ATTIRE, TEXTILES, AND TAPESTRIES:

B’LAAN’S TRADITIONAL CLOTHING AND ITS CHARACTERISTICS: GINTLO & SALWAL

Blaan women also use the Maguindanao plaid Malong as an alternative to Tabih
called GINTLO. Blaan male pants/trousers are generally called SALWAL. The B’laan also
uses mother-of-pearl cuts and shapes in geometric forms to resemble sequins called taknum.
Their clothes are woven from abaca fibre and embellished with buttons, beads, embroidery,
and brass and copper work.

The B’laan are also known for their ikat process, used to weave highly-polished
abaca textiles. This process is done by dyeing the fabric where the yarns are tightly wrapped
with strings before weaving. The colours of the textiles are usually in shades of black or
brown, red or ochre (darker shade of orange), and ecru (the colour of the undyed abaca).
The B’laans value their textiles greatly; woven blankets are essential to the bride’s dowry.

BAGOBOS’ TRADITIONAL CLOTHING AND ITS CHARACTERISTICS: INABAL

Bagobos are known for their ceremonial cloth called INABAL. This is a unique
textile woven from deep brown abaca fibres. Like the B’laan, the ikat process is used by
Bagobos to obtain intricate designs for their textiles. Bagobo women are the only ones
allowed to weave this fabric. Inabal clothing is valued by both men and women.

Additionally, red holds a special meaning in Bagobo textile design for men. The
hero or Bagobos wears an Inabal warrior called Bagani. Bagobos usually wear blood-red
clothes and a head kerchief called tangkulu. This style of clothing represents their
courage as Bagobos. The weaving tradition of Bagobo is traditionally tied to the magandi.
This dominant warrior class is recognized through the red colour of their clothing.
Women, on the other hand, are covered with inabal skirts and blouses. Their clothes are
designed with stripes, plaids, and other organic motifs, such as plants, stars, lightning
and even human figures.

T’BOLI’S TRADITIONAL CLOTHING AND ITS CHARACTERISTICS: T’NALAK

T’bolis are more well-known for the use of T’NALAK. They also find this textile
sacred and vital. Occasions like traditional wedding rituals usually involve the exchange of
t’nalak textiles. The t’nalak of T’bolis are made by women of royal blood. Thousands of
patterns regarding folklore and stories are known to the T’boli women by memory. Fu
Dalu, a spiritual guardian, is said to guide t’nalak weaving, which follows several rituals
and rules.

T’boli weavers believe that they are visited by their ancestors and gods in their
dreams to teach them weaving designs and patternsT’bolis also believe that the fibre they
weave will easily break once the weaver fails to follow the rule of abstinence during the
weaving process. This rule also strictly prohibits men from touching the materials used in weaving because the t’nalak
weavers are the only ones allowed to handle the cloth.

The t’nalak occupies a special significance in the lives of the T’boli tribe. Basically, it is used for blankets and
clothing. Fibres used in weaving are harvested from “the abaca tree” and prepared in a process known as kedungon. Some
distinctive colours featured in the tri-colour scheme of the t’nalak are white for the pattern, red for relief elements, and
black (or deep brown) for the background.

MARANAO’S TRADITIONAL CLOTHING AND ITS CHARACTERISTICS: MALONG

The Maranao people are popularly known for their MALONG. It is a traditional hand-
woven tube skirt made using a backstrap loom. It can also be a machine-made multi-coloured
cotton cloth. Maranao women usually wear it as a skirt, dress, blouse, or gown. Depending on
how a person folds this particular fabric, it may also be used as
a hammock, fruit basket, sleeping bag, bathrobe, baby
carriage, or even a simple market bag. It can also be used as a
cowl or raincoat, sack, and headgear for both men and
women.

The malong used for ceremonies and rituals is usually

made of silk. In contrast, the ones for daily use are generally
made of cotton with a simple pattern of plaids and stripes. On the other hand, the more
elaborate silk malong features intricate designs in red, purple, and yellow, which are used in
different ceremonial occasions.
YAKAN’S TRADITIONAL CLOTHING AND ITS CHARACTERISTICS: SEMMEK

The Yakan is an indigenous tribe native to the island of Basilian.

Their weaving skills are recognized for their use of remarkable technicolour
geometric patterns. The intricately woven fabrics are used for clothing and
other accessories. They also use distinctive decorations to complement
attire in traditional ceremonies.

Yakan women traditionally made textiles for their cultural dress,

which is known as the Semmek. They also crafted accessories and interior
decors from abaca, pineapple, and bamboo fibres grown on the island. The
malong used for ceremonies and rituals is usually made of silk. At the same
time, the hand-loomed fabrics woven by Yakan women are known for their
bright colours and geometric patterns. The inspiration for their designs
comes from their environment and Islamic sacred geometry.

“QUESTIONS THE GROUP NEED TO ANSWER.”

 Identify the different types of clothing in the following Community.

1. B’laan = Gintlo & Salwal

2. Bagobo =
3. T’boli =
4. Maranao =
5. Yakan =

 DESCRIBE THE DISTINGUISHING CHARACTERISTICS OF THE CLOTHING OF EACH COMMUNITY INCLUDING THEIR
USES:

COMMUNITY ATTIRE, TEXTILES, COLOURS DESIGN MATERIAL TECHNIQUES USED

AND TAPESTRIES
1. B’laan Known for
(example) Black or brown, red Embellished with their ikat Used for
or ochre (darker buttons, beads, process, used everyday
Gintlo & Salwal shade of orange), embroidery, and to weave clothing and a
and ecru (the color brass and copper Abaca fiber highly- bride’s dowry
of the undyed abaca) work polished abaca
textiles
2. Bagobo

3. T’boli

4. Maranao
 5. Yakan

CRAFTS, ACCESSORIES, AND BODY ORNAMENTS OF MINDANAO

SARIMANOK

The distinct motifs and patterns characterise the design of each group. For
example, one of the decorative motifs used in Maranao's textiles is the Sarimanok. The
sarimanok is the Maranao’s legendary bird. It comes from the words “sari,” meaning cloth
or garment, and “manok,” the Filipino term for chicken. It is also said to be a symbol of
good fortune. It is depicted as a fowl with colorful wings and a feathered tail, holding a fish
on its beak or talons. The head is profusely decorated with scroll, leaf, and spiral motifs.

OKIR

Like its valuable textile design, the sarimanok also plays a vital role
in wood crafts. It is sometimes carved by Maranaos to make souvenirs for
their livelihood. The sarimanok motif is also popular in architectural designs.
Another popular design motif in Mindanao is the okir. This design is
prominent in the traditional wood carvings of the Moro communities. The
okir originated from an old Malayan word, carve or “ukit” in Filipino. It is
called okir in Maranao, while it is called okkil in Maguindanaon.

The pattern, now known as the okir motif has evolved from the Indian
stylized bird and naga themes and the Islamic tradition of using flowers,
vines, and geometric patterns. Okir's design is often carved or etched on
hardwood, brass, and silver. It is also used on decorative wall paintings.

MAKEUP: YAKAN MAKEUP “TANYAK-

TANYAK”

Tanyak Tanyak is a face painting custom unique to the Yakan tribal culture worn only for
wedding ceremonies. The circles, dots, and stars represent the stars, moon, and heavens that witness the
wedding union. The white marks are made of flour and water and applied with bamboo carved in the
celestial shapes.

T’BOLI BEADWORKS (HILOT AND SUWATLMIMOTIS)

A group that has a fondness for accessories is the

T’boli. Some of their accessory festivals are the HILOT
AND SUWAT LMIMOT. The hilot is a heavy brass belt
worn by women during festivals. The T’boli nobility wear
it with bracelets and anklets furnished with ball bearings,
which signal their approach. Meanwhile, the hilot lmimot
is a brass belt with dangling strings of beads. On the other
hand, the SUWAT LMIMOT is a wooden comb with
colored glass beads, that is worn at the back of the head.

BRASS MAKING – KULINTANG (Mindanao)

The kulintang Is a musical instrument composed of eight different-sized Brass

gongs laid upon wooden racks. It has intricate designs and an embossed top where
wooden malettes can hit it to produce music. Other breast instruments include the
gandang, the two-headed cylindrical drums as well as the duanagong pair
consisting of drums of the bua (a giant-sized gong) and pulakan (a narrow-shaped
knobbed)
 “QUESTIONS THE GROUP NEED TO ANSWER.”

Identify the location/community where each craft and accessories are mostly used:

1. Sarimanok and Okir =

2. Tanyak Tankyak =
3. Hilot and suwatlmimotis =
4. Kulintang =

DESCRIBE THE DISTINGUISHING CHARACTERISTICS OF EACH craft and accessories:

ARCHITECTURE COLOR DESIGN MATERIAL WHICH WAS FACTION/USED

BUILD IN
(include a bit of description)
SARIMANOK
(example) Prominent Red, Blue, A fowl with colourful Either wood or cotton, textile or wood craft
Yellow and other wings and a feathered depending on whether the design for houses or
lighter versions of tail, holding a fish on design is used for textile or motifs.
the colour are stated. its beak or talons. wood craft

OKIR

TANYAK TANKYAK

HILOT AND
SUWATLMIMOTIS
KULINTANG
 ARCHITECTURE OF MINDANAO
TOROGAN

It is the ancestral house for Maranao royalties. This is where the datu dwells along with his
wives and children. A long time ago, the people believed that the datu’s house should be the largest
within the sultanate because the torogan symbolizes the leader’s power, rank, prestige, and wealth.

Plywood sticks and dried coconut leaves covered the house's walls, making it look more
ancestral with its brownish or neutral tone color. This house is also well-known for its notable designs,
intricately engraved on the walls and regarded as the flowing geometries of the Maranao design system
called okir. This can be seen on the exterior of the walls, which appear as lines of partitions of the
house.

In fact, since it has become the central part of Maranao’s customs, traditions, arts, and
culture, it is recognized for the beauty and artistry it holds to this day.

PANOLONG

It is an ornament of the Maranao’s torogan and a portion that resembles a wing spreading out from the
long pieces of heavy, often squared wood. This ornament is characterized by okir carvings. Considered the
most distinct part of the torogan, it features a serpent design that adorns the front. At the same time, the
sides use the pako okir or fern pattern.

BADJAO HOUSES

This is the dwelling place of the so-called Sama-Bajau or the “Sea Gypsies” of the Sulu Sea. Badjao houses
are built on stilts two meters above the water surface. This supports fishing and hunting -the main source
of livelihood for these nomads or Badjao.

Badjao houses, more often than not, are constructed out of wood drifted by the sea and coming from
either demolished or destroyed buildings from the neighboring provinces, islands, and coasts.

The use of driftwood in neutral tone colours from light grey to creamy tan, which were adequately
assembled to serve as the walls, adds to the visual interest that these hold. The woods assembled and used to build the houses created a
pattern of parallel lines seen vertically on the walls. The roof was thatched with dried nipa leaves, adding texture to the houses' overall
look.

THE GRAND MOSQUE OF COTABATO:

In terms of design, this mosque was decorated with four tall spires or minarets in the prominent corners of
the main chamber. Aside from providing a visual focal point, these minarets are generally considered to call
the people to prayer. Covering most of its exterior, a combination of white and gold adds to its magnificent
look. There are also domes, which are crowned with crescents, which make them look more majestic. The
Islamic designs were also fused in their magical appearance, which can be found anywhere in the mosque,
such as walls, doors, and floors.

Since it was funded by the government and the Sultan of Brunei, the mosque is generally similar to the
mosques in the Middle East, which is evident in the interior designs of the building. The mosque occupies
5000 square meters of land. Its minarets are 141 feet tall and are topped with pilot’s lights to avoid aerial
accidents at night.

FORT PILAR OF ZAMBOANGA:

This fort exudes stability from its bastion walls to its shrine. The walls were built using sturdy rocks with a
dark color palette, which signifies the strength and historical value. The outdoor church that attracts tourists
was constructed with the finest red bricks, which breaks the dark color tone of the bastion walls, laying more
emphasis on the shrine due to its longevity and structural integrity. The arch that became one of the
highlights of the shrine etched on the walls was accented with flowing natural shapes and a radial pattern
resembling the sun's rays.

“QUESTIONS THE GROUP NEED TO ANSWER.”

Identify the location/community where each architecture is from:

5. Torogan =
6. Badjao houses =
7. The grand mosque =
 8. Fort pilar =

DESCRIBE THE DISTINGUISHING CHARACTERISTICS OF EACH ARCHITECTURE:

ARCHITECTURE COLOR DESIGN MATERIAL WHICH WAS FACTION/USED

BUILD IN
(include a bit of description)
Torogan
(example) Brownish or neutral Intricately engraved on Plywood sticks and dried Where the datu dwells
tone color the walls and regarded coconut leaves covered the along with his wives and
as the flowing house's walls. children
geometries of the (basically the symbol of
Maranao design system wealth/power and a
called okir home)

Panolong

Badjao houses

The grand mosque

Fort pilar
 SCULPTURE AND FUNCTIONAL ARTS

MAITUM JAR (SARANGANI PROVINCE)

It is an earthen vessel used for secondary burial in Sarangani province. It was

discovered in Ayub Cave, Pinol, Maitum, Sarangani in 1991. A secondary burial is
characterized by the intensive use of ossuaries, ceramics, pottery, or stone receptacles for
depositing disarticulated bones of the dead during pre-colonial years. This jar was believed
to be artistically significant not only because it mirrors the love of arts the early Filipinos
had in the past but also because it holds fundamental concepts with historical and
anthropological importance.

What makes the maitum jar interesting is that all of the jars found in the cave resemble
human figures, showing a variety of facial expressions such as sadness, contentment, and
joy. Maitum jar differs from the other jars found around the archipelago for it has a lid that
resembles a human head with ears. This jar also includes the arms, navel, nipples, and genitalia as part of its design.
However, it should be noted that these artifacts were not created for indecent exposure, nor were they made to stimulate
any lascivious acts. The jars were designed using such details because they strived to thoroughly portray the appearances of
the bodies placed inside using facial expressions, other body parts, earrings, tattoos, and ornaments.

KAMPILAN (MARANAO TRIBE)

The Kampilan is a single-edged long sword that Mindanao fighters used. It is

the weapon of choice of Maranao warriors. The Maranao Kampala is
characterized by a hand-carved ivory hilt or handle that resembles the head of
a naga or serpent. It also has a round ornament that represents the eye of a
snake. Human or animal hair is also used to adorn the hilt. Other ethnic
groups use crocodile heads for the hilt.

BATIGE (Location none specified)

Batige is a wooden top inlaid with a mother of pearl or silver. Both young and adult males
played this outdoors for recreation. Those made of softwood are used for leisure, while the
hardwood variety is used for competitions.

BALANGAY (Throughout the Philippines)

The balangay of Butuan, is a large wooden boat used by pre-colonial Filipinos

to traverse the seas for trade and migration. Balangay is made by lashed-lug plank
boats that join the carved-out planks edge-to-edge. It is also known as the oldest pre-
Hispanic watercraft found in the Philippines. Apart from trade and migration, it was
also used for cargo and raiding purposes, proving that Butuan had a central role in the
trade industry. Hey, we were propelled by a sail of buri, nipa fiber, or padding, the local
materials used then.

VINTA (BADJAO PEOPLE IN SULU ARCHIPELAGO)

The vinta is a sailboat introduced by the Badjao people who live in the Sulu
archipelago. It is characterized by a colorful sail with geometric patterns called vinta.
This iconic boat of the Sulu archipelago and Zamboanga Peninsula has become one
of the attractions in the Community. Unlike the other traditional watercraft in
Mindanao, this boat is small and not meant to be used for long ocean travel. This is
mainly used for livelihood activities like fishing, diving for pearls, and transportation
around the archipelago. Other ethnic groups like Tausug and Yakan also use the
Vinta.
 “QUESTIONS THE GROUP NEED TO ANSWER.”

 Identify the different types of sculpture/functional arts in the following Community.

1. Sarangani province =
2. Maranao tribe =
3. Throughout the Philippines =
4. Sulu archipelago =

DESCRIBE THE DISTINGUISHING CHARACTERISTICS OF EACH SCULPTURE/FUNCTIONAL:

ARCHITECTURE COLOR DESIGN MATERIAL WHICH WAS FACTION/USED

BUILD IN
(include a bit of description)
MAITUM JAR
(example) This jar also includes
Brownish color the arms, navel, Earthenware is pottery that Burial jars are used as
nipples, and genitalia has not been fired to the receptacles for
as part of its design. point of vitrification and is depositing disarticulated
thus slightly porous and bones of the dead.
coarser than stoneware and
porcelain.

KAMPILAN

BATIGE

BALANGAY
VINTA