Angkoy (†2014) from Lake Sebu, South they looked to me just like any other lumad Cotabato, as well as the Blaan faglung master people living in this area, with their clothes Lily “Lumbey” Julie (†2007) from Landan, and garments, but their behavior was very Polomolok, South Cotabato. different, their faces very expressive, vigorous and vi- Up to now, there are still many vacious. To me, they appeared to be the most “tribal” Philippine boat lute traditions people that I had ever met in the Philippines. that have not yet been studied and I recorded two Tasaday players of the boat lute feglung. documented in detail, among them those They had been given this instrument by an old Blit Manobo man who had also taught them how to play it. Degu Bilan- Author on the way to the airport, holding a kutapi given as a gift gan, a young Tasaday man of 28 years, was one of the best from Subanen princess Bae Labi Sonita Manlin Mande-Ryde, Cagayan de Oro (2009). /Photo by Elson Elizaga boat lute players that I have ever heard and recorded. 32 Agung • Number 6 • November-December 2017

The piyapi of the Higaonon Manobo that is probably already extinct, Dinagahan, Gingoog City, Misamis Oriental (1983). November-December 2017 • Number 6 • Agung 33

An antique kutiyapì of the Maguindanao made around the year 1900, originally from the collection of Stanford University Museum, now part of the private collection of Hans Brandeis. 34 Agung • Number 6 • November-December 2017

195 of 240 boat lutes from the Philippines that will be presented in the book-in-progress by Hans Brandeis. November-December 2017 • Number 6 • Agung 35

of the Umayamnon, Kulamanen, Tinananon, Arumanen, Jangan, Hans Brandeis with a newly acquired antique kutiyapì of Tagabawa and Blit Manobo, Meranaw, Banwaon, Dibabawon, the Maguindanao, made around the year 1900, originally from the collection of Stanford University Museum, now Mangguangan, Mansaka, Tagakaulo (Kalagan), Teduray, Mamanwa, part of the private collection of Hans Brandeis. Tagbanwa, and others. And there is now an immense time pressure. In the settlements that I visited, many musicians and informants have already passed away. The tradition of the Batak is definitely gone forever. I was told by two Batak men that, in their community of about 200 members, all players of the kudlung have already died. In Aborlan, the center of Tagbanwa culture, I asked the elders of a village council about the traditional boat lutes kudyapì/kudlung. However, even these elders were wondering about this instrument they had never even heard of. Among the Meranaw, hardly any kutiyapì player seems to be alive anymore. Despite continuous research and inquiries, since the 1980s, I was not able to find a single Meranaw kutiyapì player. In the 1980s, Bukidnon and Higaonon craftsmen were able to carve two of the rare lutes piyapì for me, but, even then, nobody knew how to play them. These are just some examples. Boat lute traditions are threatened to disappear within the next coming years, due to the passing of the cultural masters and the unavailability of skilled craftsmen who still have the knowledge to make these instruments, coupled with the dwindling of raw materials needed to make new lutes. But, at least, there is still hope. During the past years, there has been a growing interest in tra- ditional Philippine music, and especially in boat lutes. In 1993, the National Commission on Culture and the Arts (NCCA) honored Maguindanao kutiyapi master Samaon Sulaiman with the pres- tigious Gawad sa Manlilikha ng Bayan (National Living Treasure Award). This mark of distinction had a strong impact on creating a new, nationwide interest in boat lutes. The number of boat lute collectors has kept on growing in recent years. Boat lute performances are included in all major festivals. In 2011, for example, the third Festival, Cuerdas sa Pagkakaysa, was organized in Tagum City, with a main focus on the boat lutes of southeastern Mindanao. With its wide scope of string music performances, ranging from lumad traditions and rondalla music to international string ensembles, it was a huge success. There are now also many neo-ethnic bands, mostly in urban areas, using boat lutes, even though they usually do not play their instruments in the traditional style, but just strum them like , accompanied by several African-style drums. In 2015, I came to know a Blaan cultural advocate who is now based in the United States, Arjho Cariño Turner. As I later found out, she is the great-niece of the late “Lumbey” Julie, the first Blaan faglung player that I had recorded a long time ago, in 1997. This surprising connection inspired the two of us to start an online cultural advocacy project by setting up the “Boat Lutes of the Philippines” Facebook page and website (Brandeis and Turner 2015a, 2015b). We wanted to feature lute players from all over the Philippines, traditional and modern, as well as the craftsmanship of the remaining master makers. In the meantime, the “Boat Lutes of the Philippines” Facebook page has an international following of more than 2,600 people, ranging from academics, musicians, artists and cultural workers to cultural enthusiasts. By connecting visitors of these websites with boat lute makers in Mindanao, we were able to support their craft, and the demand for new instruments was simply amazing. The Internet users also ask many questions about the construction, playing techniques and music performed on the instruments. And we are always ready to help.

Hans Brandeis is an ethnomusicologist from Germany, specializing in the traditional music of the Philippines. Between 1976 and 2014, he made fifteen research trips to the Philippines, comprising almost four years of ethnomusicological research.He maintains an advocacy page in Facebook (https://www.facebook.com/boatlutesphilippines/) and a website 195 of 240 boat lutes from the Philippines that will be presented in the book-in-progress by Hans Brandeis. (http://boatlutesofthephilippines.weebly.com/). 36 Agung • Number 6 • November-December 2017

Selected Publications Referring to Boat Lutes https://www.facebook.com/boatlutesphilippines 2015b Boat Lutes of the Philippines. Alcina, Francisco Ignacio, S.J Online version 2005 History of the Bisayan People in the Philippine Islands. http://boatlutesofthephilippines.weebly.com/about.html Evangelization and Culture at the Contact Period. Historia de las Islas e Indios de Bisayas... 1668. Translated, edited and Englis, Francisco A. annotated by Cantius J. Kobak, O.F.M. and Lucio Gutiérrez, 2006 “The Higa-unon Kutiapi: A Two-Stringed Plectrum Lute.” In: O.P. Part One, Book 3, Vol. III. Manila: UST Publishing House. Silliman Journal. Dumaguete City: Silliman University. Vol. 47, No. 2, pp. 87-114. Brandeis, Hans (The following publications can all be downloaded from Maceda, José Montserrat https://fu-berlin.academia.edu/HansBrandeis) 1963 The Music of the Magindanao in the Philippines. Vol. I and II. 1993 Musik und Tanz der Bukidnons von Mindanao - eine kurze Los Angeles: University of California (Dissertation); Ann Einführung. Music and Dance of the Bukidnons of Mindanao - A Arbor: University Microfilms. Short Introduction. Berlin: Filipino Association of Berlin. 1998 Gongs & Bamboo. A Panorama of Philippine Musical Instruments. 1995 “Bukidnon-s und Tigwahanon-s: zwei Musikkulturen im Diliman, Quezon City: University of the Philippines Press/ Vergleich.” [“Bukidnon and Tigwahanon: Two Musical National Commission on Culture and the Arts. Cultures in Comparison.”] In: Bröcker, Marianne (ed.): Berichte aus dem ICTM-Nationalkomitee Deutschland, Band IV. Mora, Manolete Bamberg: Universitätsbibliothek Bamberg. Pp. 103-119. 1987 “The Sounding Pantheon of Nature. Tboli Instrumental 1998 “Zur Symbolik philippinischer Bootslauten.” [“On the Music in the Making of an Ancestral Symbol.” In: Acta Symbolic Meaning of Philippine Boat Lutes.”] In: Bröcker, Musicologica. Vol. LIX, Fasc. II,. Pp. 187-212. Marianne (ed.): Berichte aus dem ICTM-Nationalkomitee 2005 Myth, Mimesis and Magic in the Music of the T’boli, Philippines. Deutschland, Band VI/VII. Bamberg: Universitätsbibliothek Quezon City: Ateneo de Manila Press. Bamberg. Pp. 59-86. 2008 “Lutes, Gongs, Women and Men: (En)Gendering 2000 “Dance Song of the Tigwa Manobo, sung and played on the Instrumental Music in the Philippines.” In: Ethnomusicology bamboo zither salurey by Pamana, and accompanied on the Forum. London: Taylor & Francis. Vol. 17, No. 2, November boat lute kuglung by Datu Alibudbud. Recorded by Hans 2008. Pp. 225-247. Brandeis in Sitio Kisayab, Bonacao, San Fernando, Bukidnon, Philippines.” In: Musik! 100 Recordings — 100 Years of the Audio Recordings that Include Boat Lute Performances Berlin Phonogramm-Archiv 1900-2000. Berlin: Ethnologisches Museum. CD 3, track 3; book: pp. 194-197. Aves, Grace Nono 2001 “Akkulturation bei philippinischen Bootslauten. Sonderbare 2001 Kahimunan. Cultural Music of the Manobo, Higaonon, Entstehung und Wandlung der Beschreibung eines Banwaon of Agusan del Sur. Compact disc with commentary Musikinstruments.” [“Acculturation Aspects of Philippine booklet. Tao Music 012. Tao Music: Quezon City. Boat Lutes. The Peculiar Formation and Change in the 2002 Mendung Sabal. Tudbulul Lunay Mogul. T’boli Hero of Lunay, Description of a Musical Instrument”] In: Bröcker, Marianne the Place of Gongs and Music. Compact disc with commentary (ed.): Berichte aus dem ICTM-Nationalkomitee Deutschland, booklet. Tao Music 011. Quezon City: Tao Music. Band IX/X. Bamberg: Universitätsbibliothek Bamberg, pp. 129-155. Lelong, Boris 2004 “Versuch einer Typologie philippinischer Bootslauten.” 2002 Philippines: Musique de luth en pays T’boli. Finnguy Flang [“Preliminary Typology of Philippine Boat Lutes.”] Paper & Luming Tuan– Luth Hegelung. Compact disc with read during the conference of the ICTM Study Group on commentary booklet. Éditions BUDA Musique. CD No. Folk Musical Instruments, May 10-16, 1995, in Terschelling, 1987872. (Musique du monde / Music from the World.) Netherlands. In: Fontana, Eszter / Michel, Andreas / 2007 Philippines. Femmes artistes du lac Sebu. Women Artists of Stockmann, Erich (ed.): Studia instrumentorum musicae Lake Sebu. [Lemhadong Collective.] Compact disc with popularis, Vol. XII. Halle an der Saale: Verlag Janos Stekovics, commentary booklet. Éditions BUDA Musique. CD No. pp. 75-108. 3017557. (Musique du monde / Music from the World.) 2008 “Music and Dance of the Bukidnon of Mindanao — A Short Introduction.” In: Kinaadman. Cagayan de Oro City: Xavier Maceda, José Montserrat University. Vol. 30, pp. 67-120. 1961 The Music of the Magindanao in the Philippines. Record album 2012 “Boat Lutes in the Visayas and Luzon — Traces of a Lost with commentary booklet. New York: Folkways Records Tradition.“ Paper read during Cuerdas sa Pagkakaysa and Service Corp. 1961. (Folkways Ethnic Li-brary. Folkways (Strings of Unity): 3rd International Rondalla Festival, Records Album. No.FE 4536 A/B.) February 12-19, 2011, City of Tagum, Davao del Norte, 1988 Kulintang and Kudyapiq. Gong Ensemble and Two-String Lute Philippines. In: Musica Jornal 8. Center for Ethnomusicology, Among the Magindanaon in Mindanao, Philippines. Record University of the Philippines, 2012. Vol. 8, pp. 2-103. album with commentary booklet. Quezon City: Department of 2016 “The Boat Lutes of the Philippines.” Paper read during the Music Research, College of Music, University of the Philippines. 10th International Organology Congress “Blagodatov Readings” at the Russian Institute of Art History, St. Mora, Manolete Petersburg, Russia, December 5-7, 2016. (To be published in 1997 Utom: Summoning the Spirit: Music in the T’boli Heartland. the conference proceedings.) Compact Disc mit Kommentarheft. Rykodisc RCD-10402. 2018 Das singende Krokodil — Bootslauten auf den Philippinen. [The Singing Crocodile — Boat Lutes in the Philippines.] Revel, Nicole and José Maceda (Book publication, work-in-progress). 1992 Philippines: Musique des hautes-terres palawan. Philippines: Palawan Highlands Music. Compact disc with commentary Brandeis, Hans and Josephine Turner booklet. Harmonia Mundi, Le Chant du Monde LDX 274 2015a Boat Lutes of the Philippines. 865. (Collection du Centre de la Recherche Scientifique et Online version du Musée de l’Homme.) November-December 2017 • Number 6 • Agung 37

Distribution of Boat Lutes in the Philippines 38 Agung • Number 6 • November-December 2017 Defining the Filipino Through Song

f the Spaniards tried to convert the Filipino to their ways pri- put at the top of the social ladder those who are most Westernized marily through religion, the Americans did it through educa- and at the bottom those who are the least. This places the Manileño tion. at the top, followed by the provincial city dweller, then the pobla- I The American military regime in the Philippines never under- ciones or town-dweller, next comes the taga-baryo or taga-bukid, estimated the importance of education as a colonial tool. Although ‘yung tinatawag nating promdi, and lastly comes the taga-bundok, the Jones Act granted the Filipinos more autonomy and Filipinos especially if the taga-bundok is indigenous or one of the so-called were given government posts, the Department of Education was minorities, who many Filipinos regard as almost subhuman. If only never entrusted to any Filipino. Americans always headed this de- the Manileño realizes that the Filipino New Yorker looks down on partment up to 1935. And when a Filipino took over under the him, too. Commonwealth, a new generation of brown Americans had al- But our Westernized education makes it very difficult for most ready been produced. There was no longer any need for Ameri- Filipinos not to look down on our indigenous peoples living in the can overseers in this field because a captive generation had already mountains. What were made available in the schools were books come of age, thinking and acting like Americans. containing sceneries of wealthy American urban life. So who would This Americanization is most profound among the elite, hav- like to be “poorly born on top of a mountain”? ing had the closest contacts with the colonizers. But this kind of The consequence of glorifying an alien lifestyle is to make us transformation is more or less shared by almost all adult Filipinos dream of dreams that are irrelevant to our real needs and exist- who have gone through formal education both in public and pri- ing social and material conditions. Many of us dream of a white vate schools. Christmas complete with Santa Claus, sleigh and mistletoes. A subtle but most effective medium of colonial education was The scent of apples, somebody has remarked, “attracts the Filipino music. The seemingly innocent thrust into the psychic world of elite and middle class like bees to a flower and sends them to a fren- Filipino children through songs helped much to produce an un- zy like a stud smelling a mare in heat.” Our experiences as a people conscious dislike of their own culture and a high preference for have been so devalued that, according to a survey, eighty percent of American culture. farmers’ children do not want to become farmers but would like to American thoughts, values and practices were introduced as land into white collar jobs and live a burgis lifestyle. Indeed, who models for the desirable, the modern and civilized. In contrast, the would like to labor in the fields when planting rice is never fun? peasantness of traditional Philippine life was made to appear as a Though we can have fun singing it. liability. What was there to be proud of the little nipa hut when, The imposition of the English language, particularly the prac- in book illustrations, impressive American homes designed for a tice of translating every Filipino song into English and teaching colder climate captured the imagination. Even the brick houses in it in that language, has given the Filipino the impression that the the stories of “The Little Red Hen” and the “Three Little Pigs,” many beautiful songs they have been singing in the schools are of appreciated out of context, reduce the nipa hut to inferior status. American origin. Even such an intimate and lyrical expression of So who would realize the advantages of the bahay kubo in a tropical Filipino feeling, as in the lullaby “Tulog Ka Na Bunso” or “Tulog setting? Let us sing my “Nipa Hut.” na Neneng” was not spared. Its English version, “Sleep My Darling Deliberate or not, the Westernization of our education pro- Baby,” has been sung by generations of Filipinos thinking it was an vided the Filipino children with a point of reference for contrasts American song. But we love this song because it is really ours. It is which tended to glorify an alien tradition and discredit our own. actually a from Bulacan. The educators structured an outlook which has succeeded in alien- How tender and sensitive is this song. Could it be anything ating us from our roots. Thus, in Philippine society until now, we but Filipino? Masyado nang maraming Filipinong tinatawag na November-December 2017 • Number 6 • Agung 39 Defining the Filipino

Through Song By Felipe M. de Leon, Jr.

Baby dahil siguro sa pagkanta ng English version, bihira na tayong and beautiful must be foreign, to the extent that our genuine gumamit ng Neneng, Nene o Nena. achievements as a people are belittled as copies, imitations or deri- The use of English in Filipino folk songs oftentimes produces vations from foreign ideas. This is true of our ancient script, which an incongruous and ridiculous combination of words and music. even our scholars attribute to Sanskrit, no matter how farfetched; The flowing melodic style of our folk music is incompatible with of our hero Jose Rizal, whom we hail as the Pride of the Malay the choppy syllables and hard consonant clusters of English. And Race, rather than of the Filipino people, even if anthropologically when this happens to a lively and humrous song, as in “Sitsiritsit speaking, there is no such thing as a Malay race. Alibangbang,” its spontaneity is lost and we fail to get its humor, This is also the case with our national anthem, which a not- although the incongruity may make us laugh. ed Hispanophile, who became a National Artist for literature by The alienation of the elite from his cultural roots while pro- presidential decree, seriously believes is derived from the “Le Mar- ducing only a half-baked understanding of the colonizer’s culture sellaise” of France, Verdi’s “Triumphal March” from the opera Aida, may have produced a profound split in his personality that is the and the “Marcha Real” of Spain. Similarly, many highly educated basis of such a masterpiece of incongruity as the English version of Filipinos still believe that “Philippines, My Philippines,” translated “Sitsiritsit Alibangbang.” into Filipino as “Pilipinas Kong Mahal,” is an imitation of “Mary- This disturbing but perhaps unconscious dissonance in the land, My Maryland.” Both songs were actually inspired more by Filipino soul is evident even in Filipino names, where a girl can local traditions, such as religious processional music and the kun- have the first name of Marie Antoinette but with a surname of diman, than by any foreign model. Dugaduga. We feel ashamed if our names sound too native. Some Much work needs to be done, especially in the field of edu- of us do not even want to be identified as Filipino at all, as in the cation, before we can truly reclaim our identity as Filipinos in the case of a local pop singer during a singing tour in the U.S. because realm of consciousness. But since the American period, we have Filipinos supposedly do not have a good image there. come along way towards defining ourselves through song. If we Fortunately, the Filipino masses and some conscientisized look at the developments since the sixties and seventies, we have elites have managed to retain pride in their culture and continue to seen how poet-musicians or songwriters have tried to use song as cultivate some of the best aspects of our character as a people, like a force for liberation from imperialism and colonialism, a way of the capacity to laugh at our own misfortunes, to achieve grace un- breaking down barriers between the elite and the masses, a means der pressure and flow with the life process. These are very evident of serving the people and not simply treating them as consumers in the very Filipino “Leron, Leron Sinta.” in a capitalistic environment, as criticism and an instrument for The English version, “Maria Went to Town,” did not become confronting problems, and for developing our sense of identity as very popular because again the lyrics do not fit the music plus there Filipinos. is something puritan about the message. Who would like to be Without a strong and positive identity as Filipinos, we will Puritan or a WASP? So the Filipinos decided to make fun of the never feel any commitment to the nation, and without this com- English version. mitment, as the anthropologist Dr. F. Landa Jocano always admon- Filipinos have a curious habit of thinking that anything good ishes us, we will not be capable of worthy achievement.

Felipe M. De Leon, Jr. was chairman of the National Commission for Culture and the Arts. He is a professor of Art Studies at the University of the Philippines where he taught humanities, aesthetics, music theory and Philippine art and culture, and a lecturer on social transformation courses at the Asian Social Institute. His experience as a cultural administrator/manager is extensive and widely recognized. De Leon, Jr. is the son of National Artist for music Felipe Padilla de Leon, Sr. and the father of musician Diwa De Leon and multi-awarded triathlon athlete Ani De Leon. Explorations of Folklore Versus Reality Integrated Performing Arts Guild Mounts German Gervacio’s Datu Mankalasi

By Christine F. Godinez Ortega Photos by Alf Caro Evan Pacana

bility of a writer to effectively use a politically charged theme is a no mean feat. This is a case where the poet and fictionist turned playwright German V. Gervacio won his case to present a narrative about Mindanao’s lumad lore. Lore is not used as a pejorative term here. Thelumad live their lore and believe. ATheir plight, in particular, the Agusanon Manobo’s, took center stage when the Mindanao State Uni- versity-Iligan Institute of Technology’s (MSU-IIT) resident theatre company, the Integrated Performing Arts Guild (IPAG), mounted the play Datu Mankalasi by Gervacio on November 20, 2017, at its gymna- sium. Road tours soon followed after these performances at the gym. It was an overwhelming sight to note the presence of the number of datus from the Manobo and Higaunon Manobo groups who came to witness the performance preceded by a lecture on the lumad groups’ experiences. The struggles of the lumads against logging and land grabbing of ancestral lands, mining, abuse of hu- man rights and other plaints were aired by Manobo datus Roger Plana and Nilo Cabungcal and Higaunon datu Joseph Paborada before a group of students, faculty members and other guests. The organizers, Kalumbay Regional Lumad Organization, said that the plight of the lumads often do not get any publicity from mainstream media so they hoped that their hurts might be laid bare in the social media and in performances such as IPAG’s mounting of Datu Mankalasi, whose titular character was played by Miguel Joven Perfecto. The IPAG was at its usual best in dialog that made use of Filipino and Binisaya; excellent light and set designs by Hermi Dico, Jan Pagarigan, Christian Jay Legaspi and Meshaq Dangel; synchronized technical management by Andrew Salazar, Karl Razul Casurra, Argiel Sasil and Mark Saura; and authentic, colorful and breathtaking Manobo attire, contrasting to the costumes of the Bughawan that had a smorgasbord of influences, including themanga comics, animation, post-apocalyptic water world and the video game Final Fantasy. Best of all, the rhythmic movements of Manobo dances were earthy and seemingly natural, thanks to the research on Manobo dances by Prosfe June de la Victoria Yee, choreography by Melvin Pascubillo, stage management by Lilibeth Maraon and production management by Arlem Abanes. The music, composed and arranged by director Steven Patrick C. Fernandez, appealed to both young and old. Variations of themes from Pinkfong’s “Baby Shark” dance and other MTV and Western music the Millennials are familiar with were hits during the performance. Fernandez’s compositions, with as- sistance from Michael John Lagura, marked a more upbeat and mature take on love and drinking songs. The beating of the drums and the sound from the synthesizer, along with the thumping of feet by the Taong Aso/Taumbayan, played by Gaspar Cortes, Jr., John Paul Francisco, Remegio Dayanan, Jr., Jack Cyril Llagas and Elias Point; and from the Bughawan, headed by actor John Michael Lagura, carried the whole narrative to its finish despite a few low moments where scenes needed to have flawless segues. Explorations of Folklore Versus Reality Integrated Performing Arts Guild Mounts German Gervacio’s Datu Mankalasi 42 Agung • Number 6 • November-December 2017

The veteran Lagura as the mutant Karakuda stole the show. He warriors. was too comfortable with his role to the point of portraying a bad Many Filipinos are not familiar with such lore and, if known, guy as “fun,” eclipsing the antics of his sidekick Wariwap, played by they would be put off by it because of Westernization and being too Primo Bagasol, Jr., and Perfecto as Datu Mankalasi. engrossed in teleseryes, perhaps. Mindanawons, on the other hand, hear about the plight of the Varieties of this lore likewise exist but it is the writer or artist lumad of Central and Northern Mindanao, but somehow the play who makes the selection for his own purposes. Scholars later delin- Datu Mankalasi, a true-to-life narration of a Manobo datu and his eate between folklore and present realities, which is which, and all people, if for anything, raised the lumad struggles and their frustra- of its wherefores. tions against the powerful symbolized by the Bughawin, played by Therefore, it was not surprising to see a Datu Mankalasi often Kim Sumagang, Danielle Salaan, Shairah Mae de los Santos, Jonna in a drunken stupor because unbending in his vision, and not much Mai Iniego, Dency Caballero and Joy Annabelle Cimafranca. of a decisive leader in a folkloric sense after Joseph Campbell or If life is short and art is long, this writer was skeptical about Vladimir Propp. how a play with a seemingly political agenda would be handled by Researchers Ivy Victorio and Airen C. Sajulga may have un- a writer, and “trans-created” by a seasoned theatre group such as the earthed variations of how Datu Mankalasi dies but the play’s abil- IPAG. ity to show the betrayal by some of the datu’s people (led by Datu For hundreds of years and after the artist and writer were ele- Burdagol played by Fyr Mykiel Gonzales) because material gain can vated to a high status in society with the rise of the middle class in alleviate their poverty and other deprivations is most plausible. One Europe, the artist creates beyond his times, but always cognizant of who symbolizes the idealist in the play was Batikan, played by - the society that nurtures his art. friel Bucayon. If his art must live after him, his themes must go beyond the Again, it is to the credit of Gervacio that he portrayed women political, and Gervacio did not necessarily play to the galleries. He as capable leaders exemplified by Malayumi (Yvonnie Emit). In the has woven into his narrative a more human perspective and made end, and in her frustration, she returns to her roots, foreshadowed relevant the Higaunon lore that recounted how the Higaunons by the dialog about trees with her father Datu Mankalasi, and she sprung from women and dogs, hence the Taong Aso or Man-Dog eventually reverts to her “aso” or true self.

Christine F. Godinez Ortega is a poet and fictionist. She is a former IPAG managing director. She has recently retired as a professor of the MSU-IIT Department of English, College of Arts and Social Sciences and as director of the Office of Publication and Information (OPI). She is the director of the Iligan National Writers Workshop and is currently the president of the Mindanao Creative Writers Group, Inc. Alf Caro Evan Pacana (also known as AC Lloren) is the MSU-IIT OPI’s official webpage manager and graphic lay-out artist who occasionally turns photographer when he feels like it. Photography, in particular portraiture, developed to be his passion when he received his first camera as a boy of eight. He has been working for the MSU-IIT official yearbook Tadman as head photographer and is the portraitist for Clique. November-December 2017 • Number 6 • Agung 43 A Valuable Documentation of the Rich Intangible Cultural Heritage of the Philippines

By Edgar Allan M. Sembrano

ntangible cultural heritage (ICH) is de- great Ivatan scholar Florentino Hornedo, socio-anthropologist fined by the United Nations Education- F. Landa Jocano, textile expert Dr. Norma Respicio, al, Scientific and Cultural Organization among others. I(UNESCO) as “the practices, representa- Their contributions include tions, expressions, as well as the knowledge intangible cultural elements and skills (including instruments, objects, of the country in five ICH artifacts, cultural spaces), that communities, domains—oral traditions and groups and, in some cases, individuals recog- expressions; performing arts; nize as part of their cultural heritage.” social practices, rituals and In the Philippines, experts have so far festive events; knowledge and identified and documented hundreds of in- practices concerning nature and tangible cultural heritage elements in the the universe; and traditional country. Three of them have been inscribed craftsmanship spanning from to the UNESCO Representative List of the pre-colonial Philippines to the Intangible Cultural Heritage of Humanity: traditions and practices of the the hudhud chants and punnuk ritual of the present. Ifugao and Darangen epic of the Meranaw. Some of the elements in The Philippines became a signatory to the the initial inventory include the UNESCO’s Convention for the Safeguarding Meranaw folk narrative “Radia of the Intangible Cultural Heritage of 2003. Indarapatra,” Hinalawod epic of And since the passing of the National Cultural the Sulod of Panay, Moros y Cris- Heritage Act of 2009, the NCCA, particular- tianos street drama of the Tagalog, ly its Intangible Heritage Unit, has intensified kuratsa dance of the Waray, pechen the listing of intangible heritage. (peace pact) of Bontoc, Magpandi- The result of the continuous documenta- pandi of the Yakan of Basilan, Tau’t tion and the subsequent database that was pro- Batu cosmology, agsana (salt-mak- duced out of it thus far is the book, Pinagmu- ing) of Ilocos Norte, baor-making lan: Enumerations from the Philippine Inventory (inlaid wooden chest) of Tugaya, of Intangible Cultural Heritage, published in Lanao del Sur, and various agricul- 2013 by the NCCA together with the UNE- tural, burial and religious practices SCO International Information and Network- and traditions of the country. ing Center for Intangible Cultural Heritage in Then NCCA chairman Felipe the Asia-Pacific Region (ICHCAP). M. de Leon, Jr. describes the book in Edited by anthropologist and award-win- the introductory message as “a cele- ning writer Dr. Jesus Peralta, the book is a pio- bration of our indigenous, ancient yet neering and the most extensive publication thus contemporary heritage of creative genius far on Philippine intangible cultural heritage. and a testament to the profound sources of our The book has entries from Peralta, former cultural identity.” National Museum and Metropolitan Museum Finalist for the Elfren S. Cruz Prize for Best Book director Corazon Alvina, Peabody Museum of in the Social Sciences of the National Book Awards in 2014, Natural History curator emeritus Harold Conk- Pinagmulan is indeed an excellent guidebook and a good source lin, renowned anthropologist Robert Fox, au- of information on the rich and diverse intangible cultural heritage thority in Kalinga culture Fr. Francisco Billet, the of the Philippines.

Edgar Allan M. Sembrano obtained his Master of Arts in Cultural Heritage Studies degree at the University of Santo Tomas Graduate School and has a Bachelor’s Degree in Journalism from the Polytechnic University of the Philippines, Manila. Sembrano is a writer/contributor for The Philippine Daily Inquirer and The Daily Tribune, covering the arts, culture, heritage, and heritage conservation issues. He is the assistant area editor for architecture of the revised edition of the CCP Encyclopedia of Philippine Art. He also used to co-anchor “Ang Ating Katipunan” of DZAR Angel Radyo 1026 and “RMN Journalism Hour” of RMN Manila DZXL 558. This article was first published in The Philippine Daily Inquirer on December 28, 2015. Breathing Life to Cultures Together lutists, students, music lovers and scholars from Southeast Asia and Korea gathered to- gether for the first ASEAN-Korea Flute Festival in the Philippines and Korea, from No- The First vember 26 to December 9, 2017. FA project of the ASEAN Committee on Culture and Information and made possible by the ASEAN-Korea Culture Fund, the festival was an initiative to promote cultural exchange ASEAN-Korea and a regional talent showcase of Association of Southeast Asian Nations (ASEAN) member states and Republic of Korea. With the theme, “Celebrating ASEAN Traditions Across Cultures,” the project, implement- Flute Festival ed by the NCCA with Korea’s Seoul Music Group, explored and brought together a variety of resonance of Asian traditional flutes, harnessing both traditional and modern repertoires through a music festival where flute musicians from ASEAN countries and Korea could interact and cre- ate integrated perfromances for young audiences and the general public. Under the artistic direction of National Artist for music Dr. Ramon P. Santos, the ASE- AN-Korea Flute Festival fostered a deeper sense of cultural awareness and a better understanding of our shared musical heritage with neighboring Southeast Asian countries and Korea. Forty-four of the finest flute musicians from the region performed and conducted lec- ture-demonstrations in various cultural, public, and academic venues in the Philippines and Korea, bringing with them traditional flutes and other accompanying musical instruments. The cross-cultural event kicked off with several pocket shows, lectures and cultural tours in Angono, Rizal (Angono National High School, Angono Regional Lead School for the Arts Delegates Thao Duc Nguyen, Mai Thi Ngoc Nguyen, and Angono Private High School); Bulacan (La Consolacion University and Marcelo H. del Dang Thi Hoai Thu and Chi Le Bui from Vietnam Pilar National High School); and Angeles City, Pampanga (Angeles Trade National School, Angeles National High School, F.G. Nepomuceno National High School, Department of Ed- ucation Division of Angeles). In the second leg of the festival in Korea, performances and supplementary lectures/work- shops were held at the Korean National University of Arts in Seoul and the ASEAN Cultural House in Busan from December 4 to 9. 2017. The gala performance concert was held at Carlos P. Romulo Theater of the RCBC Plaza in Makati City on December 1, featuring all the forty-four delegates, performing together with their own compositions they collaborated on. The opening performance was a composition of Singa- porean flutist and festival director Qing Lun Tan called “Fireflies,” which speaks of nature’s fragile beauty, rendered by all the delegates. The second part of show showcased collaborative compositions—“Sunrise” by Laos and The culminating performance of “Ihip-ihip-an” during the gala concert in Makati City, with National Artist Dr. Ramon P. Santos conducting Cambodia, about new beginnings, energy and hope; “Water” by and Vietnam about the sea, river and fishing; “Plant” by Sin- gapore, Korea and Thailand about farming, tea and rice; “Animals” by the Philippines and Darussalam about birds, family and friends; and “Sunset” by Indonesia and Malay- sia about calm and rest. The culmination was the performance of “Ihip-Ihip-an” by all the delegates. Composed by Dr. Santos especially for the festival, “Ihip- Ihip-an” is an experimental piece that combines the flutes together and other traditional musical instruments of Southeast Asian countries. While the tones do not necessarily have any common temperament, the piece explores the different colors that these instruments can offer, attempt- ing to blend the homogenous and later develop- ing into a heterogenous amalgamation of tones. Furthermore, these sounds are gradually spread out over a time continuum that is defined by the drone and melody principle of Asian music. Delegates Benicio Sokkong, Maria Lourdes Cecilia Worskhop and performance attended by students The gala concert was followed by a public Matute, Grace Joy Bugayong and Edgar Sabang performance concert at the Rizal Park Open-Air from the Philippines Auditorium in Manila the following day. The ASEAN-Korea Flute Fes- tival was part of the celebration of the 50th anniversary of ASE- AN, the 25th anniversary of ASEAN-Korea Dialogue Partnership, as well as the ASEAN-Korea Cultural Ex- change Year 2017. 46 Agung • Number 6 • November-December 2017 NCCA GALLERY For What is Right ccording to the United Nations, “Human rights are inher- ent to all human beings.” This is regardless of our national- ity, place of residence, color, creed, language, sex, econom- icA status, or any other status. “Rights” is not a foreign concept. It is, in fact, embedded in our own Filipino language, karapatan, with its root lying in dapat or in what should be, what is right, or what must be. These rights, therefore, recognize each individual’s dignity and value as human beings. On the contrary, “to deny people their human rights is to chal- lenge their very humanity,” Nelson Mandela once said. These rights are protected and promoted by the law: our right to life, liberty, and security; political rights including freedom from torture and slavery, cruel or degrading treatment or punishment; and the right to seek judicial remedy. And yet, these days, people can say that human rights can be cast away in favor of certain “higher” goals, such as peace and security, the elimination of drugs, criminality and terrorism, and thus the importance of the exhibit “Karapatan: Artists Stand for Human Rights,” mounted from June 13 to 30, 2017, at the NCCA Gallery. Human Rights for All by Bert Monterona The exhibit was part of the 2017 Looking for Juan Outdoor Banner Show of the Center for Art, New Ventures and Sustain- able Development (CANVAS), a non-profit organization that works with the creative community to promote children's liter- acy, explore national identity, and broaden public awareness for Philippine art, culture, and environment. The Looking for Juan Outdoor project seeks to collaborate with artists and writers every year in exploring the use of art to encourage debate, reflection, and discussion on selected social issues, particularly national identity, free expression, and sustainable development. “Karapatan” featured works by Emman Acasio, Rex “Dasig” Aguilar, Ledl Arvn, Renee Avila, Aiya Balingit, Janardan Balingit, Gori Bautista, Chelle Bebita, Lawrence Canto, Campo, Keb Cer- da, Marina Ceriola, Thomas Daquioag, Joseph Fraylon, Michael de Guzman, Boyet de Mesa, Carl Dumdum, Dale Erispe, Bam Garibay, Nina Garibay, Riel Hilario, Kyze Mamaril, Mark Mar- The First Mourning in Manila by Mark Karne (Black Sun, Black Stars) Dengcoy tinez, Pow Marin, John Marin, Norlie Membian, Dengcoy Miel, Martinez Miel Chad Montero, Bert Monterona, Ottoniel Neri, Archie Oclos, Jim Orencio, Cheryl Owen, Sam Penaso, Eko Silverio, Adeodatus Santa Juana, Juan Tulani Tulas and Kiko Urquiola. To take a cue from John Berger, who reflected on a Vietnam war photograph by photographer Donald McCullin, it can be ar- gued that some of the images and ideas in this exhibit reminded us “shockingly of the reality, the lived reality, behind the abstractions of political theory, casualty statistics or news bulletins.” And so we see through the eyes of the artists participating here—things that we perhaps have not seen, refuse to know, or choose to forget or ignore.

The creation of the NCCA Gallery dedicated to contemporary arts was a joint initiative of the National Committee on Visual Arts (NCVA) and the National Committee on Art Galleries (NCAG). Through the establishment of the gallery, both committees envision to help young artists get their much needed exposure without hampering their zest to explore new tendencies on the edge of current art making. The gallery is outfitted to accommodate video works and movable panels for installation pieces. Contemporary artists are welcome to submit their exhibit concept along with their portfolio should they wish to exhibit at the gallery. The NCCA Gallery is at the ground floor of the NCCA Building, 633 General Luna Street, Intramuros, Manila. It is open 9 A.M. to 5 P.M., Monday to Friday. Visits on weekends and holidays are by appointment. For details, contact 527-2192 local 328, or email [email protected]. IN MEMORIAM November-December 2017 • Number 6 • Agung 47

(UST Publishing House). She co-authored Angelica’s Daughters: A Dugtungan Novel (Anvil Publishing, Inc., 2010) with Cecilia Manguerra Brainard, Nadine Sarreal Susan Evangelista and Veronica Montes. She edited the anthology Babayeng Sugid: Cebu Stories (Anvil Publishing, Inc., 2011) with Erlinda K. Alburo, and The Cebu We Know (Anvil Publishing, Inc., 2009). Cuizon’s other essay collections are Vital Flow (UST Publishing House, 2001), and Woman: Collected Essays (University of San Carlos Press, 2014). Cuizon co-founded the Women in Literary Arts-Cebu (WILA) in 1991 with Alburo and Ester Tapia. She won the Phil- ippine Free Press Literary Award for fiction and the Mariano Manguerra Award for Outstanding Writer in the Literary Arts.

Writer and Editor

ward-winning writer and editor Erma early 1990s as editor of SunStar Weekend as ErmaM. Cuizon passed away M. on Novem- wellCuizon as a regular column. ber 9, 2017, after suffering from a Cuizon’s first book, Time of Year, is a fracturedA limb. She was eighty-one years old. collection of essays, published by Giraffe Born and raised in Cebu, Cuizon fin- Books in 1999. Her second book, published ished a bachelor’s degree in literature at the by the University of Santo Tomas Publish- College of Philosophy and Letters of the ing House, is a collection of short stories, University of Santo Tomas in Manila. She Homecoming and Other Stories. In 2006, had been with SunStar Publishing since the she published the novel Women in the House Empowering the Filipino Imagination

Send your comments and inquiries to The Editor, NCCA, Public Affairs and Information Office 633 General Luna Street, 1002 Intramuros, Manila. Tel. (+63 2) 527-2192 to 96 • Fax (+63 2) 527-5529 • E-mail: [email protected], [email protected] • Web site: www.ncca.gov.ph BUSINESS MAIL: Entered as third-class mail at Manila Central Post Office under Permit No. 3C-14-10-276, dated October 14, 2014. Subject to postal inspection.