Jerome A.

Garcia
Sports 1201

Pre-Assessment
1. Ambahan
2. Gangsa
3. Basal, Tambilaw
4. Tinapay
5. Kulilal
6. Kwntangan Kayu
7. Pis Yabit
8. T'nalak
9. Abel

Post-Test
A. Ginaw Bilog - Hanunuo Mangyan (12) – Ambahan (b)
B. Alonzo Saclag – Kalinga (3) - Kalinga Budong Dance (l)
C. Masino Intaray - Palawan (2) - Basal, Kulial, bagit (a)
D. Frederico Cabalero - Panay-Bukidnon (1) - Epic Chanting (c)
E. Samaon Sulaiman – Maguindanaon (4) – Kutyapi (i)
F. Darhata Sawabi - Jolo,Sulu (9) - Pis yabit (d)
G. Lang Dulay - T’boli (5) – T’nalak (j)
H. Magdalena Gamayo – Ilocano (7) – Abel (f)
I. Uwang Ahadas – Yakan (8) - Kwintangan kayu (e)
J. Haja Amina Appi – Sama (13) – Mat (h)
K. Eduardo Mutuc - Apalit, Pampanga (10) - Woodcarving/metal art (m)
L. Teofilo Garcia – Ilocano (7) - Tabungaw (g)
M. Salita Monon - Bansalan, Davao del sur (11) - Bagobo fabrics (k)
 NAME OF TEXTILE CHARACTERISTICS

Characterized with
intricate geometric
Made from cotton or patterns of colors
PISYABIT silk (or with gold segmented into the
threads) smallest squares,
triangles, and
diamonds.

T’nalak has a
distinctive tri-
Fibers used in color scheme: White
weaving T’nalak are for the pattern, red
T’NALAK harvested from the for relief elements
abaca tree and black (or deep
brown) for the
background.

The abel cloth is a

strong, colorful
material. Its fabric
is strong and
Made from yarns of beautiful that some
ABEL cotton or sagut families have them
as heirlooms that
last as long as
their antique
furnishings.

Fibers of the abaca

from the leaf
sheaths are
extracted for the
making of their
Usually used for
textiles. Inabal
making the native
abaca fiber textiles
tubular skirt, of
BAGOBO TEXTILE are weaved with
which there are two
ikat-or tie-dyed
types, sinukla and
resist designs
the bandira.
forming mother-and-
baby crocodile
figures in
geometricized
abstracted forms.
 As a traditional
handicraft of women
of many islands of
Tawi-Tawi, it is
considered as one of
made from dried the finest products
MAT pandan leaves of its type due its
amazing designs
coupled with the
quality and superior
texture of the
materials used.

Activity 2

1. Ginaw BIlog
 A Hanunoo Mangyan from Mansalay, Mindoro who grew up in such
a cultural environment. What distinguishes the rich Mangyan
literary tradition from others is the ambahan, a poetic
literary form composed of seven-syllable lines used to
convey messages through metaphors and images. The ambahan is
sung and its messages range from courtship, advising young
people, calling for a place to stay, saying goodbye to a
dear friend, etc.

2. Eduardo Mutuc
 An artist who has dedicated his life to creating religious
and secular art in silver, bronze, and wood. His intricately
detailed altarpieces, mirrors, altars and carosas are kept
in churches and private collections. He discovered his
skills in sculpture and metalwork quite late in the day. He
was 29 when he decided to add his farm income to a
comparatively more stable woodcarving career.

3. Darhata Sawabi
 In Barangay Parang, Jolo Island, Sulu Province, women
weavers are hard at work weaving pis syabit, the traditional
cloth tapestry worn as a head covering the Tausug of Jolo.
"This is what we've grown up with the weavers claim. "It's
something we've learned from our mothers." Darhata Sawabi is
one of those who took to heart the art of pis syabit
creation.
4. Ambalang Ausalin
 The Yakan of Basilan are considered to be one of the finest
weavers in the Southern Philippines. Weaving is a very
significant art in the Yakan community. All Yakan women have
been educated in weaving in the past. Apuh Ambalang, as her
group of weavers calls her, is highly regarded in all of
Lamitan. Her ability is considered to be incomparable: it is
capable of putting out all the designs and updating all the
textile categories typical of the Yakan. Suwah bekkat
(cross-stitch-like embellishment) and suwah pendan
(embroidery-like embellishment) techniques can be used in
the Bunga Sama group.

5. Haja Amina Appi

 From Ungos Matata, Tandubas, Tawi-Tawi, she is recognized as
the master mat weaver among the Sama indigenous community of
Ungos Matata. Her colorful mats, with their complex
geometric patterns, display a precise sense of design,
proportion and symmetry and color sensitivity. Her special
multi-colored mats are covered by a white outer mat that
acts as a mat backrest. Its practical and creative designs
take up to three months to create. Haja Amina is admired in
her community for her unique designs, the straightness of
her edging (tabig) and the finesse of her sasa and kima-
kima.