Mindanao’ s Indigenous people and their Culture and Art

The Tboli is one of the indigenous peoples of South Cotabato in Southern Mindanao

A T'boli legend tells that the T'boli are descendants of the survivors of a great flood.

T’boli

AgricultureThe T'boli practices "slash and burn"

agriculture to grow rice, cassava and yams. They clear a part of the forest by cutting the big trees and burning the lower and smaller trees and bushes, after which they use the cleared plots as arable land for some years without any fertilization. They may also go hunting or fishing for additional food.

T’boli’s Culture

Religion and BeliefsThe T’boli believes in a pantheon of deities,

supreme among which are Kadaw La Sambad, the sun god, and Bulon La Mogoaw, the moon goddess, who reside in the seventh heaven. They have seven sons and seven daughters who end up marrying each other and who become the lesser deities. They consider a bird called muhen the god of fate, whose song is believed to cause misfortune. Aside from these deities, the T’boli believes that everything has a spirit which must be propitiated for favorable fortune. Busao, or malevolent spirits, can wreak havoc on humans, causing misfortune or illness.

T’boli’s Culture

Literature and LanguageThe epic “Tud Bulol” is the core of T’boli folk

literature. It is sung in its entirety only on important occasions. Singing of the epic may take up to 16 hours depending on the version sung, and is usually done through the night. The T’boli also have folk beliefs and sayings, as well as folk tales and legends about their deities and heroes.

Unlike many other Filipino ethnic groups, diphthongs and the use of the letter "f" predominate in the T'boli language. This is unusual considering that the letter "f" is not included in the original Tagalog alphabet, the basis for the Filipino language, and is considered an import from Spanish colonizers.

T’boli’s Culture

Performance ArtsThe T’boli have a rich musical culture

with a variety of musical instruments ranging from percussion (tnonggong (a deerskin drum); agong (large gongs) and klintang (set of gongs)) to woodwind (sloli (bamboo flute); kubing (bamboo jew’s harp) and few (small horn)) to string (sludoy (bamboo zither) and hagalong (two-string guitar)). They have a wide repertoire of songs and dances for all occasions.

T’boli’s Art

Personal Adornment T'boli men and women view white teeth as ugly and fit only for

animals. As a result, they practise tamblang, which is the filing of teeth into nihik or regular shapes and blackening them with the sap of a wild tree bark such as silob or olit. Adopting a practice from the Muslims, prominent T'boli, such as a datu or his wife, adorn their teeth with gold to indicate their wealth.

Tboli have themselves tattooed, not just for vanity but because they believe tattoos glow after death and light the way into the next world. Men have their forearms and chests tattooed with bakong (stylized animal) and hakang (human) designs, or blata (fern) and ligo bed (zigzag) patterns. Women also have their calves, forearms, and breasts tattooed in this manner.

Another form of body décor is scarification achieved by applying live coals onto the skin. The more scars a man has, the braver he is considered to be.

T'boli's Art

The B'laans are another pro-Malayan indigenous group that inhabits the southern part of South Cotabato and southeastern part of Davao del Sur and the areas around Buluan Lake in North Cotabato.

B'laan

They are famous for their brassworks, beadwork and t'nalak weave. The people of these tribes wear colorful embroidered native costumes and beadwork accessories. The women of these tribes, particularly, wear heavy brass belts with brass 'tassels' ending in tiny brass bells that herald their approach even when they are a long way off.

B'laan Culture

The bagobos are Scattered throughout the Southern Philippine Archipelago slowly disappearing tribes untouched by neither time nor colonization still exist in present time. Along the desolate eastern coast of the Davao Gulf, centuries ago, new migrants mixed with the native population, forming a new community that was given the name Bagobo. This tribe traces its origin from the people who brought Hinduism to Mindanao, its name was derived from the words bago meaning new and obo meaning growth. Throughout centuries a strong social structure has enabled these native groups to blend well with the original population, retaining their indigenous customs, beliefs and values.

Bagobo

The Bagobo are by origin a nomadic tribe, they travelled from one place to the other by hacking their way through the virgin forests

Beliefs and ReligionThey feared the Anitos, spirits, which include

deceased ancestors and nature-spirits or diwatas, who could grant their desire through offering of sacrifices. Their religion is an array of innumerable gimokods (spirits) who have to be shown respect. The Bagobo also believe in a supreme being who inhabits the sky world, as well as a deity, a supernatural immortal being who will brings sickness and death to incestuous couples. The principal Spirit is the great creator named Eugpamolak Manobo or Manama.

Bagobo's Culture

The mabalian are also the ritual practitioners which include healing, they are also skilled as weavers.The women weave abaca cloths with earthly tones, heavily embroidering it with beads and stitch work. They are known for their inlaid metal betel boxes, finished with bells and baskets that are trimmed with multi-colored beads, fibers and horses hair. The never ending jingling of the many tiny brass bells woven into the clothing became a Bagobo symbol. It is not rare that the heavily ornamented Bagobo are considered the most colourful people of the Philippines.

They wear their colorful costumes and play their ritual music with gongs and kulintang, they dance their indigenous dances, stomping their feet on the ground and sing their harvest rituals in solemn chants.

Bagobo's Art

Manobo, the name may come from Mansuba from man (person or people) and suba (river), meaning river people. The first Manobo settlers lived in northern Mindanao, at present Manobo tribes can be found at the hillsides and river valleys of the north-eastern part of Cotabato.

Manobo

Religion and Beliefs

Each tribal group culture believes in one Great Spirit. Usually viewed as the creator figure. The Manobo also believe that there are many unseen spirits who can intrude in the lives of humans to accomplish their desires. These spirits are both good and evil in nature and can raise anger and pleasure. There is a common believe that a Manobo hunter will be killed by his own dogs or prey if he does not ask for permission first from Lalawag, the god of all forest games, before going on a hunting trip.

Manobo's Culture

AgricultureThe Samayaan is a native rituals in which omens are

read in connection with the various stages of the farming cycle: clearing, planting, growing, and harvesting. The first day of the planting season marks the beginning of the Manobo year, the last day of harvesting is the ending. Cultivating rice and corn has been and still is a part of the Manobo way of living; some Manobo villages have shifted to the cultivation of coconut for copra export. Corn and rice are planted in the month of February, the corn is harvested in July but rice takes longer to grow and is harvested four months later. When the trees start to bloom, the Manobo hunter will wait for the coming of the bees that will led him to their bee hives.

Manobo's Culture

Teduray (Tirurai) is the language used by the Tirurays or Tedurays, another distinct ethno-linguistic group with clear proto-Malayan features. They are mostly found in Maguindanao and Sultan Kudarat provinces.

Living high in an area of the 4,000 foot plateau of southwestern Mindanao bounded by the Tamontaca and Tran rivers and the Celebes Sea to the west, the Tiruray have retained much of their indigenous culture despite their proximity to the dominant Magindanao, living in the Cotabato Valley to the east. They can be divided into three groups based on subsistence orientation: riverine, coastal, and the more numerous mountain; each has its own dialect.

Teduray

The Higaonon are an indigenous tribe found in the northern regions of the island of Mindanao in The Philippines. With a population estimated at 350, 000, they are distributed over five provinces --- Agusan del Norte, Agusan del Sur, Misamis Oriental, Lanao del Norte and Bukidnon. Since "Creation Times" the Higaonon have lived in their forest home, undisturbed, managing the forest in a natural and harmonious way.

Higaonon

The Mamanwa can be found in Agusan del Norte, Surigao del Norte, Surigao del Sur, Panaoan Island, and in the mountains of Southern Leyte. The Mamanwan dialect is bordered on the north and east by Suriganon; on the west by a mixed vernacular of Surigaonon and Cebuano; on the southwest by Butuanon; and on the southeast by Bislig Kamayo. Mamanwan is typologically an Austronesian language classified as a member of the Visayan language family tree of the Southern Philippines (by Dyen 1965). According to comparative studies made by Pallesen (1985), the Southern Visayan language family, historically, has two dominant branches which are Proto-Surigao and Proto-Mansaka; from Proto-Surigao are ascended the Mamanwa, Surigaonon, Butuanon, Kamayo, and Tausug.

Mamanwa

Leadership is accorded to the eldest and most respected males in their community to lead the Mamanwas; once chosen, the role as tribal leader(s) cannot be passed down onto the next of kin. Communes comprise of three to twenty households arranged in a circle atop a high ridge or deep within a valley. The incursion of heavy industry into their heritage lands had forced many to settle in the hinterlands, where they continue to practice their customs and traditions. Hence, some practices have fallen by the wayside, such as traditional hunting by bow and arrow. The Mamanwas receive some of their subsistence from other groups with whom they have forged labor agreements.

Mamanwa's Culture

the Mandaya is "probably the greatest and best tribe in Eastern Mindanao". that the Mandaya "are considered by the non-Christians as the oldest and most illustrious of the peoples." Indeed, Mandaya culture continues to amaze and interest many people as it becomes enduring and persevering generation after generation. Mandaya means "inhabitants of the uplands". Quite interestingly, areas occupied by the Mandaya in the Pacific rim are characterized by rugged topography with few plains along the coastal areas.

Mandaya

Agriculture

The Mandaya are freshwater fishing experts. Individual, family and cooperative fishing are done using several methods like traps, stun rods, draining, spearing and also bare hands. Environmental destruction and degradation together with rapid urbanization have drastically reduced hunting and fishing.

       Trading has tremendously increased and agricultural plantations as Western ownership and economic system dominated Philippine scene. The development of abaca industry during the American time paved the way to cash economy. After the World War II, coconut industry made a breakthrough and is sustained until now. Barter system, however, is still exercised among the Mandaya in the hinterlands.

       By practice, farming is very much influenced by deep religiosity. Rites and rituals and other belief practices with lavish offerings are observed before, during and after farming. Au-yon (cooperative farming) is a common practice. Post-harvest pasawit (sharing) is valued to get more blessings the next planting season.

Mandaya Culture

       Dagmay, an abaca handwoven cloth with intricate designs revolving around man and crocodile, is one of the most popular material culture. Its mud-dyeing technique is believed to be the only one existing in the Philippines. Interestingly, dagmay weaving has also become a pasttime of women as they cooperate in tie-designing while making pleasantries. Bayok, a highly tonal art of delivering messages in the form of figurative speeches, passages, and even euphemism usually done in pairs and in continuous answering pattern. Like a debate, each of the bayok artist stands on opposite sides. Bayok chanting is indispensable in important celebration and events like proposal for marriage. settlement of conflicts, welcoming of visitors and also in common merrymaking. Any topic like funny personal traits, food, offering of drinks and many more could be derived for a bayok.

Mandaya's Art