Monthly Archives: October 2017

National Museum of Anthropology (Manila)

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National Museum of Anthropology

I first visited the National Museum of Anthropology (Filipino: Pambansang Museo ng Antropolohiya), a component museum of the National Museum of the Philippines,  when it was formerly known as the Museum of the Filipino People (Filipino: Museo ng Lahing Filipino) in March 2002.  Fifteen years later, I brought now along my whole family to see its Ethnological and Archaeological exhibitions.

Check out “Museum of the Filipino People”

The museums Neo-Classical facade

Housed in the impressive, Neo-Classic-influenced, 5-storey former Department of Commerce and Department of Finance Building, this museum was the second building pledged (1990s) to the National Museum.  As a cultural center, it takes the lead in the study and preservation of the nation’s rich artistic, historical and cultural heritage in the reconstruction and rebuilding of our nation’s past.

Historical plaque

Built in 1940 on the same Federal architectural style concept of American architect and Manila and Baguio City planner Daniel H. Burnham, its construction was implemented by Arch. Antonio Toledo of the Bureau of Public Works who was responsible for the construction of Manila government structures (including the Manila City Hall, Bureau of Customs and Department of Tourism Building) under the American colonial regime.

Jandy in front of the Ifugao house within the courtyard

When World War II broke out on December 7, 1941, the building was barely finished and, during the Liberation of Manila, the building, because of its strategic location, became a Japanese stronghold that was intensely bombarded by the Americans.  On March 3, 1945, its recapture actually marked the end of the Battle of Manila.

Marble Hall

After the war, the trapezoidal building was rebuilt by the company of A.M. Oreta and, during the centennial celebration of Philippine independence half a century later, the building was refurbished and inaugurated to house the Museum of the Filipino People. At the open courtyard is an actual Ifugao House (Fhaley Ad Henenga) from Mayoyao presented by Petron Corporation.

Stairway

Since the creation of the National Museum of the Philippines, the Anthropology Division has started collecting ethnographic artifacts. Anthropologist Dr. Henry Otley Beyer began collecting cultural materials from the different peoples of the Philippines ranging from baskets, weapons, textiles, and wooden objects to various religious, economic and agricultural tools and implements, musical instruments and personal ornaments and adornments. During the World War II, these artifacts were distributed to friends and colleagues for safekeeping and, several years after the war, Dr. Beyer began to retrieve all these materials, finding most to be intact and in good condition except for some that were badly damaged.

My family (at extreme left, L-R: Kyle, Jandy, Grace, Cheska and Bryan) at one of the exhibition galleries

Ground Floor

  • Office of the Exhibition, Editorial, and Media Production Services Division
  • Office of the Museum Foundation of the Philippines
  • Office of the Archaeology Division
  • Office of the Ethnology Division
  • Office of the Maritime and Underwater Cultural Heritage Division
  • National Museum Library

Second Floor

  • Marble Hall- serves as the lobby of the museum
  • The San Diego: A Homecoming Exhibit
  • Garing: The Philippines at the Crossroads of Ivory Trade

Third Floor

  • Lantaka: Of War and Peace – inaugurated in 2015
  • Manlilikha ng Bayan Hall (National Living Treasure) – inaugurated last June 1, 2016
  • Lumad: Mindanao – inaugurated last December 12, 2015
  • Faith, Tradition and Place: Bangsamoro Art from the National Ethnographic Collection – inaugurated last October 2014
  • Kaban ng Lahi (Archaeological Treasures)

NOTE: On October 20, 2018, just about a year after my visit, the “Biyay: Traditional Ecological Knowledge among Philippine Negrito Communities” exhibit was opened in the third floor, the first exhibition, of this scale and depth, on the Negritos, the least understood Philippine ethnolinguistic group. Biyay is the Ayta term for “life.”

Fourth Floor

  • Reception Hall (Changing Gallery)
  • Rice, Biodiversity and Climate Change – inaugurated last December 17, 2013
  • Hibla ng Lahing Filipino: The Artistry of Philippine Textiles – inaugurated last May 18, 2012
  • Baybayin: Ancient and Traditional Scripts of the Philippines – inaugurated in 2013
  • Entwined Spheres: Mats and Baskets as Containers, Costumes and Conveyors – inaugurated in 2017
  • Office of the Museum Services Division

Fifth Floor

  • National Ethnographic Collection Repositories

A hagabi (rich mans bench)

Through the years, the ethnographic collection of the Anthropology Division continues to be augmented through field collection, purchase and donation. Presently, there are about ten thousand specimens on display in 15 galleries and in storage.

Check out “The San Diego: A Homecoming Exhibit,” “Garing: The Philippines at the Crossroads of Ivory Trade,” “Manlilikha ng Bayan Hall (National Living Treasure),” “Lumad: Mindanao,” “Faith, Tradition and Place: Bangsamoro Art from the National Ethnographic Collection,” “Kaban ng Lahi: Archaeological Treasures,” “Rice, Biodiversity and Climate Change,” “Hibla ng Lahing Filipino: The Artistry of Philippine Textiles,” “Baybayin: Ancient and Traditional Scripts of the Philippines,”“Lantaka: Of War and Peace,” “Entwined Spheres: Mats and Baskets as Containers, Costumes and Conveyors.”

 The ethnographic collection, systematically arranged according to groups and classified in terms of functions, is kept in storage where the temperature of the room is maintained through a 24-hour airconditioning system that helps preserve the physical condition of the specimens, and prolongs the lifespan of the specimens. Textile specimens are stored inside cabinets with series of drawers while wooden objects, baskets, ceramic and metal crafts are wrapped in acid-free paper, and stored in steel cabinets with series of panels.

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.

“Baybayin: Ancient and Traditional Scripts of the Philippines” Exhibit (Manila)

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The “Baybayin: Ancient and Traditional Scripts of the Philippines” Exhibit, inaugurated in 2013, is the second permanent exhibit of the National Museum of Anthropology.  It showcases Baybayin, the ancient and traditional native Filipino script of the Philippines prior to the arrival of the Spaniards. It is an abugida system wherein consonant-vowel combinations are used, and it is different from alibata (although most people think they are one and the same).

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“Baybayin: Ancient and Traditional Scripts of the Philippines” Exhibit

This pre-Spanish Philippine writing system, a member of the Brahmic scripts of India, was recorded, by Miguel López de Legazpi, as being in use in the 16th century and continued to be used during the Spanish colonization of the Philippines up until the late 19th century.  Baybayin was largely used in Tagalog-speaking areas and the term baybay literally means “to spell” in Tagalog. However, it gained more prominence when it was used and spread by the friars to other areas and it was known in Visayan as badlit, as kur-itan/kurditan in Ilocano and as kulitan in Kapampangan. Hanunuo, Buhid and Tagbanwa are some of the writing systems that are based on baybayin.

One of the exhibit’s major displays is the majestic curtain written in Baybayin scripts and its Romanized translation, and the other one is the white table in which it teaches us on how to write Baybayin characters (Magsulat Tayo sa Ating Baybayin).

Baybayin Tattoos

Also displayed here are archaeological artifacts such as the Laguna Copperplate Inscription (said to be one of the bases of baybayin), the Calatagan Pot, the Intramuros Pot Shard, the Monreal Stones and some books loaned by the UST, NHCP and National Library. Also displayed are some tools, musical instruments, ornaments and pots with Baybayin inscriptions from indigenous tribes of Mindoro and Palawan.

Baybayin script

The Intramuros Pot Shard, one of 500 artifacts discovered 140 cms. below the brick floor of the San Ignacio Church ruins in Intramuros in 2008, is an archaeological piece most significant because it was the only artifact with ancient inscriptions recovered systematically. Associated with Ming dynasty ceramics dating back to 15th – 16th centuries A.D, the excavation was a joint project by the Intramuros Administration and the Cultural and Archaeology Divisions of the National Museum of the Philippines.

Intarmuros Pot Shard

Its discovery, showing the native Filipinos’ earliest form of writing, is an important milestone in Philippine archaeology as there were only few artifacts with ancient inscription recovered in the past: the Laguna copper plate (900 AD), Butuan ivory seal (9th to 12th centuries), Butuan silver strip (14th to 15th centuries) and the Calatagan Pot (15th century).  The inscription was later deciphered by Mrs. Esperanza B. Gatbonton, a Cultural Heritage Advocate, by comparing the scripts with Tagalog and Kapampangan and coming up with a tentative translation – pa-la-ki which can be interpreted as a-la-ke or alay kay.

The Monreal Stones (Filipino: Mga Batong Monreal), also referred to as the Ticao Stones, are two limestone tablets that contain Baybayin characters discovered by pupils of Rizal Elementary School in Monreal town on Ticao Island, Masbate, who had scraped the mud off their shoes and slippers on an irregular-shaped limestone tablet before entering their classroom.

Monreal Stones

The larger, triangular stone, weighing 30 kgs., is 11 cms. thick, 54 cms. long and 44 cms. wide. The smaller, oval-shaped stone is 6 cms. thick, 20 cms. long and 18 cm. wides. On December 13, 2013, the National Museum of the Philippines held a Baybayin conference to present the Monreal Stones to the public. Due to the usage of the Baybayin vowel deleter introduced in 1621 by the Spanish friars, initial examination has revealed that the inscriptions could not have been made earlier than the 17th century.

The Laguna copperplate inscription (Tagalog: Kasulatang tansong natagpuan sa Laguna), the earliest known calendar-dated document used within the Philippine Islands, is an official document, more precisely an acquittance, inscribed in the Shaka year 822, a date, from the month of Waisaka, and the fourth day of the waning moon, from the old Hindu calendar, which corresponds to to Monday, April 21, 900 in the Julian calendar.

It was found in 1989, near the mouth of the Lumbang River, near Laguna de Bay in Wawa, Lumban, Laguna, by a laborer dredging sand to turn into concrete. Suspecting that the artifact might have some value, the man sold it to an antique dealer who, having found no buyers, eventually sold it to the National Museum of the Philippines, where it was assigned to Alfredo E. Evangelista, head of its anthropology department.

Laguna Copperplate Inscription

Referred to as the Laguna Copper Plate by the National Museum, it is a document demonstrative of pre-Hispanic literacy and culture and is considered to be a National Treasure.  The inscription on the plate was written in Old Malay using the ancient Indonesian script of Kawi, with numerous loanwords from Sanskrit and a few non-Malay vocabulary elements whose origin may be Old Javanese . After it was found, the text was first translated by Antoon Postma, a Dutch anthropologist and Hanunó’o script researcher in 1991.  The inscription documents the existence and names of several surrounding states such as the Tagalog city-state of Tondo.

Made out of copper, the inscription, measuring about 20 by 30 cms. (7.9 in × 11.8 in), with the words directly embossed onto the plate differs, in manufacture, from Javanese scrolls of the period, which had the words inscribed onto a heated, softened metal scroll.

The Calatagan Pot was, during the pre-Hispanic era, a ritual earthenware pot with thirty-nine syllabic inscriptions incised around its shoulder, representing one of the oldest surviving writing systems in the country. This artifact, with  a restricted mouth, an everted rim, and an indentation at the center base, measures 12 cms. in height, 20.2 cms. in width, with a rim diameter of 14.8 cms., and weighing 872 grams. The pot was given a relative age range of 14th to 15th century CE based on alleged associated artifacts.

Calatagan Pot

The artifact was found in Talisay, Calatagan, Batangas by farmer Feliciano Bugtong who sold it to the Research Foundation in Philippine Anthropology and Archaeology, Inc.  In May 1961, ithe foundation donated the pot to the National Museum of the Philippines.  In 2010, the Calatagan Ritual Pot was declared a National Cultural Treasure.

The pot was particularly used as native incense burner for the pag-ulî (return) ceremony rite to retrieve the soul of moribund victims of bugkut, disappeared persons believed to have been abducted by dwellers of the spirit world.  The inscription essentially provides the outline of a three-stage monologue, presumably elaborated by a babaylan (a native shaman and usually female) in a trance during the pag-ulî ritual.

The Doctrina Christiana (English: Christian Doctrine), an early book on the Catholic Catechism, written in 1593 by Fray Juan de Plasencia, is believed to be one of the earliest printed books in the Philippines. The title, literally meaning “The Teachings of Christianity” is, thus, the primary goal of the book was to propagate Christian teaching across the Philippine archipelago.

The book, printed using the xylographic technique (printing each page of text from one hand carved woodblock) on paper made from mulberry, consists of 38 leaves and 74 pages of text in Spanish, Tagalog transliterated into roman letters, and Tagalog in its original Tagalog Baybayin (Sulat Tagalog) script, under a woodcut of Saint Dominic, with the verso originally blank although, in contemporary versions, bears the manuscript inscription “Tassada en dos reales,” signed Juan de Cuellar. The size of the volume, which is unbound, is 9⅛ by 7 inches, although individual leaves vary somewhat due to chipping.

After a syllabary comes the basic prayers (the Lord’s Prayer, Hail Mary, Credo, and the Salve Regina) followed by Articles of Faith, the Ten Commandments, Commandments of the Holy Church, Sacraments of the Holy Church, Seven Mortal Sins, Fourteen Works of Charity, the Confiteor and a brief Catechism.

Hanunoo Mangyan script carved into bamboo

Also on display are musical instruments, containers and weapons inscribed with chants and messages. These bamboo strips were used to relay messages among members of Hanunuo and Buhid. Messages include invitation to wedding and special occasions and letters of request and notification, which were carried by anyone passing by or going to the destination of the message.

The members of Hanunuo, men and women, had an average of 4 bamboo lime containers. They were responsible for making, carving and designing their own container. Male young adults used to give bamboo lime containers to the females they admired and wished to be in a relationship with.

Tagbanua script carved into anitos (wooden idols)

“Baybayin: Ancient and Traditional Scripts of the Philippines” 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 and (02) 8527-0278. E-mail: nationalmuseumph@gmail.com. Open Tuesdays to Sundays, 10 AM – 5 PM. Admission is free.

Calauit Safari Park (Busuanga, Palawan)

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Calauit Safari Park

Part of the Sophia’s Garden Resort-sponsored tour

We all woke up 4 AM early in the morning as we were to slated to experience one of Coron’s as well as the country’s popular eco-tourism attractions – the 3,760-hectare Calauit Safari Park. Formerly known as Calauit Game Preserve and Wildlife Sanctuary, it would be the closest we would get to an African safari.

Check out “Calauit Island Game Reserve and Wildlife Sanctuary“

Malecachiao Pier

It was still raining when we all boarded our van (4:30 AM) for our 2-hour drive to Macalachao Pier in Salvacion, Busuanga, arriving there by 6:30 AM.  The pier has a souvenir shop selling really beautiful Calauit T-shirts. Here, we all had our packed breakfast before proceeding on our short, 10-minute motorized boat ride to Calauit Island.

Boat ride to Calauit Island

This would be my second visit to this island, the first happening nearly 25 years ago (February 25, 1995 to be exact) with my mother and sister Tellie.  We went there all the way by a motorized outrigger boat from Club Paradise Resort in Dimakya Island.

Calauit Island

Making landfall at Calauit Island

Located just off Busuanga Island’s northwestern coast, this park was established on August 21, 1976 by Presidential Proclamation 1578 issued by the late Pres. Ferdinand Marcos and opened to tourists since 1985.  To transform it into a savanna, the island residents were relocated and its bamboo forests were cleared to provide a suitable environment for the animals.

Information Center

Park rates

Upon arrival, we were all requested to sign up on the registration area of the Information Center and, from here, we walked a short distance (the tour truck, the park’s safari vehicle, wasn’t available), accompanied by our local guide Orlando “Orlan” Cruz, to where the animals grazed.  It had stopped raining by then.

Briefing with guide Orlando “Orlan” Cruz (right)

At the time of my 1995 visit, the park still had 8 species of herbivores from northern Kenya (Africa) comprising 43 Reticulated Giraffe (Giraffa camelopardalis reticulata), 78 Grévy’s zebra (Equus grevyi) and 6 types of antelopes –  155 Impala (Aepyceros melampus), two Thomson’s gazelle (Eudorcas thomsonii), 122 Waterbuck (Kobus ellipsiprymnus), 50 Common Eland (Taurotragus oryx), 14 Topi (Damaliscus lunatus jimela) and 16 Bushbucks (Tragelaphus sylvaticus).

A pair of Gervy’s Zebras

Since my first visit, the original individuals imported from Africa have all died, leaving behind only the offspring of the Reticulated giraffes, Grevy’s zebras, waterbucks and common elands (the Thompson gazelles, bushbucks  topis and impalas have all died because of infighting and poaching), which were all born in Calauit.

A small herd of Reticulated Giraffe

Of the remaining four species, we only spotted some the 24 zebras and the 32 giraffes (the 14 waterbucks and elands are shy and prefer to distance themselves from tourists).  The giraffes, captivating us with their magnificent colors, stood tall in full regal and charm while the zebras, with their black and white stripes, looked so classic.

Celine and Gabrielle bonding with a giraffe at the Feeding Station

The highlight of the tour was the Feeding Station.  Here, within an enclosed pen, we got to feed the giraffes with leaves from the bakawang gubat or malwandit (Carallia borneensis) provided by Orlan and got up close to them, something I wasn’t allowed to do during my first visit.

The author up close and personal with a giraffe

This was my first time close encounter with this graceful and beautiful animal, among the iconic and the tallest land animal in the world. The giraffes have names such as Isabel (the biggest giraffe of the lot), Miller, Terrence and Mylene, all named after their sponsors.

Calamian Deer

Though the giraffes and zebras are the crowd favorites, there were other animals in the sanctuary too. We also saw local, critically-endangered Calamian Deer (Hyelaphus calamianensis) grazing with the giraffes and zebras.

Palawan Bearded Pig

Philippine Porcupine

We also observed, in their pens, pools and cages in the mini zoo, the Philippine crocodile (Crocodylus mindorensis) , the Philippine porcupine (Hystrix pumila) , freshwater turtles, reticulated python, leopard cats, the Palawan bearded pig (Sus ahoenobarbus) and the Philippine macaque.

The author besides a camouflage tree

There was also a tree they called the camouflage tree because it looks like the camouflage uniform of servicemen.

Philippine Freshwater Crocodile

Leopard Cat

Today, the park now faces a number of challenges. The number of workers in the park has dwindled from 300 to 30 dues to budget cuts. The former inhabitants (mostly from tribes of Tagbanwas) of the peninsula who were relocated decades ago are returning via the Balik-Calauit movement. Currently, The provincial government is still reaching out to settle the disputes between the locals and the authorities in the park.

A pair of freshwater turtles

Philippine Macaque

Reticulated Python

Calauit Safari Park: Brgy. Salvacion, Busuanga.  Mobile number: (0926) 114-4443 (Mr. Froilan Sariego – park manager). Admission: PhP200 (Filipinos) and PhP400 (foreigners).  Use of tour truck: PhP1,000/2 hours (divided by how many you are in the group, maximum capacity is 20 pax). Feeding time of the giraffes is from 7 -9:30 AM. The Calauit Office is closed on Saturdays and Sundays and all tours desired to be taken from Saturday to Monday mornings should be reserved by Friday afternoon. All reservations received later than Friday afternoon will be confirmed Monday morning at 10 AM.

Sophia’s Garden Resort: 5 Dinagpan Rd., Sitio Jolo, Brgy. Poblacion 5, Governor’s Dr., Coron, 5316 Palawan. Tel: (048) 723-1871.  Mobile numbers: (0917) 543-5775 and (0939) 915-0274. E-mail: sophiasgardenresort@gmail.com. Website: www.sophiasgardenresort.com. You can also follow them on Facebook: Sophia’s Garden Resort

“Garing: The Philippines at the Crossroads of Ivory Trade” Exhibit (Manila)

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Seized African elephant tusks (Tanzania, Africa)

The “Garing: The Philippines at the Crossroads of Ivory Trade” Exhibition supports the National Museum of the Philippines’ advocacy against ivory trade that has led to elephants worldwide becoming endangered.  Ivory or garing, in Filipino, is a hard white material derived from the teeth of animals, particularly from elephants.

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Elephant tusks recovered from Lena Shoal Wreck off Busuanga, Palawan

On display are real African elephant (Loxodonta Africana) ivory tusks from Tanzania, Africa, seized by the Department of Environment and Natural Resources and donated to the National Museum of the Philippines.  There are also elephant tusks, among 5,000 artifacts (small bronze cannons and celadon greenware, 2,183 of which were recovered whole, 213 slightly damaged and 1,501 heavily damaged), dating from the 15th to early 16th century, recovered from the Lena Shoal wreck in Busuanga, north of Palawan in 1997.

Fragments of fossilized elephant tusks (Solana, Kalinga-Apayao, Bolinao)

Also on display are heritage ivory that were carved and installed in the faces and hands of statues of Roman Catholic saints as well as snuff bottles; fragments of fossilized elephant tusks recovered from  Cagayan (Taggat, Solana), Kalinga-Apayao and Pangasinan (Bolinao);. a fossilized ivory tusk of a Stegodon, an extinct species of proboscidean (the same family of species as the elephant and mammoth), recovered from the Kalinga–Solana area in the Cagayan Valley; sperm whale (Physeter macrocephalus) teeth (whole) from Torrijos,  Marinduque; model of a ship with ivory men; and wild pig (Sus philippensis) tusks from Penablanca, Cagayan.

Shell and Bone (Substitutes for Ivory)

Synthetic Ivory

There are also carvings made from ivory substitutes such as resins, compact bones (dahlite, protein, lipids)of domesticated animals; shells (calcium carbonate) of marine mollusks; vegetable ivory (cellulose) from the tagua palm tree (Phytelephas spp) found in South America;  the casque (keratin) above the beak of the Helmeted Hornbill (rhinoplax vigil); a shell pendant, bracelet and earring; bone letter opener with Carabao horn handle; bone chopsticks; snake bone headdress (Mountain Province); a cow bone carving; bone jewelry box with decorative motifs; an elephant bone with inscriptions; a boar tusk armband (Mountain Province) and bone pendants.

Blessed Virgin Mary (unknown artist)

“Garing: The Philippines at the Crossroads of Ivory Trade” Exhibit: 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.