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“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.

Check out “National Museum of Anthropology”  and “Museum of the Filipino People”

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.

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.