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Philippine Performing Arts Company
 

FROM Ancient trade routes

of the south

 

Traditional decorative arts of Muslim communities in the Southern most islands of the Philippines, Mindanao use a variety of design motifs and symbols influenced by the long presence of Hinduism, Buddhism, and Islam. The artistic development in this region can be attributed to Malay ancestors who possessed well-developed art and culture. Although interpretations of design vary considerably between individuals artists, native artists operate within the aesthetic and stylistic limits of their local society. Rendering of designs motifs may be realistic, stylized, or abstract.

The result is never simple or minimal in expression both in form and content or meaning. Ukkil or okir are undoubtedly the most important to the Maranao, Maguindanaon, Iranun, Tau Sug, Sama, and Badjao of Mindanao. To these ethnic Muslims, the term ukkil or okir, means both the art of sculpting or carving and a particular curvilinear design. Internationally, this design is recognized as arabesque. It is a decorative visual language of vegetal and flowing forms with its own grammar and vocabulary. As far as the natives are concerned, art is ukkil.

 
 
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VIRTUAL MUSEUM TOUR 

 
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Exhibit Collection

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Embroidered Tubular Garment (Habul Tiyahi'an)

CENTURY: 19-20th Century

CREATION PLACE: Davao City

ETHNIC COMMUNITY: Tau Sug

MEDIUM AND SUPPORT: Cotton

CREDIT LINE: Matthew Padrigan

ARTISAN: Unknown

Embroidery of Sulu has an assortment of lukis (motif or design) consisting of simple and strictly conventional elements such as leaves, flowers, vines, and tendrils. Motifs have unlimited application and are composed in many ways depending upon the embroiderer's ingenuity and gift of imagery bounded only by what is traditional.

The habul tiyahi'an is the embroidered patadjung/patadyong tubular skirt. This particular habul tiyahi'an is a freehand embroidered replica showing the lukis kayapu (lotus flower) motif.

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Tapestry (Balud)

CENTURY: 20th Century

CREATION PLACE: Tugaya, Lanao del Sur

ETHNIC COMMUNITY: Maranao

MEDIUM AND SUPPORT: Silk & Cotton threads

CREDIT LINE: Matthew Padrigan

ARTISAN: Unknown

The Maranano are known for their colors in finely-calibrated ways. The weaving style in the binaludan blanket is derived from balud meaning waves, referring to the waving patterns on the weave. The patterns on the fabric are creatures from the sea like turtles. Balud are hand-woven using the back-strap loom method to produce ikat style of weaving.

They continue to use bonga nipa to mean “crimson” and “violet,” or ampai to mean “violet,” although the exact referent is the color of ripening sweet potatoes. The Maranao words for “to dye, color, tan, or darken” is ilotoq, which is a word shared with many other Philippine peoples who maintain variants such as matuloq, which relates to maturing fruit.

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Sagayan Dancer Headdress (Kapasiti Inayaw)

CENTURY: 21st Century

CREATION PLACE: Talitay, Maguindanao

ETHNIC COMMUNITY: Maguindanaon

MEDIUM AND SUPPORT: Bamboo, plastic beads

CREDIT LINE: Matthew Padrigan

ARTISAN: Danny Mukatil

The kapasiti headgear belongs to the Maguindanaon ritual-trance dance costume ensemble. It is a tradition that predates Islam and is used during merry-making during special occasion such as weddings among royal Maguindanaon families, as a symbol of nobility, gallantry and honor.

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Brass Tray (Gupit a Talagadan)

CENTURY: 19-20th Century

CREATION PLACE: Maguindanao

ETHNIC COMMUNITY: Maguindanaon

MEDIUM AND SUPPORT: Brass

CREDIT LINE: PASACAT, Inc

ARTISAN: Unknown

Seafaring Malay ancestors brought iron tools and other metal objects into the Philippines. Beginning in the 8th century, blacksmithing became established in the Southern Islands of Mindanao. As in other traditional crafts, blacksmithing and casting techniques are learned through apprenticeship or constant exposure to the crafts of those who kin, household companions, or neighbors are directly engaged in the occupation.

The gupit a talagadan is an important item for special occassions such as royal banquets or pagana, and ritual practices such as the healing ritual called ipat. The gupit a talagadan is used as a tray for fruits or to display auspicious items for the occassion.

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Bamboo Tobacco Holder (Lakub)

CENTURY: 19-20th Century

CREATION PLACE: Lanao del Sur

ETHNIC COMMUNITY: Maranao

MEDIUM AND SUPPORT: Bamboo

CREDIT LINE: PASACAT, Inc

ARTISAN: Unknown

The lakub is made from a section of bamboo, cut after the node that serves as its base. The surface of the bamboo is decorated with dyed pieces of paper of different shapes both linear and curvilinear. The bamboo is cooked in boiling water to facilitate the transfer of the dye onto the bamboo. The lakub is traditionally used as a tobacco container.

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Tubular Garment (Siko Inaul)

CENTURY: 21st Century

CREATION PLACE: Luya, Sultan Kudarat, Maguindanao

ETHNIC COMMUNITY: Iranun/ Maguindanaon

MEDIUM AND SUPPORT: Polyester

CREDIT LINE: Matthew Padrigan

ARTISAN: Unknown

The inaul is the weaving tradition of Maguindanao and Iranun communities between North Cotabato and Lanao del Sur Provinces.

The overall pattern is described as siko karwang, "right elbow." The siko karwang represents the few traditions of relatively large-scale figuration most distinct to Iranun and Maguindanaon weaving styles. The word siko may have had an older referent, "obliquity" or "triangulate" in wide areas of the archipelago.

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Sleeping Mat (Tepo)

CENTURY: 21st Century

CREATION PLACE: Bongao, Tawi-tawi

ETHNIC COMMUNITY: Sama-Badjao

MEDIUM AND SUPPORT: Pandanus leaves

CREDIT LINE: Matthew Padrigan

ARTISAN: Unknown

The Sama weave a mat made of pandanus leaves called tepo. The two-layered, abstractly designed mat is unique to the people of Tawi-Tawi. The Sama Tepo of Tawi-Tawi is doublelayered and brightly colored. Known locally as tepo, it is traditionally used as sleeping mat, a gift for newlyweds and even for the imam (Muslim religious leader) for the recitation of prayers. Produced by women, the tepo is made of pandan (Pandanus spp.) leaves which are pressed to soften and boiled to dye before woven in vivid hues. Cultivated pandan varieties are preferred over the wild ones for their durability.

These mats are highly coveted as they use finer strips woven tightly, plus they have an array of intricate and colorful designs. Sama workmanship is considered among the best in the country.


Creation Process: After gathering pandan leaves, the ngalaan hiting (thorns) are removed and the leaves are cut lengthwise. The raw materials are brought to a communal paggusan (presser) making the pandan leaves soft and dry. The strips (dalamba) of pandan are hung in a shaded portion outside the house. After a day, the strips are taken and pressed again. After this, they are folded (madjangat) and left for three days. Sun drying (palau) follows until the strips are bleached. The strips are dyed with anjibi (synthetic commercial dye), then subjected again to magpagus (pressing) and drying. After a week, the strips are ready for weaving. The weaving proper starts at one corner of the mat. The motifs and designs woven into the mats include: balintung (a mixture of zigzag and diamonds), pinaleko (zigzag design), palang born (large square of different colors), jali (striped design), kusta sima (stripes and diamonds), kusta (a different variation of the checkered pattern) and malasa (small hexagons). The woven mat is not considered finished at this stage. It is mounted on a slightly larger, but plainly woven mat (lapis) that serves as a backing for the ornately woven piece. This is the distinguishing feature of the Sama tepo. When it is carried to the market, it is neatly folded with the plain backing on the outside protecting the designed surface.

FROM THE FIELD

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