Monthly Archives: October 2017

My List of the Ten Allegedly Haunted Places in the Philippines

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Here’s a list of ten of the scariest places I have visited in the country. One is located in La Union (Pindangan Church Ruins), two in Baguio City (Hyatt Terraces Hotel and SM City Baguio) in Benguet, one in Pampanga (Clark Air Base), one in Mountain Province (Sagada), one off Cavite (Corregidor Island) and the rest in Metro Manila. Though I haven’t really experienced any paranormal activity in these sites, probably because I don’t have a third eye, many others have.

  • My wife Grace and I stayed in the 12-storey, 303 -room HYATT TERRACES HOTEL for three days in April 1986.   Located on a pine tree-clad hill along South Drive, near Camp John Hay, the Hyatt Terraces Hotel was said to be the grandest hotel outside Metro Manila. At 4:26 PM, on July 16, 1990, a little over 4 years after our stay, a magnitude 7.8 earthquake struck Luzon, killing 1,621 people.  Again, I happened to be in the city, with my family and some relatives, on the day of the devastating 1990 Luzon Earthquake but were lucky enough to have left the city before lunch. In Baguio City, 28 buildings collapsed during the earthquake.  One of the most prominent buildings destroyed was the Hyatt Terraces Hotel when the central wing’s terraced front collapsed, like an accordion, onto the hotel lobby, killing 98 employees and guests. In the aftermath of that tragic earthquake, many of those listed as “missing” were never found and many say that there are still bodies in the debris of the hotel site and the spirits of these victims have never moved on. Its tragic history has surely contributed to its terrifying reputation.

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Hyatt Terraces Hotel circa 1986

Today, its old fountain and a gated fence are all that remains of the still undeveloped site of the Hyatt Terraces. Now said to be haunted, strange lights and ghostly apparitions are said to have been seen around the empty lot.  There was once a bus stop in front of the gate and motorists, driving along South Drive, have told stories of strange apparitions of the spirits of dead employees there. Some passersby in the area at night have also heard cries for help and seen figures against the spotlight that illuminates the area. In fact, for those driving along South Drive, the directed procedure is to honk your horn when passing beside the former Hyatt location, lest they run over a spirit crossing the street. Aromatic smells, coming out of nowhere, are also consistently reported.

  • SM CITY BAGUIO (a favorite shopping venue of mine while in the city), opened in 2003, was erected on the site where the former 4-storey, wood-framed, 423-room Pines Hotel used to overlook Session Road. On October 23, 1984, at about 11:30 PM, a 6-hour blaze gutted this government-owned hotel. To escape the thick smoke and flames, most of the dead (17 were killed, including 4 Americans) and 46 injured leaped from windows of this American Colonial-style, hillside hotel while others were seen slipping from rescue ropes.

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SM City Baguio

Today, mall visitors have reportedly seen faces in bathroom mirrors that would not be there a second later. One patron, in the ladies’ room, gave a photographic description of a bloodied fireman (The Baguio City Fire Department lost four firefighters in the blaze).

  • The MANILA FILM CENTER had its beginnings in 1981 when then First Lady Imelda R. Marcos started the Manila International Film Festival (MIFF). Slated to start on January 18, 1982, 4,000 laborers working, round the clock, in 3 shifts in the rush to complete the project  in time for the MIFF. Tragedy struck, on November 17, 1981, shortly before 3 AM, when scaffolding and wooden support for part of the second basement collapsed, causing at least 169 graveyard shift workers to fall to the orchestra below and be buried or trapped under wet, quick-drying cement.

Check out “The Urban Legend That is the Manila Film Center“

Manila Film Center

Rather than halt construction to rescue survivors and retrieve the bodies of dead workmen, cement ordered to be poured into the orchestra, entombing the fallen workmen, some of them still alive. The MIFF was to last another year but, instead of quality films, pornographic films were shown in an effort to gain a larger audience and, perhaps, to make up for the first festival’s financial losses. Later, in 1984, I would watch the premiere of Tikoy Aguiluz’ startling, controversial but highly-acclaimed first full-length film “Boatman” (Ang Bangkero), in its uncut version, at this very venue. Today, it is the venue of the Amazing Show, a Las Vegas-like song and dance extravaganza  where all the performers are transgenders.

The place, said to be haunted as well as cursed, is incredibly spooky. Various ghostly manifestations were reported within the building on the site, including poltergeist activity, apparitions; mysterious hearing of cries and moans; bleeding walls; and hands sticking out from under doors. The ghosts of those who died are said to roam the area, looking for live bodies to possess and take over as their own.

  • The UNIVERSITY OF THE PHILIPPINES Diliman Campus , where my wife  and I graduated (with a degree of B.S. Architecture) has had a long history of alleged haunting, with a lot of paranormal hot spots. The Wilfrido Ma. Guerrero Theater, at the second floor of Palma Hall, is the residence of a  ghost named “Marisa,”  said to be a famous star of the university’s theater productions back in the 1970s who was eventually overshadowed by younger, more talented newcomers. Overwhelmed by grief and jealousy, she killed herself, in the most dramatic way possible, by hanging herself onstage, in costume. She’s known for making her presence felt by haunting the stage, the rest room and her old dressing room, joining the chorus during performances and, sometimes, showing up onstage.

Benitez Hall

Benitez Hall, home to the College of Education and one of the oldest buildings on campus and, naturally, has gained the reputation as one of the most haunted. A ghost, with blood red eyes, is said to wanders the halls. Kalayaan Hall, a residence hall exclusively for freshmen, has a ghost of a woman who supposedly shows up in the mirror facing the stairs to the second floor of the girls’ wing.  Abelardo Hall, home of the College of Music, is said to be haunted by the ghost of a girl vocalizing, or playing the piano or the gamelan in the middle of the night.

Melchor Hall

The lights on the top floor of Melchor Hall, the College of Engineering Building, where our college was then housed (the college now has its own building), was, for some reason, never turned off, the reason being that, sometimes, the lights there inexplicably turn to red. Many of my classmates have also seen a “Lady in White” come in and out of the corridor walls

  • The PINDANGAN CHURCH RUINS, the picturesque, roofless remains of a small vine-covered brick and coral church (the first in City of San Fernando, La Union) which I visited way back in 2004, is located 500 m. off the National Highway, near Camp Oscar Florendo. The nuns of the Carmelite Monastery of the Holy Family are the caretakers of these church ruins.

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Pindangan Church Ruins

It is said to be the home of the sole ghost of a headless stabbed priest who prowls the night, either carrying his severed head or searching for his head. Some have also reported hearing his head calling out for his body to find it. The wind here is known to whisper strange malediction to those that disrespect the location.  My picture of the site was featured in an episode of “Ang Pinaka: Scary Places in the Philippines,” aired during the 6:30 PM GMA News TV last October 22, Sunday.

  • The University of Santo Tomas, where my daughter Cheska graduated (with a degree of B.S. Medical Technology), served as an internment camp during the World War II.  Many prisoners died here of starvation and illness, and is reported by believers to be haunted. An alleged mass grave is located near the UST Museum.  One of the restroom cubicles in the Main Building is also haunted by a female student who hung herself.

Main Building of the University of Sto. Tomas

Other paranormal hot spots are the UST Hospital (haunted by a ghost wearing a red tag, which only corpses in the morgue section wear), St. Raymund’s Building (the comfort rooms on the first floor are haunted by the ghost of a girl was said to have committed suicide because she was bullied for her physical appearance), the Albertus Magnus Building (the Conservatory of Music where the piano is heard playing by itself) and Benavides Park (a.k.a. Lover’s Lane) where, at past midnight, students are greeted by a man wearing a Dominican habit who would later disappear (Sometimes, unfortunate couples hanging out in the park’s benches at night, have also heard a disembodied voice singing mass songs).

  • CLARK AIR BASE, being an American military installation, experienced major bombing from the Japanese during World War II. There are a number of reminders of that bloody past that still exist today and these locations are some of the most haunted in the Philippines.

Clark Museum

The area around the abandoned Clark Air Base Hospital has been rendered off limits to everyone as inhabitants have witnessed apparitions of violent spirits and heard mysterious voices.

Clark Cemetery

Early morning joggers have also reported hearing party music and excited talk coming from inside the obviously empty Home Plate canteen.  At the Clark Museum, the ghost of a serviceman who committed suicide by hanging himself still haunts the place.

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  • SAGADA, in Mountain Province, has an authentic culture dealing with death, free of Western influence. The caves of the town, in particular, are rumored to be site of ghostly mischief. According to the locals, whispery voices are heard and wayward shadows or apparitions are seen among the Hanging Coffins as well as graves up in the Echo Valley.

Hanging Coffins

The Igorots, however, generally say that if you show some respect and leave the coffins alone, you’ll make it out of the valley unscathed. At Sumaguing Cave, locals believe that the cave is haunted by the spirits of their ancestors.  I have explored this cave twice and, each time, I always felt an otherworldly feeling as I entered.

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  • Historic CORREGIOR ISLAND, an island of history and heroism at the entrance of Manila Bay, has played a major role during World War II. Many Filipino and American soldiers died in its defense. During the liberation, the Japanese defenders here committed suicide via harakiri, jumping into the sea or blowing themselves up instead of capture or surrender. The ghosts of Corregidor’s World War II dead were also joined by Muslim soldiers who, in 1968,  were training in Corregidor for a  planned invasion of Sabah in Malaysia but were exterminated during the infamous March 18, 1968 Jabidah Massacre.

Hospital Ruins

At the Hospital Ruins, tourists who passed by have heard footsteps, rumblings of normal hospital activities, and wails of people.

One of the laterals of Malinta Tunnel. Notice the orbs?

Around the bunker area inside the Malinta Tunnel, shouts of people grimacing in pain can also be heard. Witnesses have also reported hearing eerie sounds and seeing a spirit near by. Manifestations would also appear in photos and videos. 

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  • In INTRAMUROS,  where the historical and the supernatural intersect, the possibility of ghost sightings in the oldest part of Manila is real. It attracts ghosts and ghost hunters in search of kapres, white ladies, demonic spirits, and other entities. In the dying days of World War II, Japanese soldiers reportedly massacred men, women and children in Baluarte de Dilao.

Baluarte de San Diego

Baluarte de San Diego, known as the break-up park for being the site where many a relationship met their demise, is where a crying White Lady often makes appearances.

Manila Cathedral

The Aduana (Customs House) Building, which housed several government offices, is the most haunted building in Intramuros. Many people believe its demonic entities takes lives.  At Plaza Mexico, there have been sightings of reapers, or hooded figures who chase after wandering spirits. Many of the retail and commercial spaces along the wall of Puerta de Sta. Isabel have now been abandoned, supposedly because of numerous reports of hauntings. An ordinary-looking tree, along Arzobispo Street, has earned the gruesome nickname the Suicide Tree after a student, supposedly from Mapua Institute of Technology, killed herself by hanging.  Headless priests supposedly make regular appearances at the Manila Cathedral.

Fort Santiago

Fort Santiago, where National Hero Jose Rizal was jailed, was used by the Japanese as a prison and torture chamber during World War II.  It is imprinted with the agony and sufferings of its many prisoners and is now also extremely haunted with ghosts of prisoners who drowned in its underground dungeons.

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“Kaban ng Lahi: Archaeological Treasures” Gallery (Manila)

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“Kaban ng Lahi: Archaeological Treasures” Gallery

The “Kaban ng Lahi: Archaeological Treasures” Gallery, one of the long running exhibitions of the National Museum of Anthropology, was installed in 1998 in the then Museum of the Filipino People in celebration of the centennial of Philippine independence.

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Architecturally designed to simulate a cave setting, where most of the burial objects exhibited were discovered, the gallery portrays secondary burial  jar collections as well as samples of other utilitarian vessels unearthed from different cave sites across the Philippines. It also features the importance of burial practices associated with the death of early Filipinos in the southern Philippines and other parts of the country practiced by our ancestors.

One of these practices is the secondary burial of the dead person which involves treatment and re-burial of the bones after the corpse had decomposed. The process includes cleaning, painting or treating of the bones known as bone washing. The practice of secondary burial always involved a ritual ceremony.

Leta-Leta Presentation Cup

Highlights of this gallery are a number of objects declared as National Cultural Treasures (NCTs) by the National Museum of the Philippines and regarded for their uniqueness and outstanding historical, cultural, artistic and historical value discovered from different sites in the Philippines – the Manunggul Jar, Maitum Anthropomorphic Burial Jar 21 (depicted with male genitalia), and Likha.

Maitum Anthropomorphic Pottery

Other NCTs, noted for their distinct and elaborate forms, include the 10 cm. high and 6 cm. wide Leta-Leta Stem Cup, the 8 cm. high and 3.5 cm. wide Leta-Leta Footed Jarlet and the 8 cm. high and 20 cm. wide Leta-Leta Presentation Dish (has a pedestal featuring narrow triangular patterned cutouts), artifacts excavated in 1965 by Dr. Robert B. Fox in Leta-Leta Cave. Situated in a limestone cliff on the east coast of Lagen Island in El Nido, Northern Palawan, archaeological materials recovered in this burial site include human remains, a stone adze, modified shells as grave goods as well as other intact pieces of pottery.

Maitum Anthropomorphic Pottery

The 29 unique anthropomorphic burial jars made of earthenware with design and form of human figures recovered in Ayub Cave in Pinol, Maitum, Sarangani Province (formerly South Cotabato) in 1991 by the National Museum of the Philippines. It has been found to be of the Metal Age period that dates from 500 B.C. to 370 A.D. Here, the head-shaped covers are of three types consisting of plain; with perforations; and those with different facial expressions. Another secondary burial jar in this collection has a shape of a human male torso, measuring about 43.5 cm in height and 36 cm in diameter with arms extended forward. These types of burial jars are not found in other burial sites in the country nor in other Asian countries. A diorama that shows how the burial jars were found arranged inside the cave by archaeologists.

Manunggul Jar

The splendid Manunggul Jar, one of the most precious jar collections, is a secondary burial vessel excavated from a late Neolithic burial site in Manunggul Cave of Lipuun, Quezon, Palawan dating from 890-710 B.C. This painted, incised jar has impressed decoration on its lid, on the top handle of which is an unusually compelling finial of 2 small but prominent round-eyed human figures representing souls paddling to the afterworld on a death boat.

Finial of 2 small but prominent round-eyed human figures representing souls paddling to the afterworld on a death boat

The branched-curl designs at the upper portion of the jar had been dabbed with hematic. The jar was found along with other highly developed earthenware burial jars and relics including bone fossils of at least 3 other individuals, pebble flake tools from the Late Pleistocene and early post-Pleistocene Period, deer bones, Sung and Yuan Dynasty porcelain and stoneware, spoons and other utensils.

Banton Boat Coffin

Two of 17 small hollowed hardwood (molave) log coffins (dating from the 14th-15th centuries), are also permanent display here.  Generally shaped into a boat with triangular lid and usually carved with reptilian motifs of snake, lizard or crocodile, they were found at the Hanging Cemetery, a cliffside burial cave located a short distance from Banton town (Romblon). They indicate that early inhabitants practiced secondary burial.  Also found were artificially-deformed skulls, two burial jars and pieces of 13th-14th century Chinese and Siamese tradeware.

Kulaman Limestone Burial Urns

The Kulaman Limestone Burial Urns, distinct because they are constituted of limestone carved into various sizes, shapes, and decorations, and used as secondary burial containers, were discovered in the Caves of Kan-fenefe and Kan-nitong in the mountain range locally known as Menteng, located in the Kulaman Plateau (known to be inhabited by the Manobo and other ethnolinguistic groups) in Kalamansig,, Sultan Kudarat, Mindanao.

Kulaman Limestone Burial Urns

The jars are either round or square, with vertical fluting or geometric patterns on the side. On average, the jars are about 60 cm. tall and 25 cm. wide and their lids vary in decoration, from simple handles to elaborate gabled (roof-like) or conical forms, occasionally stylized with anthropomorphic (human form) or zoomorphic (animal form) elements.

Masuso Pots

One of the lesser known but perhaps one of the most mysterious artifacts in the Kaban ng Lahi collection are the Masuso Pots, breast-shaped ceramic objects the origin and cultural significance of which are still unknown, the result of looting and destruction of archaeological sites. There are two variations – one with four breasts and another one with breasts facing seven directions.

Masuso Pots

Interestingly, historical evidence suggests that these artifacts are somehow related to the breast pots unearthed in Peru and in the Lausitz region of Germany as well as with variations also discovered in Romania, Ukraine, and Nigeria.  All show evidence that the pots were most likely used as sacred water vessels or ritual pots, with the breast symbolizing the life-giving power of water.

“Kaban ng Lahi: Archaeological Treasures” Gallery: Northeast Wing Gallery, 3/F, National Museum of Anthropology, Agrifina Circle (or Teodoro  Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 (02) 8527-1232 (Ethnology Division) and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com and nationalmuseumph.anthropology@gmail.com.  Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.

“Lumad: Mindanao” Exhibit (Manila)

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“Lumad: Mindanao” Exhibit

The “Lumad: Mindanao” Exhibit, a permanent exhibition at the National Museum of Anthropology, was inaugurated last December 12, 2015 in partnership with the Office of Senator Loren Legarda, now Deputy Speaker and Representative of Antique.  It features over 200 material from the National Ethnographic Collection.

Betel Chewing

The term lumad, a Visayan word meaning “born from the earth,” was first used to refer to them in 1986 at their first political assembly to discuss issues concerning their cultural determination within their respective ancestral land. Comprising about 14.38% of the population in the upland and lowland areas of the Agusan, Cotabato, Davao, Misamis, Surigao and Zamboanga Provinces, Bukidnon, Compostela Valley, Maguindanao, Sultan Kudarat and Sarangani, they distinguish themselves as belonging to the indigenous non-Muslim group from Mindanao.

Local Pottery

It includes a comprehensive ethnolinguistic map and language tree of both Lumad and Bangsamoro groups collated from different historic, ethnohistoric, ethnographic and linguistic sources; and historic and contemporary photographs from the archives of the National Museum of the Philippines, the Field Museum of Natural History, University of Michigan Digital Collections and the University of Wisconsin-Madison Southeast Asian Studies Image Collection.

Metalsmithing

They also feature their tangible and intangible cultural heritage and a narrative on the widely disputed history of the Tasaday. The Lumad Mindanao gallery also displays ethnographic, archaeological, herbaria, and zoological collections.

Lumad Weapons

The exhibit features “the material culture of 13 of the roughly 19 major Lumad groups (Ata, B’laan, Bagobo, Banwaon, Bukidnon, Dibabawon, Higaonon, Mamanwa, Mandaya, Manguwangan, Mansaka, Manobo, Matigsalug, Obo, T’boli, Tagakaolo, Talaandig, Tiruray and Subanon/Subanun) from the National Ethnographic Collection which aims to explore the significance of Mindanao natural reserves and resources to Lumad identity.”

Bagobo Basket Weavers (Isabelo Quiles, 1991)

It also presents “previous and recent historical and anthropological data, particularly on their experiences, encounters, and established linkages and ties with neighboring groups and foreigners throughout the years; and in the process attempt to give an insight into how perceptive the Lumad peoples are of their place and purpose.”

“Lumad: Mindanao” Exhibit: Manila Electric Company and Lopez Group of Companies Galleries, 3/F, National Museum of Anthropology, Agrifina Circle (or Teodoro  Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 (02) 8527-1232 (Ethnology Division) and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com and nationalmuseumph.anthropology@gmail.com.  Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.

“Faith, Tradition and Place: Bangsamoro Art from the National Ethnographic Collection” Exhibit (Manila)

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The “Faith, Tradition and Place: Bangsamoro Art from the National Ethnographic Collection” Exhibit, opened last October 2014 in collaboration with the Magbassa Kita Foundation Inc., as part of the Eid’l Adha celebration, is a permanent exhibition on the rich material cultural heritage of the Islamic cultures in Mindanao, Southern Philippines.

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A feast for my eyes, this region known for their ornate decorations and embellishments that are not only manifested in objects regarded meaningful or significant within various social, economic, political, or ritual contexts, but are also remarkably evident in the mundane and utilitarian.

The museum’s fourth permanent exhibit, on view at this exhibit are 251 objects, from the museum’s National Ethnographic Collection, whose particular technological and artistic elements not only express indigenous traditions but also manifest cultural connections and influences among these ethnically diverse groups especially in relation to the Islamic and Southeast Asian cultural traditions.

The sarimanok is an example of the carving tradition called okir/ukkil, which refers to a particular curvilinear design pattern predominantly and distinctly used by the Muslim groups in southern Philippines. This pattern specifically consists of a combination of stylized scrolls, plant-like design such as leaves, vines and ferns, bird-like designs, naga (serpent/dragon) designs and various geometric shapes.

These objects are emphasized as part of feasts, playing valuable and varied roles among Bangsamoro culture, including creating and keeping social identities and memories, as well as developing, consolidating and negotiating political power.

Sundok (grave marker)

Through the visual exploration of the material culture of the region, this exhibition examines the cultural interactions of the Bangsamoro cultures which, though bound together by their common adherence to the Islamic faith, still maintain their distinct ethnic cultures and identities.

Panolong with naga motif

Exchange systems, such as gifts, barter and trade are, moreover, meant to be articulated by the exhibition. Also featured here are complex relationships accentuated by the festivals, accomplishing work, developing prestige technologies, fostering artistic traditions and providing connections to the supernatural as well as to the ancestral world.

The tabo (drum) is a signaling instrument horizontally suspended in front of mosques. A standard rhythm calls people to prayer on Fridays, while a more intricate tempo is played during Ramadan

The star of the exhibit is the Koran of Bayang, a copy of the Koran supposedly handwritten in the mid-19th century. Said to have been originally owned by the Bayang family of Lanao del Sur, it was was copied by Saidna, a hajj from Lake Lanao while on a respite in Palembang, Sumatra, after his pilgrimage to Mecca. In 1902, US soldiers allegedly seized the copy and brought it to America where it was turned over to the Field Museum of Natural History in Chicago.

Koran of Bayang

The copy was stored in the Department of Archives until 1966. In 1979, it was returned to the Philippines and was supposed to be delivered to the Mindanao State University in Marawi City a year later, but a typhoon forced a change of plans. Meanwhile, then First Lady Imelda Marcos reportedly took an interest in the copy and it was transferred to Malacañang. The book was “feared lost” after the 1986 Edsa uprising but Barns said the Presidential Museum eventually “made it available for public display.”

Rarub-a-kulong (armor) and kulong sa ulo (helmet)

Also on display are a rarub-a-kulong (armor) and kulong sa ulo (helmet) of brass and carabao horn used by ancient Maranao warriors; a wall ornament depicting the heroic mythical character Prince Indarapatra; a wooden winged horse (on loan from the Henry W. Fernandez collection) which boasts of ornate and curvy engraved details; swords (kris) and a  kinupud, a canopy of silk and cotton used by Maranao royalty to cover their beds.

The elaborately decorated kinupud are used for beds of members of royal families

A  boraq, a winged creature with hair and fur details made of abaca, was carved by Maranao craftsmen from Lanao del Sur.

A Maranao borak/buraq made of carved wood or a combination of wood and ivory, embellished with multi-colored paint, inlaid with mother-of-pearl, or decorated with brass plates/sheets, bells and hair. As told in the Islam miʿrāj or the ascension of the Prophet Muhammad into heaven, the winged borak, half-human and half-horse, carried him in his journey from the sacred place of worship Mecca to Jerusalem then to heaven which explains how he completed travelling between the cities in a single night. The borak is also described as a white animal, half-mule or half-donkey, with wings on its sides which replaced the ladder as Muhammad’s means of access into heaven. While there is no reference as to the sex and human qualities of the borak in hadith or record of traditions or sayings of the Prophet Muhammad, the Maranao sometimes portrays it with a face of a woman.

A colorful, wood and metal Maranao kokora could be mistaken for a four-legged creature or a life-size action figure. Note that the creature looks up to a contraption attached to its head that is actually a coconut grater. Those who grate coconuts have to literally ride the kokora to do the job.

Maranao kokora

A sataran, a Maranao chess set of wood and silver, is bordered by an intricate design carved from mother-of-pearl, while an elaborately-carved, throne-like wooden korsi, where a kulintang (8 gongs laid horizontally on a stand) player sits while entertaining royalty, has a sarimanok at front and center. A tabo, a signaling instrument, is horizontally suspended in front of mosques.

Korsi

“Faith, Tradition and Place: Bangsamoro Art from the National Ethnographic Collection” Exhibit: 3/F, National Museum of Anthropology, Agrifina Circle (or Teodoro  Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 (02) 8527-1232 (Ethnology Division) and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com and nationalmuseumph.anthropology@gmail.com.  Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.

“Manlilikha ng Bayan (National Living Treasures)” Exhibit (Manila)

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Manlilikha ng Bayan Hall (National Living Treasure) Exhibit

The “Manlilikha ng Bayan (National Living Treasures)” Exhibit, opened last June 1, 2016, features the work and lives of 13 people awarded, since 1993, the Gawad Manlilikha ng Bayan (GAMABA) or the National Living Treasures Award  (institutionalized through Republic Act No. 7355 in April 1992) in recognition of their contribution and preservation of culture.

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A Manlilikha ng Bayan is defined as a citizen engaged in any traditional art uniquely Filipino whose distinctive skills have reached such a high level of technical and artistic excellence and have been passed on to and widely practiced by the present generation in his/her community with the same degree of technical and artistic competence.

The 13 awardees are:

  • Ginaw Bilog (1993) – a Hanunuo Mangyan poet from Mansalay, Mindoro who took it upon himself to continually keep scores of ambahan (a poetic literary form composed of seven-syllable lines used to convey messages through metaphors and images) poetry recorded, not only on bamboo tubes but on old, dog-eared notebooks passed on to him by friends.
  • Masino Intaray (1993) – a gifted Pala’wan poet, musician and bard artist from Brookes Point, Palawan who is an outstanding master of the basal (a gong music ensemble), kulilal (a highly lyrical poem expressing passionate love) and bagit (a strictly instrumental music depicting the rhythms, movements and sounds of nature, birds, monkeys, snakes, chirping of insects, rustling of leaves, the elements and the like)
  • Samaon Sulaiman (1993) – a Maguindanao musician from Mama sa Pano, Maguindanao who achieved the highest level of excellence in the art of kutyapi (a two-stringed plucked lute) playing. His extensive repertoire of dinaladay, linapu, minuna, binalig, and other forms and styles, interpreted with refinement and sensitivity, fully demonstrate and creative and expressive possibilities of his instrument.
  • Lang Dulay (1998) – a traditional t’nalak textile weaver from T’boli, Lake Sebu, South Cotabato, who knows a hundred designs, including the bulinglangit (clouds), the bankiring (hair bangs), and the kabangi (butterfly), each one special for the stories it tells. Using red and black dyes, she spins her stories with grace and her textiles reflect the wisdom and the visions of her people.
  • Salinta Monon(1998) – a Tagabawa Bagobo textile weaver from Bansalan, Davao del Sur, who built a solid reputation for the quality of her work and the intricacies of her designs. Of the many designs she weaves, her favorite is the binuwaya (crocodile), which is one of the hardest to make.
  • Alonzo Saclag (2000) – a Kalinga master of dance and the performing arts from Lubuagan, Kalinga, who has made it his mission to create and nurture a greater consciousness and appreciation of Kalinga culture, among the Kalinga themselves and beyond their borders. He has also endeavored to revive the dying craft of gangsa (Kalinga gong) making.
  • Federico Caballero (2000) – a Sulod-Bukidnon epic chanter from Calinog, Iloilo who ceaselessly work for the documentation of the oral literature, particularly the ten epics of his people, rendered in a language that, although related to Kiniray-a, is no longer spoken. Together with scholars, artists, and advocates of culture, he painstakingly pieces together the elements of this oral tradition nearly lost.
  • Uwang Ahadas (2000) – a Yakan musician from Lamitan City, Basilan skilled in playing the kwintangan kayu (an instrument consisting of five wooden logs hung horizontally, from the shortest to the longest, with the shortest being nearest the ground),  agung and gabbang (a bamboo xylophone).
  • Darhata Sawabi (2004) – a Tausug textile weaver from Parang, Sulu proficient in making the pis syabit, the traditional cloth tapestry worn as a head covering by the Tausug of Jolo, as well as used to adorn native attire, bags, and other accessories.
  • Eduardo Mutuc(2004) a Kapampangan metalsmith from Apalit, Pampanga who dedicated his life to creating religious and secular art in silver, bronze, and wood. His intricately detailed retablos, mirrors, altars, and carosas are in churches and private collections. A number of these works are quite large, some exceeding forty feet, while some are very small and feature very fine and delicate craftsmanship.
  • Haja Amina Appi (2004) a Sama mat weaver from Tandubas, Tawi-Tawi who is recognized as the master mat weaver among the Sama indigenous community of Ungos Matata. Her colorful mats with their complex geometric patterns exhibit her precise sense of design, proportion and symmetry and sensitivity to color. Her unique multi-colored mats are protected by a plain white outer mat that serves as the mat’s backing. Her functional and artistic creations take up to three months to make.
  • Magdalena Gamayo (2012) – an Ilocano textile weaver from Pinili, Ilocos Norte who exemplifies the best of Filipino abel weaving tradition in Ilocos. Magdalena prefers to work with linen because it is obedient to the master weaver’s touch. She uses a loom with a sturdy wooden frame with three-foot pedals with wide horizontal beams to support the warp and an even longer lengthwise frame to keep the threads in place.
  • Teofilo Garcia (2012) – also called Apu Pilo, this Ilocano from San Quintin, Abra makes tabungaw (gourd casque), a unique, functional and elegant, all-weather headpiece that shields one from the rain and the sun.  The native gourd is hollowed out, polished, and varnished to a bright orange sheen to improve its weather resistance. The inside is lined with finely woven rattan matting, and the brim sports a subtle bamboo weave for accent.

Kwintangan kayu of Uwang Ahadas

This exhibition has been made possible through a partnership with the National Commission for Culture and the Arts (NCCA), the highest policy-making and coordinating body for culture and the arts of the State tasked with the administration and implementation of the award, and the Office of the Senator Loren Legarda.

Eduardo Mutuc and his work

The NCCA, through the Gawad sa Manlilikha ng Bayan Executive Council, conducts the search for the finest traditional artists of the land, adopts a program that will ensure the transfer of their skills to others, and undertakes measures to promote a genuine appreciation of and instill pride among our people about the genius of the Manlilikha ng Bayan.

Tnalak weave of Lang Dulay

On display are some of the finest examples of our traditional artistry such as mats, textiles, costumes, looms, ornaments and musical instruments made y some of the most skillful artists from local ethnic communities across the country as well photos and short biographies of the awardees.

Alonzo Saclag

NOTE: On May 28, 2021, the gallery was upgraded to include the weave masterpieces of three Manlilikha ng Bayan from Mindanao in 2016.  The three are:

  • Ambalang Ausalin (2016) – a Yakan textile weaver from Lamitan City, Basilan who is able to bring forth all designs and actualize all textile categories typical to the Yakan. Using the back strap tension loom, she can execute the suwah bekkat(cross-stitch-like embellishment) and suwah pendan (embroidery-like embellishment) techniques of the bunga sama
  • Estelita Bantilan (2016) – a B’laan mat weaver from Malapatan, Sarangani who weaves thin strips of the pandanus romblon into some of the biggest, most subtly beautiful mats to be seen anywhere in Southeast Asia today. Her devotion to the idea of mats as gifts, rather than as commodities for sale, is the same concept of making that allowed her to refine her art to a technical and aesthetic sophistication vested in remarkable visual restraint.
  • Yabing Masalon Dulo (2016) – a B’laan weaver from Polomolok, South Cotabato, she is an expertin the making of fine, colorful warp ikat textiles from lutáy (abaka to other Philippine peoples).

Pis syabit of Darhata Sawabi

“Manlilikha ng Bayan (National Living Treasures)” Exhibit: 3/F, National Museum of Anthropology, Agrifina Circle (or Teodoro Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 (02) 8527-1232 (Ethnology Division) and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com and nationalmuseumph.anthropology@gmail.com. Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.

“Rice, Biodiversity and Climate Change” Exhibit (Manila)

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“Rice, Biodiversity and Climate Change” Exhibit

The “Rice, Biodiversity and Climate Change” Exhibit, inaugurated last December 17, 2013, is the National Museum of Anthropology’s third permanent exhibit and is part of the celebration of the National Year of Rice for the Philippines led by the Philippine Rice Research Institute (PhilRice) and the Department of Agriculture (DA) and was supported by Senator Loren Legarda, Chairperson of the Senate Committee in Climate Change.

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It aims to create more appreciation on rice, its connection with other ecosystems, and how the changing climate affects rice production and highlights the need to address biodiversity loss and climate change in relation to rice production.

The exhibit also highlights, among others, the history of rice cultivation in the Philippines, rice farming practices, plants and insects in the field, farmers` way of life, and the importance of rice conservation.

Displayed are varieties of rice grains, from the National Museum of the Philippines and PhilRice, still in panicles along with artifacts, flora and fauna specimens and photographs.

Barred Rail (Gallirallus toruatus torquatus

White-breasted Waterhen (Amaurornis phoenicurus javanica)

There are also numerous tools used in farming and the religious aspect of farming such as the barrel-shaped mortar (luhong) and pestle used for pounding husked rice, grains and root crops; harrow and plow as well as funnel-shaped locust baskets (made of bamboo, rattan and nito, with a wooden side handle), bulol (anthropomorphic wooden rice deity central to the Ifugao rice culture); and minarigay or marigay (rice containers).

 

Pangaras (Maranao harrow, Lanao del Sur)

Bulol (rice granary deity)

Also on display are different art pieces that feature rice such as the water buffalo (carabao)) figure by Mariano Edjawan and “Planting Rice”, a 3 cm. by 33 cm. oil on canvas painting by Norris Castillo. The 0.64 cm. by 0.95 cm. “Harvesting,” another oil on canvas painting by Norris Castillo, can only be seen with the help of a magnifying glass.

Mortar and pestle

“Rice, Biodiversity and Climate Change” Exhibit: Antonio and Aurora Tambunting Hall, 4/F, National Museum of Anthropology, Agrifina Circle (or Teodoro Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com. Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.

“Hibla ng Lahing Filipino: The Artistry of Philippine Textiles” Exhibit (Manila)

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“Hibla ng Lahing Filipino: The Artistry of Philippine Textiles” Exhibit

The “Hibla ng Lahing Filipino: The Artistry of Philippine Textiles” Exhibit, a project spearheaded by Senator Loren Legarda, was inaugurated on May 18, 2012 and is the first permanent exhibit of the National Museum on traditional  Philippine textile weaving, an art that has been performed in the Philippines since pre-colonial times, with each ethnic group having its own particular kind of textile, motifs, and method of production.  Highlighting the National Textile Collection, it shows the history and artistry of Philippine textiles.

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Featured are the different textile collections from the National Museum, National Anthropological Collection, and from the private collection of Senator Loren Legarda.

A display of weaving looms

Also seen here are weaving looms (abaca backstrap loom, pina foot loom, etc.) and the intricate process made by our ancestors in designing and producing textile wear from a single simple fiber.

Four sets of traditional native garb in varying shades of red project at the floor-to-ceiling glass case at the entrance. L-R: a two-piece formal female attire worn by the Gaddang of Ifugao; a sa-ul, a set of shirt and trousers traditionally worn by males of the B’laan tribe of Sta. Cruz, Davao del Sur; a more subdued mid-calf-length formal wear of a Tinguian female from Abra; and a brightly hued dagom and sawa worn exclusively by a male Mandaya of high rank in Davao Oriental.

Hibla means “thread” or fiber” and fibers or threads from more than 100 kinds of textiles, including abaca, banana, pineapple and cotton, are seen in the exhibit. The works of more than 100 indigenous groups are also featured.

The exhibit offers a glossy colored catalog that details the stories about each item of clothing, from the source of material to how it is painstakingly handcrafted, the occasion it was worn in and who is allowed by traditional edict to wear it.

For many ethnic groups, weaving is more than a tradition, it is a religious ritual.  The t’nalak fabric, woven by the T’boli people (who first tie-dye abaca threads in earth tones before weaving them) was, until World War II, used mainly for special clothing and to denote bride wealth at high-profile weddings of children of datus.

At left is a Maranao gilingan (wood and metal spinning wheel) from Lanao del Sur Sur

The intricate tapestries of the Tausug’s pis siyabit signified the wearer’s social rank. The tangkulu, a headcloth worn by magani (Bagobo warriors), can display varying shades from chocolate to blood red, depending on the number of lives taken by the wearer.

Tilar/pang-abelan foot loom from Bangar (La Union)

Bi-pedal foot loom donated by La Herminia weavers and Godofredo Ramos Foundation

There are also many tribes that consider fabrics as a form of currency. Among some groups, marriages can be forbidden without the possession of the proper cloth. The T’boli woman was considered low in social status and disallowed from demanding a high bride wealth or dowry if she cannot weave well.  Upon reaching 12 years of age, Bontoc girls were required to learn weaving.

Abl’lun (backstrap loom) used by the Mandaya to weave dagmay, the traditional handwoven textile made of lanot (abaca fibers, Musa textilis).

The museum has photos, taken by assistant director and anthropologist Dr. Ana Maria Theresa P. Labrador, of the funeral of a ranking Bontoc male whose status afforded him to wear an exclusive finangulawan of dark cloth designed with an intricate white pattern during his burial.

Kalinga loom used during the CAR Weaving Demonstration Series (2014)

There are also photos of Filipinos in traditional garb at the 1904 St. Louis Exposition, courtesy of the American Museum of National History archives, as well as modern images of indigenous Filipinos in their tribal wear as well as the evolution of gowns, dresses and Barong Pilipino created by Filipino designers whose artistry enhanced the beauty of the piña, a traditional fiber made from pineapple fiber.

Tausug loom used during the CAR Weaving Demonstration Series (2014)

Other  native weaves and fabrics on display include blankets and apparel woven by the people of the Cordilleras  using a backstrap loom; abaca, silk; balud of the Maranao; abel iloco of Vigan (Ilocos Sur); the Tinguian blankets of Abra; Gaddang garments of Ifugao; textiles of Polomolok (South Cotabato); Maranao garments of Southern Mindanao, the dagmay of the Bagobo of Davao; and the hablon of Iloilo, woven from piña and jusi fibers, cotton and silk (and later manmade fibers),first developed by the people of Miagao in the latter part of the Spanish era.

Backstrap Loom (South Cotabato-B’laan)

Aside from garments narrating personal histories, the exhibit also features accessories worn by indigenous peoples.  Enclosed in a glass case are necklaces worn by the Gaddang to indicate social status. Materials include beads, cowrie shells, mother of pearl, horn, turtle shell, brass and strings.

Display of accessories used by indigenous peoples

“Hibla ng Lahing Filipino: The Artistry of Philippine Textiles” Exhibit: 4/F, National Museum of Anthropology, Agrifina Circle (or Teodoro Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 (02) 8527-1232 (Ethnology Division) and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com and nationalmuseumph.anthropology@gmail.com. Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.

“Entwined Spheres: Mats and Baskets as Containers, Conveyors and Costumes” Exhibit (Manila)

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“Entwined Spheres: Mats and Baskets as Containers, Conveyors and Costumes” Exhibit

The “Entwined Spheres: Mats and Baskets as Containers, Conveyors and Costumes” Exhibit, inaugurated in 2017, is a project in partnership with the Office of Senator Loren Legarda.

It features one of the oldest and most diverse forms of craft work in the Philippines, the baskets and mat weaving, and showcases a huge collection of old mats from various indigenous groups in the country and baskets that are used by the natives in many different and surprising ways.

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It shows different mats and baskets and how they were used by our ancestors, whether being a simple accessory or costume piece, containers for both secular and sacred objects, for fishing, farming and in other aspects of life.

The exhibit also explores how different ethnic groups in the country are connected and are similar to each other through basketry.

Among the mats from the National Ethnographic Collection featured in this case, the oldest gathered from field research is a 1946 Tagbanua mat from the late anthropologist Harold C. Conklin.

The most recent are those collected last year from the weavers from Sama, Tawi-Tawi and Basey, Samar who came to the National Museum of Anthropology to give weaving demonstrations.

Bubu (Ibanag fish trap)

It also features the largest baskets in the National Ethnographic Collection: the 222 cm. long x 68 cm. deep bubu (fish trap) by the Ibanag tribe of Cagayan and the 150 cm. high x 200 cm. deep bukag (Tagalog rice storage),

A cradle from the Itawes tribe of Cagayan

It also displays the smallest, buon-buon (Hanunuo betel chew container), H 2 x D 5.5 cm, each strip measures 0.1 cm.

Woven Head Costume

“Entwined Spheres: Mats and Baskets as Containers, Conveyors and Costumes” Exhibit: 4/F, National Museum of Anthropology, Agrifina Circle (or Teodoro Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 (02) 8527-1232 (Ethnology Division) and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com and nationalmuseumph.anthropology@gmail.com. Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.

“Lantaka: Of War and Peace” Exhibit (Manila)

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The seldom-seen “Lantaka: Of War and Peace” Exhibit, inaugurated in 2015, commemorates the pioneering studies on lantakas and bells, particularly the collaborative research of W-A Miailhe De Burgh and Fe B. Mangahas as encapsulated in their publication entitled, Lantakas: From 16th to 19th Centuries, the first volume in Of War and Peace. The lantaka is cited by the National Commission for Culture and the Arts of the Philippines as an intangible cultural heritage of the country under the ‘Traditional Craftsmanship’ category that the government may nominate in the UNESCO Intangible Cultural Heritage Lists.

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“Lantaka: Of War and Peace” Exhibit

Here, we were offered an opportunity to view and examine the selection of lantakas from the National Ethnographic Collection and those confiscated by the Bureau of Customs and turned over to the National Museum of the Philippines in 2010.

The lantaka (a small bronze swivel gun), prevalent in 17th and 18th century Southeast Asia, is called the meriam or bedil in Indonesia and Brunei Darussalam and was often used by trading and raiding vessels sailing in Southeast Asian maritime routes and on walls and palisades of fortresses to protect communities against rampant raiding before the 16th century, and eventually to resist Spanish colonization.

On display are specimens from the National Museum Collection and the Miailhe de Burgh Collection, two of the three biggest lantaka collections hereabouts (the other is the Brunei Bedil Collection). They include distinctive ordnances, morteros, miniatures—regarded as “an exceptional selection” and considered important for their rarity, diversity and historical value.

“Lantaka: Of War and Peace” Exhibit: 3/F, National Museum of Anthropology, Agrifina Circle (or Teodoro  Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 (02) 8527-1232 (Ethnology Division) and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com and nationalmuseumph.anthropology@gmail.com.  Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free

“San Diego: A Homecoming Exhibit” (Manila)

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Scaled model of the galleon San Diego

The “San Diego: A Homecoming Exhibit” occupies the 4 seminar rooms at the ground floor (Cabinet Ladies Foundation, Nestle Philippines, SGV & Co. and the SSS) and at Asianbank Corp./A. Soriano Corp./Phinma Group Gallery at the second floor.    On display here are 5,000 artifacts that represent a time capsule of the known world at that time, recovered from the San Diego, one of 59 galleons that sank in Philippine waters and one of three (the others are the Nuestra Senora de la Vida and the San Jose) where artifacts have been retrieved.  Its recovery confirmed the Philippines’ reputation as a rich ground for underwater archaeology.

The San Diego, originally named the San Antonio, was a three-masted galleon, a trading ship plying the Manila to Acapulco (Mexico) route.  Said to be the first Filipino big boat, it was probably built in Cebu around 1590 and 1600 by Basque shipwrights, Chinese craftsmen and a big Filipino labor force.  Its weight was placed between 200 to as heavy as 500 tons, was between 35 to 40 m. long and 20 m. wide.  The San Diego had four decks and could hold about 700 tons of cargo.  Different kinds of heavy local wood (bitaug, apitong) measuring 35 to 40 m. long, 12 m. wide and 8 m. high were used for its construction.

Portrait of Don Antonio de Morga

As a merchant ship, the San Diego was, however, not designed for naval combat yet this reconditioned, 14-gun ship (under Vice-Governor Antonio de Morga) was engaged, together with the 200-ton and 12-gun San Bartolome (under the experienced naval officer Juan de Alcega), in a fierce, six-hour naval battle, on December 14, 1600, with the Dutch privateers Mauritius and Concordia under Admiral Oliver Van Noort off the Batangas coast.

The San Diego, as a result of damage by numerous cannonballs it had taken during the battle and a major leak discovered after the violent impact with the four times smaller Mauritius of Van Noort, was blown by a northeasterly wind, sailing 330 to 660 ft. (100 to 200 m.), nosed over and went straight to the bottom.  The San Bartoleme, on the other hand, chased the Concordia under Captain Lambert Biesman and, off Lubang Island in Mindoro, was boarded and captured.   Some 221 sailors died (109 Spaniards, 105 Filipinos and 7 Dutchmen).    Twenty-six Dutch men were wounded.

Paintings depicting the Galleon Trade

The San Diego remained underwater for almost four centuries, its location unknown because Morga’s account of the battle, in his self-serving Sucesos de las Islas Filipinas (“Historical Events of the Philippine Islands” (published in 1609), was incomplete and inaccurate.  In 1991, however, the wreck was discovered by Franck Goddio, a French underwater archaeology enthusiast, with the permission and cooperation of the National Museum, in near-perfect conditions, at 170 ft. (50 m.) deep waters about 900 m. northeast of Fortune Island, in an undisturbed, sand-covered valley.

Tools from the San Diego

From January 1992 to May 1993, at enormous expense and with modern and sophisticated underwater technology, a treasure trove of 34,000 archaeological items, including 14 bronze cannons, 1,500 pieces of intact Ming Dynasty porcelain ware and navigational instruments (a major scientific find as they represent a much delayed, but altogether appropriate, reply to Chinese inventions such as the compass, an 11th century Chinese innovation), were retrieved.

Statuary from the Intramuros Administration collection

After initial restoration in Manila, the artifacts traveled to Paris (France) for complete restoration and exhibition on September 1994.  Later exhibitions were done in Madrid (Spain) in 1995, New York (U.S.A.) in 1996 and Darhlen Museum in Berlin (Germany) in 1997 before  it returned to its new home at the Museum of the Filipino People (now the National Museum of Anthropology) in Manila.

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Piece of armor, shoulder and neck armor, breastplate

The exhibition gallery on the ground floor shows the wreck site.  Eleven of the 14 recovered cannons brought on board from the fortress of Manila are displayed at the museum’s ground floor and the rest at the second floor. Outstanding examples of bronze casting techniques, the cannons gave an excellent overview of artillery at the end of the 16th century.  Of the 14, 7 are dolphin-types (with handles shaped like dolphins), 2 are foot-types, 1 lion-type, 1 box-type and 2 are unidentified.  Their maximum lengths range from 208 to 359 cms., their mouth diameters range from 14.5 to 27.5 cms. and their bore diameters range from 7 to 18 cms.. They were fabricated in the Philippines, Flanders (Netherlands) and Portugal. Those from Portugal were more advanced and were called breech loaders.

Cannons and cannon balls from the San Diego

There were 8 grades of caliber which required different types of ammunition.  There were 197 cannonballs recovered.  The iron cannonballs were for the smaller cannons and the stone for the bigger ones.  The cannonballs range from 6.5 to 14 cms. in diameter and weighed between one and 7 kgs..

Wooden angel and ciborium from the Intramuros Administration collection

The second floor gallery houses Metal Age artifacts from religious art (statuary, wooden angels, ciborium, etc.) from the Intramuros Administration collection.  A scaled model of the San Diego was done in 1995 by Robert Carpentier, with scientific supervision of G. Michel L’Hour and Michel Daeffer).

Kyle, Bryan and Cheska behind a scaled model of the San Diego

There are also eight 4 ft. by 7 ft. paintings depicting the Galleon Trade; annotated (by Jose Rizal) book copies of Antonio de Morga’s Sucesos de las Islas Filipinas (Historical Events of the Philippine Islands) and Johann Ludwig Gottfried’s Nene Welt und Amerikanishe Historien (New World and the History of the Americas); maps and colored photos of the recovery efforts.

Copies of Sucesos de llas Islas Filipinas

An old, bronze astrolabe, one of the most important treasures recovered from the San Diego, is one of only 67 that have been preserved and, more uniquely, 1 of 5 oldest as well as 1 of 6 or 7 known examples dating before 1600.  Called the oldest scientific instrument in the world, the astrolabe is used to determine latitude accurately by measuring the angle a heavenly body (sun or stars) makes with the horizon. It is derived from the planispheric astrolabe invented by Greek mathematicians in ancient Alexandria (Egypt).

The San Diego astrolabe

The astrolabe appeared in Europe in the late fifteenth century, first used in Portugal and adapted by nearly all Western mariners.  The San Diego astrolabe weighed 2,432 gms. and had a diameter of 182.5 mm. and was 17 mm. thick at the top and 18 mm. at the bottom.

The absence of a date and signature on makes it impossible to determine the astrolabe’s geographic origin or date of manufacture.  The instrument, however, bears a remarkable resemblance to the Valencia astrolabe at England’s Greenwich Maritime Museum (which almost certainly came from the Spanish Armada).  The only difference is that its spokes have footers and no handles.  Its similarities lead us to believe that they were made in the same workshop.

Astronomical ring

Another important discovery was a bronze astronomical ring, the only known example of this type, in terms of both mechanism and shape.  With three rings and central compass, it has a diameter of 22.4 cm. Its exact function has not been determined; although it is known that the position of the Philippines on the map was calculated using a similar instrument.  The compass was recovered with its glass intact and the original liquid still present inside the glass casing.  Other navigational instruments recovered include sounding weights and a ruler which were more suitable for reading charts and navigating in coastal waters than for open ocean voyages.

Rifle and arquebus

Aside from the cannons, little remains of ship’s offensive weaponry:  arquebuses, muskets and swords.  Arquebus spring shots (lead, brass or iron wire) range from 0.4 to 3.5 cms. in diameter.  Also found were a gunpowder shovel and cases for musket shot made of lead that were attached together by brass coil.

Sword handles

A glimpse of the soldier’s outfit came from 3 morions (military helmets of copper alloy), pieces of armor (shoulder and neck armor, breastplate), sword handles, belts and shoe buckles.  Also a ball mold to press musket and arquebus balls was found.

The 3 morions (military helmets)

The possibility of high ranking Japanese samurai (possibly mercenaries) on board the ship can be seen from a pair of recovered Japanese bushi swords, 2 dozen sword decorative elements, a writing set with a rare aubergine (fruit of the eggplant)-shaped porcelain water dropper and two stones for mixing ink.

Japanese katana

The San Diego was a galleon (trading ship) before she was pressed into service as a battleship by Antonio de Morga.  As preparations were being rushed to meet the Dutch, there had been no time to unload the bulky porcelain cargo in the main hold and these all went down with the ship.  To the Western world, Chinese porcelain seems to be the most accurate reflection of China and it was an important part of trade in Manila.

Dragon jars

The San Diego carried a cargo of assorted ceramic objects that survived in a much better condition than the metal objects. A majority of the recovered ceramic ware was intact and many pieces were restorable.

Blue and white Chinese porcelain

They include a precious cargo of more than 500 fine, exceptionally strong, blue and white China porcelain, of different shapes and sizes, with designs described to be of Buddhist and Taoist luck symbols. They date from the Wan Li Period (1573 to 1619) of the Ming Dynasty (1368 to 1644) and come in the form of plates, dishes, bottles and kendis (pitchers).

Dragon jars

This special class of pottery is made from kaolin from Jiangxi, near the city of Jingdezhen in China.  Their white background is decorated principally with cobalt oxide and applied with a brush under a glaze. The plates, bowls, cups and bottles  were mostly decorated with birds, cocks, geese and deer designs which were popular during the 16th century.

At Exhibit Gallery III, we took a look at some of the over 750 big Martaban, Chinese, Thai, Burmese and Spanish or Mexican stoneware jars used to store food (preserved fruits, sardines, salted meat, etc.), wine, vinegar, drinking water and cargo as well as serve as ballast.  They date from the sixteenth century and many have applied handles where a rope could be strung to secure and protect them from breaking.  Animal bones from preserved meats as well as coconut shells and seed (prunes and chestnuts) remains have been found inside the jars.

Kendis, earthenware pitchers with round bodies, wide neck and conical spout

There are also over 70 Philippine-made amphora-like earthenware jars influenced by European stylistic forms and types. They were originally used to transport olives and oil, but they also have been used to hold wine, preserved fruit or the tar used to caulk the ship.  Their capacity varied from 4 to 15 liters (4.2 to 15.9 quarts) and they weighed between 3 and 9 kgs. (6.6 to 19.8 lbs.).

Many recovered artifacts provide fascinating insights of life on board a galleon.  Recovered were a piece of rope made of Manila hemp; a wooden pulley; writing implements (3 inkstands, 2 powder cans with powder used to dry the ink, a metal pen, etc.); a silver candle snuffer; a bronze candlestick; ivory and wood chessmen; locks; keys; a well-preserved wood pole with a hammock tied to it; a hammer; a glass plate with wooden frame (probably from the captain’s cabin); barber’s kit (2 razors, various weights, remains of a beam balance); and a block of hardened resin that was noted, in historical accounts, to have been used in caulking and for making fire in stoves. Also recovered were two coral-encrusted iron anchors.

Rope and wooden pulley

A meager haul of 8 gold artifacts was also recovered.  They provide a rare look at ornaments of 16th century Philippines and, ultimately, an insight into the Spanish and Filipinos of that time.  One of the artifacts is an Asian coin while the rest are articles of personal adornment or functional objects crafted in gold: a neck ring of gold wire with scrolled clasp; a 78-inch long, multiple loop-in-loop necklace chain woven with fine gold wire; a dress ornament; a book clasp with pin for girdle prayer book; a ring with granulation; an oval document seal cap of Morga (which “seals” the positive identification of the wreck); and a rosary with ivory beads and an inverted crucifix and chain of gold wire.  None were stamped or hallmarked.

The rosary, girdle prayer book and the ring may have been made for women.  Were there women on board the San Diego? Initial studies on human bones recovered from the site indicate that some of them may have been females.  Or were they good luck keepsakes given by shore-bound lovers?  God only knows.

A total of 428 sixteenth century silver coins, as well as six small and one big cluster of cemented coins, were recovered.  Most are of uneven roundness and flatness and its markings and designs are unclear.  Struck the year before its sinking (either in Mexico or Potosi), the majority are 1, 2, 4 and 8 reales of American origin, an indication of the lively trade between New Spain (Mexico) and the Philippines.

“San Diego: A Homecoming Exhibit”: 1/F and 2/F,  National Museum of Anthropology, Agrifina Circle (or Teodoro  Valencia Circle, adjacent to the National Museum of Fine Arts building),Padre Burgos Drive, Rizal Park, Ermita, Manila. Tel: (02) 8528-4912 (02) 8527-1232 (Ethnology Division) and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com and nationalmuseumph.anthropology@gmail.com.  Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.