BSED

102
Philippine
Indigenous
Community Cultures
Module 4: Filipino Indigenous Philosophy and Worldviews

Krista Monica E. Laguna

 ay ay pay ni manong ko
inasawa't suldado
ay... ay... salidommay
salidommay diwas

mar ba coma di'ay bantay

magaburan diay baybayan
ay... ay... salidommay
salidommay diwas
Warm-up ACTIVITY:
 PHILOSOP Gripaldo (2014)

HY
the traditional/ philosophical
approach
the nationality/constitutional
approach
is based on the Greek model, deals with writings of Filipinos in
wherein individual Filipino general, whether it be on a
philosophers’ ideas are discussed Western or Eastern topic.

the cultural approach

addresses the people’s philosophical perspectives and views on socio-

linguistic, cultural and folk concepts

Module 4: Filipino Indigenous Philosophy and Worldviews

 Philippine PHILOSOP Gripaldo (2014)

Indigenous HY
Filipino grassroots or folk philosophies
Folk philosophy appropriation
Interpretation of Filipino identity and worldview
Local cultural values and ethics research
Implications and presuppositions of Filipino
worldviews
Module 4: Filipino Indigenous Philosophy and Worldviews
 Five fragments of Filipino philosophy
“the law of reversion, balance of nature,
cyclic concept of nature, centripetal
morality, value of non-violence, and
concept of life and death”
(Garcia, 2013).

Dr. Florentino T. Timbreza - De La Salle University

known as Father of Filipino Philosophy
Module 4: Filipino Indigenous Philosophy and Worldviews
 Timbreza uses the cultural approach:
© He analyzes unique life experiences
to harness these worldviews.
© Uses indigenous and native
legends, poems, epics, songs,
riddles (bugtong), proverbs
(salawikain), rituals and dances as
basis for the collective Filipino
philosophy of life
© Filipinos can be said to have their
own Weltanschauung.
Dr. Florentino T. Timbreza - De La Salle University
known as Father of Filipino Philosophy
Module 4: Filipino Indigenous Philosophy and Worldviews
 WORLDVIE
“mental lenses that are entrenched ways

WS
of perceiving the world” (Hart, 2010)

1. Knowledge is holistic, cyclic, and

dependent upon relationships and
connections to living and non-living
beings and entities;
2. There are many truths, and these truths
are dependent upon individual
experiences;
3. Everything is alive;
Module 4: Filipino Indigenous Philosophy and Worldviews
 WORLDVIE
“mental lenses that are entrenched ways

WS
of perceiving the world” (Hart, 2010)

4. All things are equal;

5. The land is sacred;
6. The relationship between people
and the spiritual world is
important;
7. Human beings are least
important in the world.

Module 4: Filipino Indigenous Philosophy and Worldviews

 Luzon

 Ambáhan - Mangyan (Mindoro) poetry

 Daglî - flash fiction during American time in Luzon
 Pasingáw - in Tagalog, daglî that is restricted to romantic expression
 Dalít - popular but lofty Tagalog region poetry
 Talingdáw - another popular Tagalog dramatic poetry that is sung as a dialogue
 Dállot, Dal-lot - Ilokano poetry that is sung by two or more by turns
 Kumintáng (Tagalog region, Batangas) - war song and dance
 Salidúmmay, Salidomay, Salidumay (Kalinga) - happy folk song used to greet
guests during wedding and other happy occasions
 Tagulayláy (Tagalog regions) - old song of lament; usually sung solo and a capella
 Talingdáw (Tagalog) - the most popular poem that is dramatic, with one part sung
and another answering it unsung
 Visayas

 Ambáhan - ancient poem

 Balak (Cebu, Leyte, Bohol, Samar) - profound poetry that involves a mention of
how concepts and ideas are to be woven
 Balítaw (Cebu) - a combination of song, dance and debate between a man and a
woman; usually revolves around the subject of romance
 Hurubaton, Hulubaton (Hiligaynon) - rhyming sayings or aphorisms
 Mindanao

 Baléleng (Samal, Sulu) - song of love

 Daman (Tausug) - advice or speech in poem form used in courtship and during
wedding
 Darangën (Maranao) - song and epic
 Gindaya (Bagobo) - poem sung during ginem/gin-em/ginum, a most sublime
Bagobo ceremony
 Gúman (Suban-on of Zamboanga) - epic
 Human-human (Mansaka) - narrative for special occasions; uses the linda
mnemonic device
 Káta-káta (Sáma Diláut) - long narrative song of mystery and faith-healing
 Kíssa (Tausug) - short narrative, either from Koran or clan/personal history, sung by
Muslims during special occasions
 Mindanao

 Liyángkit (Tausug) - solo song sung during happy occasions; often used to end a
sindil; sung to the tune of gabbang (bamboo xylophone), suling (flute), and biyula
(violin)
 Nahana (Yakan) - song often about a clan's family history
 Párang sábil (Tausug) - Islamic narrative poetry of epic proportion
 Saliada (Mansaka) - folk ballad song
 Síndil (Tausug) - playful impromptu song sung during happy occasions, sung in
alternate turns by two to three people to the tune of gabbang (bamboo xylophone),
suling (flute), and biyula (violin)
 Tarasul (Tausug) - oral poem of often an Islamic nature/subject
 Ténes-ténes (Sáma Diláut) - song
 Dállot, Dal-lot - Ilokano poetry that is sung by two or more by turns
Native: English:
 Balítaw (Cebu) - a combination of song, dance and debate between a man and a woman; usually
revolves around the subject of romance