Republic of the Philippines`
Sultan Kudarat State University
College of Industrial Technology
Isulan Campus
GE 711 — Cultures of Mindanao
Second Semester S.Y. 2021-2022
08:00 AM – 9:00 AM
THE CULTURAL IDENTITY OF THE MANOBO TRIBE: A COMPILATION OF
ETHNOGRAPHIC ARCHIVES
Submitted by: Group 1
Abatayo, Jeannica B.
Bañez, Kim Joy, A.
Caledecion, Melisa I.
Dela Cruz, Christian Jude
Dosado, Honey M.
Fabay, Dona Rose L.
Gumabong, Philip Andrei L.
Mercado, John Lister A.
Nicolas, Rayan D.
Remolano, Norgen Mae V.
Siga, Kyla Mae F.
Submitted to:
Mary Joy C. Carnazo
Instructor
MAY 2022
ACKNOWLEDGEMENT
First of all, the researchers would like to thank the Almighty God for His enduring
grace, guidance, and protection that He has bestowed upon us during this research project.
The researchers would also like to express their sincerest gratitude to their adviser,
Professor Mary Joy C. Carnazo, for her continuous support in their research and her patience,
motivation, and immense knowledge. Even though she was short on time, she spent it helping
them improve this paper, her guidance helped them throughout. When she made decisions,
she put others' interests first and worked hard to help them become successful teachers
someday.
To their parents, who have continuously supported them financially to accomplish this
paper and for their guidance, encouragement, and inspiration to them throughout their lives, a
very special thanks to them for their parental presence and constant guidance to them. This
paper would not have been possible without their love and complete support whenever the
authors felt like giving up.
They would also like to thank their classmates, friends, and group member for the
stimulating discussions, for the sleepless nights they were working together for deadlines, and
for all the fun they have had for the last five months. Since the beginning of the course, they
have been a constant support and encouragement. In this new normal, the researchers are
grateful for their support and help. Their aspirations are not as far away as they thought. They
are proud of their fellow researchers because they know the difficulties they overcame to get
this far. As a result of their group's cohesiveness and support for one another, all members are
pleased to have them. To keep others strong in need, they are ready to step up and lend a
helping hand. They all deserved to be recognized this semester for their work. They promise
to continue working hard to ensure that each one’s future is bright.
The researchers want to thank everyone who helped make the second semester of the
school year 2022-2023 a success! The researchers cannot express how thankful they are to
everyone
that
helps
them
succeed
and
finish.
TABLE OF CONTENTS
TITLES
Cover Page
Acknowledgment
Table of Contents
PAGES
i
ii
iii
Chapter I: Introduction
General Description………………………………………………………... 1
Objectives of the Paper……………….………………………………......... 3
Scope and Limitation…………………………………………………......... 4
Methods of Gathering Information………………………………………… 4
Chapter II: The Culture of Manobo
Language………………………………………………………………….. 5
Origin of the language…………………………………………………... 5
Classification of Manobo Languages…………………………………… 5
Unique beliefs……………………………………………………………... 9
Tribes’ Belief……………………………………………………..……... 9
Indigenous Religion……………………………………………………...11
Examples of Superstitious Beliefs……..………………………………... 12
Customs and Traditions………………………………………………….. 12
Customs of Manobo…………………..………………………………... 13
Values…………………………………...……………………………... 13
Rules…………………………………………………………………... 13
Livelihood………………………………...….………………………... 13
Traditions of Manobo…………………...……………………………... 14
Religious beliefs of the Manobo……...………………………...……... 14
Manobo Wedding Rituals….…………...……………………………... 14
Manobo festivals…………..…………...……………………………... 14
Music………………………………………………………………………. 15
Instruments of Manobo…………………...……………………………...15
Kinds And Type of Music of Manobo………………………………...... 17
Music Artist of Manobo………...……......……………………………... 19
Dances……………………………………………………………………... 19
Dances and Concepts……...……………...……………………………... 19
Occasion or events do the ritual depicts……………………….………... 20
Standard costumes, accessories, and musical instruments in Manobo
Dances…………………………………………………………………... 22
Manobo tribal dance properties, steps, and
patterns…………...………………………………………………....…... 24
Arts………………………………………………………………………… 28
Elements of Manobo arts………………...……………………………... 28
Design, Materials, and Forms of
Manobo Arts…………………...…………….……………………..…... 29
Necklace Of Manobo…………………...……………………………... 30
Headdress Of Manobo………..………...……………………………... 31
Manobo Arts And Crafts ……………...…………………………..…... 32
Other Manobo Arts forms……………....………………...…………... 32
Manobo Artist…………………..………...……………………………... 34
Chapter III: Conclusion and Generalization
Conclusion and Generalization…………………..……….....……………... 35
References…..……………………………..………...……………………………... 36
Roles and Responsibilities/Contributions….………………..………...…………... 41
CHAPTER I
INTRODUCTION
General Description
Manobo is a hispanized version of Manuvu (also spelled Menuvu or Minuvu). Its
etymology is unknown, but it currently means "person" It comes from the root word tuvu,
which means "grow" (Sevilla, 1979). Manobo is a name derived from Mansuba, which means
river people and is composed of the words man (person or people) and suba (river). Opena
(1985) defines Manobos as mountain people who practice slash-and-burn agriculture and
whose economy is subsistence-based. She said "Manobo" is derogatory because it implies
uncultured, ignorant, boisterous, unwashed, unkempt, rough, and lawless behavior. She said
the term must be used with tact. The term can also refer to a slave (magdul) or a house- and
farmhand.
Settlement history begins with a story. According to legend, Mumalu and Tabunaway
led the Manobos. They lived near Banobo creek, which fed the Mindanao River near
Cotabato City. In the 14th century, Sharif Kabungsuan, a Muslim missionary from Johore,
converted the locals. Tabunaway did not want to convert to Islam, but he advised his brother
not to reject the religion. As Tabunaway and his followers moved up the Pulangi River into
Cotabato, they decided to form their tribes. These groups kept their indigenous beliefs,
customs, and the name of their original site, Banobo, which became Manobo; Mamalu's
descendants became Maguindanao (De Jong, 2010).
Many have studied Manobo's blood origin. Larena et al 2021 said Manobos are
Austroasiatic. Elkins (1977) argues that the Manobo are descendants of proto-Philippine or
proto-Austronesian people from South China thousands of years ago. Later, he coined the
term Manobo for Mindanao's non-negritoid indigenous population. They live in the Bukidnon
hinterlands, especially on the Agusan, Bukidnon, Cotabato, Davao, and Misamis Oriental
borders (NCIP, 2003). The Manobo tribe of Mindanao speaks one of the Manobo languages.
Their ancestors were early Malay settlers of Southeast Asian islands. Today, their shared
language and Malay heritage maintain their bond. Like Mamanwa, Manobo has Denisovan
admixture (Reich, David; Patterson, Nick; Kircher, Martin; et al., 2011). The Western
1
Manobos are in Mulita, Kalilangan, and Panganiban in Bukidnon. This Marawi-influenced
dialect is unintelligible to other ethnic groups in Bukidnon (Government Website of Province
of Bukidnon).
The Manobo cluster includes eight groups: the Cotabato Manobo, the Agusan
Manobo, the Dibabawon Manobo, the Matig Salug Manobo, the Sarangani Manobo, the Obo
Manobo, and the Tagabawa Manobo. Groups are named after political or geographical
divisions like the Bukidnons, who live in the same-named province, and Agusans got their
name from the Agusan River Valley. The eight Manobo groups only differ in dialect and
culture. Their geographic separation causes the differences.
Manobo inhabits a variety of ecological niches in Mindanao's interior, from the coast
to the mountains. The subgroups are widely dispersed across Mindanao and have only
developed autonomous variants of common culture upland subgroups. Gosadan & Rayan
(2018) note that they intercrop rice, corn, legumes, yams, and sweet potatoes. Bukidnon's
website says hunting and gathering boost agriculture.
They are animists and believe ancestral spirits and unseen beings inhabit living and
inanimate objects in their environment. In civic matters, the village's political leader and Datu
(Filipino chieftain) are based on wealth, speaking ability, and knowledge of fendan, or
customary law. The primary duty is to settle family, neighbor, and community disputes. If a
Datu sets and/or imposes a fine, the accused must pay it to the aggrieved party; if he can't, he
becomes a dok, or servant, to the one who pays for him (Gosadan & Rayan, 2018).
In Manobo communities, men make family decisions. Royals or Datus may practice
polygamy with the first wife's permission, and the first wife stays. Bagani must show courage
and leadership. If they qualify, Datu's children can take over. Villagers rely on relatives and
spouses (De Jong, 2010). Polygamy was legal for economic or political reasons to motivate a
datu; multiple wives were needed because Manobo women did all the fieldwork. Polygamy
increased community alliances; the first wife and her parents had to agree to a second wife.
Their first wife was the head wife.
Manobo is mentally and spiritually strong, and its culture is rooted in the land and
environment. Through storytelling, language, families, and traditional arts and skills. The
majority of Manobos live in conventional ways. Manobo has faced many cultural obstacles in
the past and will continue to do so in the future. They strive to maintain their values and
2
customs despite living in modern society, facing new realities, and competing in the
economic world rather than the natural world.
Objectives of the Paper
The main objective of this paper is to determine the cultural identity of the Manobo
tribe by compiling ethnographic archives of related articles.
Specifically, this paper aims to answer the following questions:
1. What marks the Manobo tribes' cultural identity?
2. What are the unique cultural features of the Manobo tribes in terms of;
2.2 Language
2.2.1
Origin of the language
2.2.2
Classification of Manobo Languages
2.3 Unique beliefs
2.3.1
Tribes’ Belief
2.3.2
Indigenous Religion
2.3.3
Examples of Superstitious Beliefs
2.4 Customs and traditions
2.4.1
Customs of Manobo
2.4.1.1 Values
2.4.1.2 Rules
2.4.1.3 Livelihood
2.4.2
Traditions of Manobo
2.4.2.1 Religious beliefs of the Manobo
2.4.2.2 Manobo Wedding Rituals
2.4.2.3 Manobo festivals
2.5 Music
2.5.1
Instruments of Manobo
2.5.2
Kinds And Type of Music of Manobo
2.5.3
Music Artist of Manobo
2.6 Dances
2.6.1
Dances and Concepts
2.6.2
Occasion or events do the ritual depicts
2.6.3
Standard costumes, accessories, and musical instruments in Manobo
Dances
3
2.6.4
Manobo tribal dance properties, steps, and patterns
2.7 Arts
2.7.1
Elements of Manobo arts
2.7.2
Design, Materials, and Forms of Manobo Arts
2.7.2.1 Necklace Of Manobo
2.7.2.2 Headdress Of Manobo
2.7.2.3 Manobo Arts And Crafts
2.7.2.4 Other Manobo Arts forms
2.7.3
Manobo Artist
Scope and Limitation
This paper focused on determining the cultural identity of the Manobo tribe by
compiling ethnographic archives of related articles. This paper mainly collects the cultural
data to establish cultural information about the Manobo tribe's identity in terms of language,
unique beliefs, customs and traditions, music, dances, and arts. The Source of data for the
study is the series of related ethnographic studies found on the internet in the hindrance of the
pandemic reasons.
Methods of Gathering Information
The researchers will gather information by compiling ethnographic archives of related
articles on the cultural identity of the Manobo tribe that are available on the internet. The
authors will all summarize the essential data that represents their cultural identity.
4
CHAPTER II
THE CULTURE OF MANOBO
The chapter presented the related literature, which was significantly relevant to the
paper. The archived ethnographic readings and materials were related to the cultural identity
of the Manobo tribe.
Language
Origin of the language
It is one of the languages in the Manobo language family spoken by the Manobo
people of the Philippines' island of Mindanao. Their ancestors came from Southeast
Asia's surrounding islands, known as the Malay people. Their shared cultural
language and Malay roots bind them even more tightly than before. The two groups
are bonded by their shared Malay heritage regarding language and culture.
The group of languages known as Manobo is spoken in the Philippines. Their
speakers are concentrated in Northern Mindanao, Central Mindanao (currently known
as Soccsksargen), and Caraga regions, where they are spoken natively. Other speakers
of Manobo can be found as far away as the southern peninsula of Davao Oriental, the
majority of Davao Occidental, and the coastal regions of Sultan Kudarat, as a result of
the geographical isolation caused by certain outlying groups. The Kagayanen
language is the most isolated and is spoken in some areas of Palawan.
Classification of Manobo Languages
Manobo is a group of languages and dialects spoken in the southern Philippines,
especially Mindanao and its offshore islands.
Kagayanen, a Cagayan Islands and Palawan language, is also Manobo ( Elkins 1 9
74, Zorc 1974 , Harmon 1977 ). Fox and Flory (1974) list 22 Manobo languages. Data
from 14 Manobo languages and dialects were used to create these reconstructions.
Ata, Augusan, Binukid, Blit, Tasaday, Cotabato, Dibabawon, Ilianen, Kagayanen,
Obo, Sarangani, Tagabawa, Tigwa, and Western Bukidnon were compared. Ata
5
(ATA), Binukid (BKD), Kagayanen (KAG), Cotabato (CTM), Dibabawon (DIB),
Sarangani (SAR), and Western Bukidnon (WMB) Western Bukidnon, Ilianen, Obo,
and Tagabawa have undergone similar changes. Ata, Cotabato, and Dibabawon all
represent Ata, Tigwa, Blit, and Tasaday.
Elkins (1974:637) classifies the Manobo languages as follows:
Figure 1: Classification of the Manobo languages According to Elkins, Richard E. (1974).
Elkins reconstructed proto-Manobo (1974). In his study, simple clauses (with
verbal predicates) are chosen from one representative of each of Elkins' five
subfamilies: Binukid for the Northern, Western Bukidnon, Ata Manobo, and
Dibabawon for the Western, Central-Eastern/Central, and Eastern subfamilies, and
Cotabato Manobo for the Southern subfamily.
Elkins (1974) reconstructed Proto-Manobo and 197 etyma.
The Proto-Manobo phonemes are (Elkins 1974:616):
Consonants
*p
*t
*k
*b
*d
*g
6
*ʔ
*m
*ŋ
*n
*l
*r
*s
*w
*h
*y
Vowels
*u
*i
*e
*a
The Manobo Proto-Manobo phonemes by Elkins, Richard E. (1974).
The Manobo noun phrase non-personal determiners (called "casemarkers") are
compared to Tagalog's (ang / nang / sa). Case-marking verbal predicates. The
Philippine-type focus system uses petty arguments on noun phrases or verbs (focus
affix). While some Manobo languages have undifferentiated non-personal determiners
(e.g., to / to / to in Dibabawon), they use a "compound form" associating a
demonstrative adjective to the determiner more often than English. "Discourse
analysis" of an elicited text shows that these compounds are not used to convey any of
the traditional pragmatic uses of demonstratives. Instead, they seem to mean
definiteness, which Tagalog may communicate with an appropriate bare determiner.
According to Lewis & al. (2016) (from now on: "Ethnologue"), all but one is
spoken on Mindanao Island in the Philippines. Both Tagalog and Manobo genetically
belong to the Greater Central Philippine subfamily and use the Philippine-type focus
system typologically. Based on grammatical descriptions of five languages (one in
each of Elkins' five subfamilies [1974].
This section compares the Tagalog and Manobo non-personal noun phrase
determiner paradigms.
7
Table 1: Comparison of non- personal determiners Source: Jean François DELMER
Comparison
There are three other forms of determiners and pronouns in these languagespersonal noun markers, personal pronouns, and demonstrative pronouns; summary
comparisons of all three are shown primarily to confirm that Manobo languages have
three "sets" matching the (case and topic marking) functions of Tagalog.
Table 2: Comparison of Personal determiners Source: Jean François DELMER
Table 3: Comparison of personal pronouns Source: Jean François DELMER
8
Table 4: A sample of demonstrative pronouns Source: Jean François DELMER
Manobo and Tagalog are genetically related to Greater Central Philippines MalayoPolynesian languages with a Philippine-type focus system. Manobo languages use
demonstratives in noun phrases more than Tagalog and with bare determiners, a form not
found in Tagalog. This paper suggests that a systematic comparison of the evolution from
phonological proto-forms of cognates with bare reflexes and compounds may help
understand what grammatical clines may have been or are at work in the languages.
Unique Beliefs
Tribes’ Belief
The Manobo believe unseen spirits interfere with human lives. They believe
these spirits can interfere with human activities. Spirits supposedly have human traits.
They can both anger and please.
Manobo religious practices vary, but they seem to share one common thread.
The Manobo are polytheistic, although they acknowledge "Magbabaja", the Creator as
their supreme deity. Their messengers are diwata, invincible and powerful lesser gods
who can possess human beings, especially the baylan and the bagani. Diwata may be
classified as celestial or terrestrial-based on their functions and relation to human
affairs (Joshua 2015).
Non-chanting celestial diwatas: "Inadyaw" lives on heaven's lakeshore. He's
the storm god. He sanctions taboo-breakers; "Libtakan" is the sun god; "Tutudoman"
or chanting diwata communicate through possessed baylan; The "Tagbusau" are
diwata of bloodshed and revenge and used to incite the "bagani" to war to satisfy their
bloodlust. "Pana-iyang" makes people kill everyone in their path; and, Agricultural
9
diwata are “Taephagan”, “Hakyadan”, and “Tagamaling”. Rituals involve praying to
the Great Spirit and sacrificing oneself while maintaining contact with the tree of life.
The Manobos believed spirit interacts with humans, according to Buenconsejo
(2005). Manobo's belief in these beings perpetuates the idea that humans live in a
cosmos conducive to survival. Humans share and exchange gifts with spirits and each
other.
Manobo distinguished diwata, witches, and disembodied souls (umayad):
These fundamental categorical distinctions are maintained. This spirit action differs
from antisocial sorcery conceptually (kumetan). Spirit mediums can only treat
illnesses caused by amenable spiritual beings. In contrast, sorcery victims must be
treated with magical substances and talismans.
The Manobo have incorporated new practices into their religion rather than
abandoning it. Initiation rituals separate initiates (neophytes) from everyday social life
and force them to reach a state where the social and natural worlds blur. Humans and
nonhuman beings such as spirits, deities, spiritual owners of natural species, subjects
inhabiting animal bodies and plants, and others communicate ritually (Sztutman,
2008).
2 Types of Rituals of Manobo
1. Public Ritual
The harvesting and planting ritual, taephag, the epidemic disease ritual,
sundo, and the initiation of a new baylan, suyad buya, are community rituals.
Usually, the tribe priest leads.
2. Private Ritual
People organize private ceremonies for themselves and their families.
Among these ceremonies are ta- gun-on tu bata (birth), sugnod (death), and
sugudun (marriage) (hunting and fishing). Sinuyad is a welcome or acceptance
dance performed in honor of a diwata that arrives and identifies itself through
the baylans' chant. The purpose of this ritual is to welcome the diwata into the
baylan.
According to Montilla-Burton (1985), there are two priest types: baylan and
bagani. The diwata communicate with humans via the baylan they possess. Possession
10
causes sweating, belching, spasms, mouth foaming, and trance. The baylan handles
daily rituals for the people. Before, bagani priests were considered war priests because
they showed the same signs of possession, were induced by gods tagbusau to declare
war, and performed rituals in honor of their war gods using paraphernalia similar to
baylan's, except the betel nut (Tag. Nga-nga, Bunga; Hil. Mama') offering.
In rituals, betel quid and sacrificial pig or chicken blood are used as the
diwata's food and drink. Blood offering is central to every ritual. Lance or bolo is
thrust into the sacrificial victim, and blood is caught in a bowl and smeared on the
altar and participants. In the baylan possession ritual, the victim's blood is sucked
from the wound or seen in a bowl from which the baylan drinks.
3 Stages of Rituals of Manobo
First, (inapogan or panawagtawag or invocations) the baylan invites
the diwata to chew betel quid during the. The baylan's abyan (Spirit familiars)
possesses her during curing. The baylan will dance or ecstatically fit between
invocation sections. Baylan isn't possessed in taephag rituals.
In the second stage, (sacrificial stage) a bolo or spear is used to kill a
pig or chicken. Blood is collected and applied to the altar and central
participants. Baylans drink blood while tranced (Sometimes).
Third, (hakyad) invites diwa-ta to eat rice, meat, and eggs. The baylan
waters the altar. Diwata may eat this.
Indigenous Religion
Manobos live by Magbabaja. Their native religion shows they believe in god
and center their worldview on him. Baylanon is the Manobo religious leader. Manobo
healer/diviner/curer. He can be a medicine man, chief (Hawodon), or both. He led
them in reverence during rituals, thanksgiving, marriages, and burials. Baylanons can
tell Magbabaja what they want and invoke Manobo. He must publicly pray and
perform rituals. He knows village folklore. His character, integrity, and manners are
commendable. Customary law expert. Peacemaker. Magbabaja, an all-powerful,
unseen superpower, watched over the townships/villages. He punishes evildoers. His
punishments include diseases, suffering, scarcity, and low farm yields. Surigao del
Sur Manobolandia elders still hold this belief.
11
Etymology and Population
Figure 2: Religions of Manobo Uploaded By titingpiandong
Examples of Superstitious Beliefs
•
The Manobo have many beliefs. Some of these are the belief of pregnant
women that they should stay indoors if the color of the sky is red after
sunset. This is due to the belief that bloodthirsty ghosts are around and
waiting for the victim. They cannot run when their foot is injured because
their pregnancy will fall.
•
While the woman is giving birth, the midwife places amulets on the child's
waist. This is to defend the pregnant woman from the evil anito around.
After giving birth, the midwife cleans everything used in childbirth to
repel the boar. In return, the midwife had to pay a small knife to clean the
nails; a plate to hold the blood of a sacrificed chicken; malong so he could
get dressed, and a little money so that he would not place or resign any
curse on the family.
•
They also think that illness is caused by an enraged busaw or diwata, who
is angry because the sick person has broken a taboo or has failed to respect
the spirit. Baylan (shaman) heals the ill person with recited prayers and
curing rites! A dance! and the usage of medicinal herbs and an amulet.
"Illness can also arise when a gimukod wanders away from the body. The
Baylan must be summoned to track it down and return it to the sick
person's body."
Customs And Tradition
Manobo customs, medicinal uses, diversity, and plant-based knowledge are culturally
rich. The Philippines' southern hinterlands and hills rely on agriculture and forest flora.
12
Despite being separated, Manobo communities are usually united by a single Great
Spirit, their Creator. The Manobo believe invisible spirits may enter human lives to achieve
their goals. These good and evil spirits can cause rage and pleasure. Manobo hunters believe
that without permission from Lalawag, the deity of woodland games, they will be killed by
their hounds or prey.
Customs of Manobo
1. Values
Manobo is mentally and spiritually powerful and tied to the land. It's kept
alive by storytelling, language, family, and ancient skills. Like other Mindanao
tribes, the Manobos face and will face many cultural problems. They try to keep
their beliefs and traditions while living in modern society and facing new realities.
2. Rules
Each family chooses a representative, preferably a datu or Bai, who is
eloquent and knows custom law. Marriage is based on duty and reciprocity
between the groom's and bride's kinship groups. Manobo revenge does not extend
to relatives or allies, so it maintains peace.
Rare polygamy was tolerated. For economic or political reasons, a datu
may do this. Since Manobo women did all the fieldwork, having multiple wives
allowed for more fields. Polygamy allowed one to expand alliances.
3. Livelihood
The Manobo build their villages near water or forest clearings, choosing
hillsides, rivers, valleys, and plateaus. The communities have 4-12 homes. Upland
Manobo practice swidden or slash-and-burn farming, while valley Manobo farm
wet rice. All Manobo agricultural rituals revolve around rice, with more than 60
different names. Manobos use Pamiteun to interpret the stars. Manobo elders use
the stars to determine planting, harvesting, fishing, and hunting seasons. Each star
brings a different message and guides the tribe's traditional lifestyle.
13
Traditions of Manobo
1. Religious beliefs of the Manobo
The Manobo people of Northeastern Mindanao in the Philippines believe
that many unseen spirits can intrude on human activities to accomplish their
desires. Divination and healing rituals for Manobos involved spirit mediums,
musical performances, and usually the sacrifice of pigs or chickens. Some of the
rituals that Manobo performed are inajew (spirit possession healing ceremony),
tukey (incantation rite), and hihinang (commemorative ritual).
2. Manobo Wedding Rituals
In Manobo culture, elders in the groom's family decide whether a bride is
acceptable. The bride-to-be's family then asks for the bridewealth, which could be
paid with money, land, animals, or precious stones. The ceremonial exchange of
food and gifts is part of the wedding ceremony. The bride's father sets out the
rirey, or bride's wealth, for the bride's family. Then he asks the groom's family for
the bata, one or five centavo coins given to the elders and the spirits. This marks
the culmination of a Manobo wedding ceremony ( Piedragosa, 2013)
3. Manobo Festivals
Kaamulan Festival is an ethnic, and cultural festival held annually in
Malaybalay City, Bukidnon, in the Philippines, from the second half of February
to March 10. It is held to celebrate the culture and tradition of the seven ethnic
tribal groups that initially inhabited the province: Bukidorno, Higaonon,
Talaandig, Manobo, Matigsalug, Tigwahanon, and Umayamnon.
Kaamulan is from the Binukid word "amul" meaning "to gather." It is a
gathering of Bukidnon tribespeople for a purpose. It can mean a datuship ritual, a
wedding ceremony, a thanksgiving festival during harvest time, a peace pact, or
all of these.
A. Naliyagan Festival is Agusan del Sur's province-wide festivity, which
coincidentally starts on June 12, the Philippine Independence Day, and
culminates on the Foundation Anniversary. The festival recognizes the
Manobo people's loyalty to their tribal leader Datu Lipus Makapandong. It is a
weeklong celebration of the socio-cultural and arts exposition of indigenous
tribes displaying their skills and culture through ritual activities, an exhibit of
14
native products, ethnic games, and a host of sporting tournaments and special
events.
B. Sunggod Ta Kamanga is a celebration of Manobo culture. It is a tradition of
lumads to prepare farm activities and farm implements. Live chicken and pig
are sacrificed. Their blood is spread on farm tools and asking the Mambabaya'
(GOD) for the safety and the abundant harvest. A series of activities was
highlighted by the street dancing and tableau competition.
C. Santikan Festival is a Manobo word that means striking two complex objects
to make fire, which is common to the different competitions in the festival.
The festival is held during June in the town of Trento in the province of
Manobo. In the onset of the 20th century, "santikan" acquired its modern
connotation.
D. Diwata Festival is celebrated every June and is held in San Francisco. It
features the Manobo culture and traditions of Agusan del Sur. The main
attraction of the celebration is street dancing which brings life to the festival.
This year's Diwata Festival is also a celebration of the city's foundation
anniversary.
Music
There is music in every culture and every different part of the world. Music unites
people and tribes; it's intimate, connecting people with their community. It can serve as space
and practice that binds the tribe, group, or members together. This section will discuss
Manono Music, their instruments, artists, and types.
Instruments of Manobo
Manobo groups play different music. The gong ensembles vary, with 8 to 10
agong in the ahong of Magpet and 5 small handheld gongs in the sagagong.
1. Ahong: The ahong has 10 small knobbed gongs hung vertically on a
frame, the smallest near the apex. The gongs are grouped into the
kaantuhan, which carries the melody, the gandingan, which provides a
melodic ostinato, and the bandil, which sets the tempo. The kaantuhan
player strikes gongs 1-6 in repeated melodic patterns, sometimes
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interjecting dance movements. The gandingan player hits gongs 7-9 and
sometimes the sixth, while the bandil player hits gong 10. Cross-legged or
on their heels, gandingan and bandil players sit. The ahong's repertoire
includes "Panihuman," "Badbad," "Tukubong," and "Malandoy" (Clan
Reunion).
In President Roxas and Sitio Kabalantian, North Cotabato, is the
tagungguan, an eight-knobbed gong set on a frame. One plays the tempo
on gong 6 or 8, while the other plays the melody on the other gongs.
Tagungguan, gibba or gimbae (drum), and pagakpak accompany dancing
at agricultural rituals and festive occasions (a pair of sticks). "Managway
nag
Sinagkaw,"
"Abadti,"
"Panihuman,"
"Babang
Ngat,"
and
"Tagungguan/Tagunggo" are tagungguan pieces (Playing Tagungguan
Music).
2. Gong: The Manobo sagagong gong ensemble from Kalamansig, Sultan
Kudarat, consists of five small gongs struck with padded sticks. Five
performers carry a gong by its short string and strike a rhythmic pattern.
With four players, one person plays the second and third gongs. "Deketdeket," "Talibenan," "Tulos, Funinko," and "Mandiser" are sagagong
pieces played at festive gatherings.
3. Saluray: The saluray is a 50-centimeter-long, 12-centimeter-diameter
bamboo tube zither. It's called palung, daunan, and kaiyau-an by the
Agusanon Manobo. It has 5-9 strings lifted from the tube's skin. Magpet's
sauray plays with the gong ensemble and "Lahinat ko Maandas" (Stand up,
Maandas). In Kulaman Valley, many tugo pieces are programmatic,
evoking sight and sound. "Lambag Dagat," "Dagi Sigkil," "Kagit Batako,"
"Hamelin an Aao Namatay," and "Hambog Nonoy" are examples (Nonoy,
the Braggart).
4. Kuglong: In Magpet and President Roxas's municipalities, it's called
kuglong; in Kulaman Valley, faglong. Bukidnon Manobo calls a crocodileor boat-shaped lute kutyapi. Agusanon Manobo play the kudlung and
binijaan (larger lute). The flute is played during agricultural, wedding, and
courtship
rites.
Performers
sing,
dance,
and
play
instruments
simultaneously. Magpet kuglong songs include "Iyanad so Anak Ko" (Go
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to sleep, my baby), "Talukaw" (A Tree), "Nakad Sandita" (A Lady
Regretting Her Fate), "Eslole" (Slowly), and "Alimogkat" (Goddess of the
River). "Dakal Faglong" is a Kulaman Valley lute dance. The two-stringed
lute can be played solo or with a saluray and lantoy, a ring-type bamboo
flute with four finger holes. The lantoy is used as a solo instrument for the
epic Uwahingan or to accompany "Baya-baya"
5. Pundag: Pundag (bamboo flute) has a notch, two to four finger holes, and a
thumbhole. Midsayap's 64-centimeter-long pulandag has a 15-millimeter
diameter. The one-meter-long paundag or pulala of the western Bukidnon
Manobo has four finger holes and a thumbhole. Played vertically. "Duyoy
Tomas" (Song of a Hen), "Malakufak" (A Singing Bird), "Tingkalong"
(Fox), "Daleway" (A Girl Mourning Her Father's Death), "Duyoy Baye"
(A Song of a Woman About To Be Married), and "Hongti Hai" are
examples of its Midsayap repertoire (Remembrance). The flute expresses
feelings or imitates nature sounds.
6. Kombeng: The kombeng, also kubing or kuving (bamboo mouth harp), is
made of bentung bamboo with a cut strip in the middle. One hand holds
the strip in the mouth while the other taps it to vibrate. Midsayap Manobo
says the kubing "talks," "tells stories," or "makes a conversation" (Pfeiffer
1965, 8). Kuving and flute are courtship and entertainment instruments.
7. Slagi: The slagi is used to gather people. A regular beat announces a
gathering, but a fast slagi signifies an urgent call. Many Manobo songs are
accompanied by rhythmic sounds from the singer's dagipla (armpit),
produced by abrupt arm movement toward the body. Fotfot is sung at
wakes and social gatherings.
Kinds And Type of Music of Manobo
Manobo vocal music includes narrative songs, lullabies, and songs of nature.
The epic song Owaging or Uwahingan is called Duyoy Taguden in Kulaman Valley.
The Cotabato Manobo call any song susunan, including the Ulahing epic. The
mandata are love songs, the delinday are occupation, war, lullaby, planting, and
harvest songs, and the minudar and mauley are funeral songs (Maquiso 1977). nalit is
a life-story song.
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50 Midsayap songs were divided into 9 groups by occasion and purpose.
Ritual songs are andal, a ceremonial request for the singer to begin; ay dingding, a
wake song; bityara, a Langkat benediction; hiya hiya humiya, sung at the Samayaan
ceremony; mahudlay, a wake song about the limukon; manganinay, a bee-hunting
song; masundanayen, a wake song of (Pfeiffer 1965, 10-13).
Narrative songs include the andal, the introduction to the epic cycle Tulalang;
bimbiya, the adventures of a folk hero; idangdang, entertainment or didactic narrative;
kirenteken, historical legends consisting partly of the songs of the Kirinteken Manobo
living near Kamadzil; mandagan, historical tales; Tulalang, epic narrative; "Tuwa,"
the story of Tuwa; and Ulahing, epic narrative
Entertainment songs are the dalwanay, which expresses a mother's concern for
her soldier son; dampilay, advice on marriage and the selection of a husband; inkakak,
a man's attempt to escape two nagging wives; mantiay-ay, a song for social
gatherings; migkoy, a story about a snake-bitten companion or the pleasantries
between two female neighbors; piririt, a humorous song;
Dalinday (love songs) can be a man pleading with his ladylove to stay, a song
about a girl in love with a kutyapi player, or a song saying a man should travel to
Midsayap and fill out an affidavit. The farewell song kasumba sa rawasan is also a
love song.
The lawgan is about a girl in love with a man who plays kutyapi and owns a
boat.
Children's songs include bakbak, about a frog, binlay pa biya-aw, sung by
older children to infants, kuku, a woman's bedtime story about a cat, and nguknguk, a
bedtime folktale about grandfather and baby monkey.
"Ay Dingding," a lullaby for the dead, is sung only at a wake and with a
baylan because it attracts evil spirits looking to eat a corpse. If there is no baylan to
keep evil spirits away and no dead person to prey on, they will not leave until they
cause someone's death. Abraham's 1965 recording takes 1 minute 42 seconds to sing.
Unlike other ritual songs, "Ay Dingding" has a melodic, regular beat, giving it a
songlike quality. The untranslatable term "Ay Dingding" evokes pathos in a refrain.
The ritual song is a story. This song mentions two rivers named Pulangi and Mulita as
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hunting dogs. Mount Makaranding, near Libungan, Cotabato, is believed to be the
song's giant pig.
"Manganinay" prays to Panayangan, the bee hunt god, for a successful hunt.
Bee hunters can sing it. The hunter sings in his hammock on the eve or morning of a
search. The house will burn if you sing it inside.
Music Artist of Manobo
Priscilla Magdamo Abraham recorded Manobo music in Midsayap in 1957
and 1962. The 124 samples include 33 instrumental and 91 vocal performances. Only
three of the 91 vocal pieces are instrument-accompanied. Instrumental music lacked
drums. Garvan (1931) said the gimbae was used to accompany religious and secular
dances in the Agusan Valley in 1910. The people could recognize and name 20 to 50
drum tunes, such as sinakaisakay and kumbakumba to use. The agong has replaced
the drum.
Dance
Dances and Concepts
Filipino ritual traditions are best understood in terms of their goals. Any ritual
starts with the concept that there is a delicate balance between man, nature, and the
spirit realm. When the balance is disrupted, calamity of various kinds might occur,
necessitating the use of rituals to restore the situation. As a result, numerous
techniques can be used to address this disparity. It clarifies the Philippines' diverse
spectrum of religious practices (Obusan, 2015).
Indigenous people perform a variety of dances that can be performed in
different events. There are customs that govern the future, calm the spirits, promote a
successful harvest, invoke protection from the unknown, give direction give guidance,
heal the sick, and bring good fortune. Dances are one of the important and valuable
parts of culture.
Sinundo / Singangga, a plague-warding dance ceremony; Pangaliyag, a
courting dance ritual; Pangasawa, a marriage ritual; Kinugsik-kugsik, a squirrel dance
ritual Bathing, harvesting honey, hair plucking, sex dancing, and dagger or sword
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dancing are all part of certain dances. The Manobo engage in a variety of rites,
ranging from the most basic and private to the most sophisticated. Singing and
dancing feasts that last several days. Rituals are performed to appease either the
"diwata" or the "diwata”. "Busaw," yet none is addressed to the Supreme Deity (De
Leon, 2015).
Nowadays, some of the tribe's young members have gone to formal schooling.
It is most likely that the seniors will continue to practice the culture and rituals of their
tribe. As a result of this occurrence, their behavior gradually alters. Their ideas and
lifestyles have shifted. This shift in mindset among the kids could endanger the
practice of their indigenous culture and customs. For more than a decade, the Manobo
tribe thrived in the area, performing ritual dances in accordance with their
occurrences. Unfortunately, there isn't much technology or documentation available to
record their ritual dances. This led the researchers to pursue the study.
Occasion or events do the ritual depicts
Kahimunan is a prominent ceremonial activity for the Manobo tribe in
Cabangahan. It incorporates their intents; therefore, happy and sad occasions are
divided (Rosil et al., 2020).
LIPAY-LIPAY is performed for happy occasions (Gathering). The Baylan
tribe celebrates this during thanksgiving, and celebrates once monthly. With time,
members' thirst for ritual grows. MARAJAW NA ANI is another harvest event.
Before harvest, the tribe performs this ritual for Abian's blessing.
A sad occurrence. JAOY NASAKIT NA GRABI. When a tribe member gets
sick, they do "Kahimunan." They perform the ritual if they're sick. Baylan seeks
Abian's protection. Not all diseases can be treated, they say. PAMAYBAG is another
tragedy (Prevention for the Advent of Major Diseases). The river held this event to
prevent a deadly disease. Unseen black ships are said to pass through the river and
infect the tribe. Blocking the river will keep the boat from reaching the tribe.
Three of the common dances performed by the Manobo are Sinagudsod, Inamag, and
Binanog. Details of this dance were discussed in the following paragraphs.
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Figure 3: Kahimunan (Google Image)
Figure 4: Lipay-Lipay or happy events (Google Image)
Figure 5: Ritual Events (praying for spirits) (Google Image)
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Standard costumes, accessories, and musical instruments in Dances
In their dance performance, clothings plays an important role. The four
notable dances Sinagudsod, Inamag, Inadgawanon, and Binanog uses Kabo (long or
short sleeve polo). The person with high tribal status wears long sleeves while the
short sleeves imply a lower tribal rank.
The dominating hue for their upper costume is red. Polo shirt also has yellow,
white, and black stripes around the edges. The stripes on their costumes aren't
particularly noticeable. Patadjongor Saja (long skirt) is another costume, which is
black with designs on it. These garments are more beautiful because of the design.
Furthermore, the saliko (blouse) used by female dancers features a predominant color
red, with either white, yellow, and black stripes on the edges. Sawie (long pants) are
also red. It was usually used by male performers. However, if these costumes are not
available, they use t-shirt, any blouse, and malong during the performance
Furthermore, the accessories worn during the performance are the following:
“pinuti”, a sharp bolo which is used in performing Sinagudsod dance. Such dance is
done by swaying the bolo while dancing; “panyo” is also used. It is a handkerchief
preferably in white color; “paliot” a neck garment and accessory in a performer's
neck, with a combination of red, white, black, blue, and yellow beads and head dress
used by a female dancer during the performance. According to them, there is no
particular meaning to these accessories except that they add beauty, glam and charm
when they perform the dances.
Figure 6: Manobo Traditional Outfit (Google Image)
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Figure 7: Kabo (Google Image)
Figure 8: Female Manobo outfit with accessories. Patadjongor Saja (Google Image)
Figure 9: Panyo or head kerchief (Google Image)
23
Figure 10: Paliot. Female head and neck garment (Google Image)
Manobo instruments and ritual dances show their resourcefulness.
Each dance uses a gong and gimbe, and brass gongs are played with wooden
sticks. Gimbe, a small drum made of deerskin, is beaten with a bamboo stick.
Figure 11: Gong (Google Image)
Manobo tribal dance properties, steps, and patterns
Background and Context. SINAGUDSOD is performed during kahimunan or
full moon prayer. Male dancers use "pinuti" (bolo) in this one- or two-person dance.
Dance properties. The male dancer wears "kabo" and "sawie" (long pants).
This 2/4 dance has a 1, 2 or 1 and 2 count pattern. This dance's music is a gimble.
Stable pace. The dancers walk wherever their feet take them. The ritual dance used an
altar, powdered shells, betel leaves, betel nuts, wine, and pig. Dancers use "pinut"
(bolo).
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Dance Steps and Pattern. SINAGUDSOD dance uses chase steps, skip steps,
and shuffling steps. During these dances, the male dancer sways the "pinuti" (bolo)
front, side, and overhead. The head, trunk, and knees are all angled downward. This
solo dance had no formation. They believed the dancing moves, followed by
synchronous "pinuti" swinging, warded off evil spirits.
Tempo. "Sinagudsod" has a moderate tempo to accompany the male dancer's
swaying movement as he swings the "pinuti" or sharp bolo.
Basic Steps. Chasing Step: Step R (L) forward (ct. 1) and L close to R (L) in
third rear or first position (ct. and). This step is done with one foot. The steps are
small and two-chased. They were shuffling step: step R (L) sideward left (ct. 1), step
L ®, step R (L) (ct. and), and step L ® (ct. 2). Small sliding steps are repeated on the
balls of the feet. This is done ahead. Skip step: step R (L) in fourth in front (ct. 1), hop
on R (L) in place (ct. ah). Two skips in 2/4 time. This can be done in any direction.
Figure 12: Sinagudsod Dance (Google Image)
Ritualistic dancers perform Inamag. Its ethnolinguistic group is the Manobo
Tribe, from one of Cantilan's barangays.
Context and Background. This dance is performed during the "kahimunan"
full moon prayer ceremony. The dancer is male, and the dancer wears a panyo.
Property of Dance. The male dancer wears kabo and patdjong (long skirt).
This 4/4 dance has a 1, 2, 3, and 4 count pattern. The gimbe and gong accompany the
performance. The dance has no shape because participants walk wherever their feet
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take them. "Bangkaso" (altar), "apog" (powdered shells), "bujo" (betel leaves), "mamon" (betel nuts, wine, and pig), and "panyo" (handkerchief) are used during the
performance.
Pattern and Steps in Dance. Inamag ritual dance includes shuffles, parallel
tortilliers, pursuing, pivot turns with stamps, and jumping steps. Manobo rituals
include these steps. These are done randomly. Arms move from reverse "T" to
oblique with elbows slightly bent. The trunk and head are angled downward with bent
knees. Shoulders move as the dance step changes. Solo dances have no formation.
Basic Steps. The following steps are thus described in this dance shuffling;
step is executed to step R (L) sideward left (ct. 1) and step L (R) and step R (L) (ct.
and) and step L (R) (ct. 2). Tiny sliding steps on the balls of the feet are done many
times as required. This is usually done forward and executed parallel, performed in
starting position, feet together, toes pointed forward, and both feet flat on the floor.
Heels are pivoted, and the toes are turned to the sideward left (ct.1), pivoting on the
balls of the feet and turning heels to the sideward left (ct.2), and so on. Another step
performed is the chasing step which is described as stepping R (L) forward (ct. 1) and
stepping L (R) close to R (L) in third in the rear or first position (ct. and). These steps
are executed with one foot leading in all directions. The steps are small, and there are
two chasing in a measure. Jump is to spring on one foot or both feet, landing on both
in any direction, and leap is executed as springing from one foot, landing on the other
foot in any order.
Context & Background. Another dance performed is Binanog. During the
"kahimunan," or full moon prayer ceremony, this style of ritual dance is conducted. A
male and female dancer do this dance. During the performance, the dancer wears a
panyo (handkerchief).
Dance properties. In this dance, the Datu wears kabo and patadjong. Female
dancers wear saliko and patadjong or saja (long skirt). This 4/4 dance has a 1, 2, 3,
and 4 count pattern. They performed with a gong and gimbe. Modest speed, no
pattern. This dance has no formation because they move in any direction. The ritual
dance uses an altar, powdered shells, betel leaves, betel nuts, wine, and pig. Panyo or
handkerchief is used.
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Dance steps and pattern. Binanog ritual dance included mincing, chasing, and
pivot twisting. Male and female dancers maintain slightly bent knees and trunk stance
with flat feet, spinning fast, especially male dancers. No particular order is followed.
They follow their feet. Move arms from the second position to the front and obliquely
upward while holding a panyo (handkerchief). According to tribe elders, these steps
were initially performed to show a man's determination to woo a woman.
Basic Steps. One Binanog step is described below. Mincing steps start with R
(L) foot in the fifth position in front, heels raised or leading foot flat on the floor.
Sideway steps are repeated as needed. One, two, or four tiny steps per count. Down,
forward, and backward. Stepping R (L) forward (ct. 1) and L (R) close to R (L) in
third in the rear or first position is a chasing step. One foot leads in all directions:
small steps, two chases per measure. The stamp step involves bringing the foot down
forcefully and noisily (like a heavy step) with or without weight transfer. The pivot
turn is done by stepping R (L) foot in fourth in front (or close to the fifth position) and
bending the R knee slightly (ct.1), executing a quarter-turn right (left) with the push
on the ball of the L (R) foot (heel of L (R) foot is raised), and lifting R (L) foot
slightly off the floor. Repeat moves. These are the dance's movements.
Figure 13: Other Traditional Dance (Google Image)
Manobo ritual dances are distinctive and showcase their rich cultural
background and tradition. Techniques, design, pattern, and rhythm are vital aspects
that express the tribe's love and respect as an artistic community. The Manobo ritual
dances under study do not point to particular occasions because these dances are
performed in one gathering called "kahimunan" or an entire moon prayer ceremony.
Their diverse dances, which take on various dynamics and forms, arose from their
27
shared experience as a tribe. In general, Manobo ceremonial dances have stood still as
inimitable and enduring reflections of the history of the Manobo people.
Arts
Art is a medium through which individuals can communicate their uniqueness and
connect with others in their culture and convey a sense of a collective identity. The Manobo
are widely regarded as the most colorful people in the Philippines due to the intricate
beadwork and stitchwork embroidered onto their abaca clothing. Betel boxes, which they also
make, have earned them a reputation as producers of high-quality metalwork.
Elements of Manobo Arts
Manobo's treasured land has a diverse population. The southeast is a paradise
with tall trees and laughing rivers. Some of us are from nearby provinces, while others
pass through; natives like me are called Manobo. The red, yellow, and black Manobo
tribe lives in Agusan del Sur. Their forefathers fought for our rights with bravery,
kindness, and genuine smiles. Behind those smiles is decades-old grief.
Figure 14: A textile that Elements of Manobo | Source: https://www.freepik.com/premiumvector/geometric-ethnic-oriental-seamless-pattern-traditional-design-background-carpet-wallpaper-clothingwrapping-batik-fabric-vector-illustration-embroidery-style_
Manobo ancestors shaped their town's history, proving they were successful.
They inspired the three tribe colors that have been used today. These colors represent
Manobos' fearlessness; their blood's natural individuality defines them; yellow
symbolizes hope and optimism, and hope and bravery make them resilient optimists.
28
"Magahat" and "mabuyot" mean black in Manobo. Red symbolizes Manobos'
courage, and their blood's natural individuality defines them. These phrases connote
violence and hostility, revealing a hidden Manobo quality: we can be violent to
protect our rights.
Design, Materials and Forms of Manobo Arts
Clothing (not only ornamentation or decoration) is a human response to changing
environmental conditions. Subanen forefathers were inventive and resourceful, as
evidenced by the production of colors for the adornment of their clothes. They
manufactured abaca fibers in various hues, which they wove together to create
colorful garments. The Subanens' indigenous discoveries show their collective
capacity and willingness to use nature's abundance to provide them with food, shelter,
and clothing. The Subanen men's traditional clothes included upper and lower
garments, headdresses, and other decorations.
Abaca fibers or thick type threads in the colors red, yellow, green, and white were
hands sewed in an alternating and noticeable manner to seal the cut areas of the
clothes. The straight cut of the garments could also indicate that the Subanens saw
clothing as primarily serving bodily and physiological demands. Hence, their
garments lacked ornate designs.
Figure 15: Cloth of Manobo | Source: https://www.flickriver.com/photos/tags/manobo/interesting/
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a. Necklace Of Manobo
Their beadwork symbolizes their royal origin and nature consciousness, and their
unique and universal works depict nature's complexity and comprehension. Patterns
and colors represent each tribe's handiwork and wildlife. Beads and brass have been
traded with the Moros of Lanao since the 1900s. Each bead is placed individually to
create a symmetrical scene. Bukidnon's tribes scale triangles to develop their
mountain ranges. Women make beadwork during afternoon rains and early evenings
for essential occasions and rituals. After a day's farming, it's their life and sense of
community.
Bali-og, also spelled baliog, are layered necklaces worn on Visayas and
Mindanao. The collection includes chokers and necklaces with bead fringes. Usually,
several are layered. Common ornament materials include metal or glass beads,
hollowed seeds, seashells, and mother-of-pearl.
Lumad: Bali-og are beaded chokers and necklaces worn by Lumad peoples of
Mindanao, especially Manobo clans. The chokers' lower edges are fringed with beads
and ornaments (copper or brass bells, amulets, and shells). Manobo tribes value
beadwork for their culture. Tribe and social status determine the number, colors, and
patterns. Ginibang is a popular bali-og necklace. Because of its designs, it's called a
"monitor lizard."
Suludnon: Similar to Mindanao bali-og, Visayan Suludnon bali-og are made from
cloth strips with traditional needlework called panubok. They have coin-beaded
fringe.
Balungkag: Multicolored seed beads, shells, crocodile teeth, coins, or glass beads to
make geometric patterns. The sinakit is a bead necklace. The man's necklace is a
sinakit with a python-like zigzag pattern.
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Figure 16: Necklace of Manobo | Source: https://hinelebanstore.com/product/manobonecklace-1/
b. Headdress Of Manobo
The traditional hairdo for both sexes is a bun and bangs cut straight on the
forehead from one side to the other. Tigwahanon women sometimes tie their bangs
back and wear the lambong, strings of beads, in place of their bangs. Manobo Head
Ornaments Kemage is the Dulangan Manobo term for a headpiece.
The tubao, the typical turban, is knotted in front by the men and knotted at the
back by the women. Tigwahanon women have the komakulkul, a headdress of club
mosses. Western Bukidnon women wear the pelupandung, which fans out from the
head "like a giant radial comb".
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Figure 17: Headress of Manobo | Source: https://collectionsanthropology.fieldmuseum.org/catalogue/1029607
c. Manobo Arts And Crafts
The Manobo make fish, rice, storage, betel nut, and pack baskets from
wickerwork or plaited rattan. Fish traps, chicken traps, and ceremonial trays are other
basketry implements.
A basket's frame is a cylinder of wood with flat sides. This frame has rattan stips.
Bamboo reinforces the upper rim. Tabon-tabon seeds seal the basket from water.
Bubo is a rattan fish trap. The 1 m cigar-shaped cages have a larger end. A coneshaped bamboo trap is placed inside the large end to trap fish. Cylindrical daing/sungkub traps mudfish in swamps.
Wild seed is used to make mats. Before weaving, these are dried, dyed, flattened,
and boiled. Bitudu, bineligyas (diagonal), pineselangga, megapid.
Lemina, around a concave piece of brass, provides additional protection.
Pelewanen, a long red embroidered cloth, is wrapped around the waist to secure the
limbutung. The lemina is then chained to the chest.
The lipega wood shield. The handgrip is in the center. The horsehair is stuck
through outer holes. Each tuft is held by polished bentung bamboo.
d. Other Manobo Art Forms
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a. Bracelets are 1 cm wide beaten brass wire or braided plant fiber with
white beads. It's a shell bracelet. Festive women wear two 6 mm dutus
(anklets) on each leg. 15 pewter bells adorn each anklet. Along with
the hawk bells on the belt, they make tinkling sounds as they dance.
b. Toe rings are coiled brass wire on a wooden base. Toe rings act as
"tread" to prevent slippage when walking.
c. The bride also wears bead necklaces with crocodile-tooth and motherof-pearl pendants, cotton tassels, and braided plant fiber leglets.
d. Boys and girls in puberty used to have their teeth filed. Fourteen front
teeth were filled to the gums, causing the upper teeth to protrude over
the lower ones. Mau-mau juice was used to blacken teeth.
e. A stimulant made of mau-mau juice, tobacco quid, lime, and soot is
placed between the upper lip and gum and removed when the mouth is
used for other things. The upper lip bulges as a result. It's replaced
when it loses flavor.
f. Manobo of both sexes have pierced earlobes, but women enlarge the
holes with pandanus grass. Two small holes can be added to the
earlobes. The face is kept hairless, so both sexes shave their eyebrows,
and men pluck their beards.
g. Tattooing, a fading practice, is ornamental. Men had tattoos on their
chest, arms, forearms, and fingers. Women got similar tattoos, but the
most elaborate ones were on their calves. Manuvu women wore less
around the waist and on their arms. The tattoo designs are the same as
those embroidered on their clothes, with the addition of the binuaja
(crocodile figure), ginibang (iguana), binuyo (betel leaf) and other leaf
designs, and stars. Western Bukidnon Manobo use any method that
catches their fancy, such as a name, bird, or human figure.
h. The sayap is made of woven badtek bamboo strips: Two layers of erikin grass or anahaw leaves make it waterproof. Woven rattan strips fit
snugly around the head. To this is added a brim that extends and fits
under the brim.
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Manobo Artist
John Vincent Callo: Manobo artist outside Mt. Apo Natural Park in SitioAgco,
Ilomavis, Kidapawan City on 21 January 2018. Callo excels at oil-and-syntheticmud painting. His paintings cost 1,500-3,000 pesos.ss
SalintaMonon: SalintaMonon, from Bansalan, is the "last Bagobo Weaver"
and weaver of the world-famous Inabal textiles. She won the GawadManlilikha ng
Bayan, or National Living Treasure Award, in 1988.
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CHAPTER III
CONCLUSION AND GENERALIZATION
A summary of findings and conclusions is presented in this chapter.
In the light of the above compilations, the conclusion was hereby drawn:
Manobo is a hispanized version of Manuvu (also spelled Menuvu or Minuvu). It
comes from the root word tuvu, which means "grow". Opena (1985) defines Manobos as
mountain people who practice slash-and-burn agriculture and whose economy is
subsistence-based. Elkins (1977) argues that the Manobo are descendants of protoPhilippine or proto-Austronesian people from South China. Larena et al 2021 said
Manobos are Austroasiatic.
The eight Manobo groups only differ in dialect and culture. Their geographic
separation causes the differences. Both have three sets of noun phrase determiners-set 1
for the topic, set 2 for the non-topic actor and object, and set 3 for the directional
complements. Manobo languages make a wider usage of demonstratives in noun phrases
than Tagalog. The Manobo Bukidnon uses a farming system that involves shifting land
from place to place for certain periods of time so that areas of cultivation may be
cultivated. It is one of the strategies used by the tribe to continue their culture.
Techniques, design, pattern, and rhythm are vital aspects that express the tribe's love
and respect as a cultural community. Their vocal music types include ritual songs,
narrative songs, lullabies, and songs of nature, which may also be accompanied by
rhythmic sounds from the singer's armpit. However, indecision by Manobo and nonManobo alike for the retention of the exact Manobo costumes may eventually lead to the
total extinction of the sartorial identity of this tribal group in Mindanao.
The Manobo are one of the most numerous of the ethnic groups of the Philippines.
Their ceremonial dances are distinctive and showcase their rich cultural heritage. The
colors and designs reflected in the traditional Manobo costumes are rooted on the ways of
life of the Manobos, as to how they once lived and have survived amidst the passing of
time. However, indecision by Manobo and non-Manobo alike for the retention of the
exact Manobo costumes may eventually lead to the total extinction of the sartorial
identity of this tribal group in Mindanao.
35
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Retrieved
from
Roles and Responsibilities/Contributions
The information below describes the roles and responsibilities of each member
throughout the sociological research investigation. All members of Group 1: Manobo has
verified and agreed to the information provided below.
Roles
Identity
Responsibilities/Contributions
Project
Gumabong, Philip Andrei L.
•
Led the group
Director
philipandreigumabong@sksu.edu.ph
•
Oversaw
the
works
of
the
research data processors and
assistants
•
Created
the
Chapter
1
introduction: general description,
scope
and
methods
limitation,
of
and
gathering
information and Chapter 3.
•
Compiled the data from research
data processors
•
Responsible for editing, revision,
and organization of the paper
•
Created
PowerPoint
for
the
group presentation
Project
Dela Cruz, Christian Jude
Manager
christianjudedelacruz@sksu.edu.ph
•
Presented the paper
•
Finalized the paper
•
Managed the team members’
roles and responsibilities
•
Monitored the progress of each
research data collectors
Research
Siga, Kyla Mae F.
Data
kylamaesiga@sksu.edu.ph
•
Part of the creation of the whole
chapter II
•
Processors
Research
about
Manobo
Language
•
41
Collected, examined, processed,
sorted,
organized,
and
summarized the data, facts, or
information
intended
that
is
related to Manobo Culture into a
logical and meaningful order and
formally presents the data.
•
Remolano, Norgen Mae V.
norgenmaeremolano@sksu.edu.ph
Part of the creation of the whole
chapter II
•
Research about Manobo Unique
Beliefs
•
Collected, examined, processed,
sorted,
organized,
and
summarized the data, facts, or
information
intended
that
is
related to Manobo Culture into a
logical and meaningful order and
formally presents the data.
•
Calidecion, Melisa I.
melisacalidecion@sksu.edu.ph
Part of the creation of the whole
chapter II
•
Research
about
Manobo
Customs and Traditions
•
Collected, examined, processed,
sorted,
organized,
and
summarized the data, facts, or
information
intended
that
is
related to Manobo Culture into a
logical and meaningful order and
formally presents the data.
•
Fabay, Dona Rose L.
donarosefabay@sksu.edu
Part of the creation of the whole
chapter II
•
Research about Manobo Music
•
Collected, examined, processed,
sorted,
42
organized,
and
summarized the data, facts, or
information
intended
that
is
related to Manobo Culture into a
logical and meaningful order and
formally presents the data.
•
Abatayo, Jeannica B.
jeannicaabatayo@sksu.edu.ph
Part of the creation of the whole
chapter II
•
Research about Manobo Dances
•
Collected, examined, processed,
sorted,
organized,
and
summarized the data, facts, or
information
intended
that
is
related to Manobo Culture into a
logical and meaningful order and
formally presents the data.
•
Dela Cruz, Christian Jude
christianjudedelacruz@sksu.edu.ph
Part of the creation of the whole
chapter II
•
Research about Manobo Arts
•
Collected, examined, processed,
sorted,
organized,
and
summarized the data, facts, or
information
intended
that
is
related to Manobo Culture into a
logical and meaningful order and
formally presents the data.
Assistant
Nicolas, Rayan D.
Data
rayannicolas@sksu.edu.ph
•
Part of the creation of the whole
chapter II
•
Research
Processors
Assisted research data processors
about Manobo Language
•
Dosado, Honey M.
honeydosado@sksu.edu.ph
Part of the creation of the whole
chapter II
•
Assisted research data processors
about Manobo Unique Beliefs
43
•
Mercado, John Lister A.
johnlistermercado@sksu.edu.ph
Part of the creation of the whole
chapter II
•
Assisted research data processors
about Manobo Customs and
Traditions
•
Bañez, Kim Joy, A.
kimjoybanez@sksu.edu.ph
Part of the creation of the whole
chapter II
•
Assisted research data processors
about Manobo Arts
44