Category Archives: SPECIAL TOPICS

Church of Our Lady of the Purification (Binmaley, Pangasinan)

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Church of Our Lady of Purification

This church, once the largest church in the province during the latter part of the 19th century, was first constructed in the 16th century but burned down in 1745. The succeeding brick church, built towards the west of the former, was begun by Fr. Jose Salvador in 1747 finished by Fr. Francisco Barroso, OP, in 1754.

The right side of the church with some of the original brick facing now exposed

During World War II, the church was heavily damaged (only the walls and the partly damaged bell tower were left after shelling by American warships from January 7-9, 1945) and later rebuilt.

The 5-storey bell tower on the church’s right

AUTHOR’S NOTES:

This church’s 3-level, relatively simple Baroque brick (now plastered over) façade has  semicircular arched main entrance, flanked by semicircular arched windows, at the first level; and a semicircular arched statued niche, flanked by semicircular arched windows, at the second level.

On display in front of the church is a huge 1880 bell that bears the logo Fundicion de Metales de Santos Supangco.

The segmental pediment, separated from the second level by 3 rows of cornices, has a recessed octagonal window (above which is a cornice and a centrally located seal in the tympanum) flanked by smaller, recessed octagonal windows. The huge scrolls flowing down from the base of the pediment are typical of the Italian Baroque style.

The 1880 church bell on display outside the church

The 5-storey, square bell tower, on the church’s right, has blind semicircular arched recesses (canopied with triangular segments), at the the first 3 storeys, and semicircular arched open windows at the receding upper levels.  It has 3 bells. One bell, weighing 4,130 pounds and cast in 1804, was once of the three biggest bells in the Philippines.

The main altar and retablo

The church measures 94 m. long and 16.8 m. wide. Juan Fuentes y Yepes, the Bishop of Nueva Segovia, is buried here.  The 35 m. long  transept has a high dome with 4 windows and is supported by 8 elegant columns with Composite capitals. The interior also houses 5 exquisite altars.

The church’s dome

Church of Our Lady of the Purification: Urdaneta Junction, Dagupan–Binmaley Road, Poblacion, Binmaley 2417. Tel: (075) 540-0047.  Feast of Our Lady of Purification: February 2.

How to Get There: Binmaley is located 223 kms. from Manila.

“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.

“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.

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.

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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.

Church of St. Nicholas of Tolentine (Dimiao, Bohol)

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Church of St. Nicholas of Tolentine

Part of the Panglao Bluewater Resort-sponsored CountrysideTour

One of the churches severely damaged during the October 15, 2013 earthquake was the Church of St. Nicholas of Tolentine in Dimiao.  The ceiling of the church received heavy cracks, the walls of both the left and right wings of the transept cracked open, and large portions of the outer stone finishes in various areas of the church exterior fell down.

As of early 2014, the structure, though still standing, was deemed unsafe to enter. Only priests and church convent authorities were allowed to enter the church. As of this writing, the church is being repaired, with scaffolding installed throughout the exterior and interior. We were allowed to enter the church.

The painted ceiling

 

The town’s present magnificent church, one of the oldest in the province, was built from 1800 to 1815 by Fr. Enrique de Santo Tomas de Villanueva with cut stone blocks. On  July 30, 2011, the church complex, including the Ermita Ruins, were declared as a National Cultural Treasure by the National Museum due to its outstanding historical, aesthetic, social and architectural significance.

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The church has a cruciform plan with an atypically short transept. The church is the only other Spanish-era church, aside from Loon,  that was not originally built with a portico

Its powerful Early Renaissance façade, with subtle hints of baroque and Muslim influence, is divided into segments by square pilasters ornamented with a shallow octagonal relief of fine floral carvings arranged as vertical bands.  On the lower level is a semicircular main entrance (above which is the Spanish coat-of-arms) flanked by blind windows.

On the second level is a statued niche of San Nicolas Tolentino topped by a small pediment and flanked by semicircular windows.

The octagonal bell tower

The steep stone stairway leading up to the right bell tower

On the church’s flanks are two minaret-like octagonal bell towers with seven bells, the earliest dating from 1841.  The tower on the right is accessible by a steep stone staircase followed by a wooden one.

The main altar retablo

Inside are three Neo-Classical retablos, a pulpit with wrought iron banister and a spacious sacristy and choir loft.

The pulpit with wrought iron bannister

The convent, now a school behind the church,  was constructed by Fr. Manuel Carasusan (1842 to 1855 and 1858 to 1864).  Part of its ground floor has a small parish museum. It is linked to the church sacristy by a bridge-like corridor.

Left side retablo

Church of St. Nicholas of Tolentine: Poblacion, 6305 Dimiao. Tel: (038) 536-1009. Feast of St. Nicholas of Tolentine: September 10.

How to Get There: Dimiao is located 44.7 kms. (a 1-hour drive) east of Tagbilaran City.

Bohol Tourism Office: Governor’s Mansion Compound, C.P.G. Ave. North, Tagbilaran City, 6300 Bohol.  Tel: +63 38 501-9186.  E-mail: inquire@boholtourismph.com.

Panglao Bluewater Resort: Bluewater Rd., Sitio Daurong, Brgy. Danao, Panglao, 6340 Bohol.  Tel: (038) 416-0702 and (038) 416-0695 to 96. Fax: (038) 416-0697.  Email: panglao@bluewater.com.ph. Website: www.bluewaterpanglao.com.ph.  Manila sales office: Rm. 704, Cityland Herrera Tower, Rufino cor. Valera Sts., Salcedo Village, 1227 Makati City, Metro Manila.  Tel: (632) 817-5751 and (632) 887-1348.  Fax: (632) 893-5391.

Church of the Holy Trinity (Loay, Bohol)

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Church of the Holy Trinity

Upon arrival in Loay, our van entered the  church complex via the short bend from the road to Loboc. This old and charming church, built on top of a plateau overlooking the sea, near the mouth of the Loboc River, is also reached by short flight of stairs from the main highway.

The church after the October 15, 2013 earthquake (photo: Wikipedia)

Built with cut coral stone, it is cruciform in plan, with a low quadrangular pyramid atop the crossing, and was probably finished in 1822. The church was recently declared as a National Cultural Treasure and National Historical Landmark in 2003.

The restored portico facade

The church has two facades: an inner (1822), decorated with low relief (atop the inner doorway is inscribed the year 1822, indicating its presumed date of completion), and an outer three-level Neo-Classical portico-façade (apparently completed in the 20th century as its upper register is in reinforced concrete).

NHI Plaque.  It states that a certain Fr. Leon Inchausti was once assigned to this parish, that he was subsequently martyred during the 1936-39 Spanish Civil War and that he was canonized in 1999 and is now a saint

It has a semicircular arched main entrance (which formerly had a Latin inscription “Deus Trinus et Unus” above it, alluding to the parish’s dedication to the Holy Trinity) at the first level, rectangular windows on the second level and a low triangular pediment topped by allegorical figures of Faith, Hope and Charity. The sides of the church are reinforced by huge buttresses.

The ceiling murals obscured by a maze of scaffolding

During the October 15, 2013 earthquake, the church’s portico-facade fell down but, during our visit, it had already been restored. Inside, there were still a lot of scaffolding with repair work still ongoing.  The painted trompe o’eil ceiling is filled with murals of Biblical scenes finished by Ray Francia on June 15, 1927.

The colonnaded main altar has a Neo-Classic retablo with images of the Holy Trinity (with God the Father seated on the right, God the Son on the left, and God the Holy Spirit in the form of a dove above them) topped by a baldaquin.

There’s also a massive pipe organ installed in 1841 and a pulpit topped by a torravoz with Neo-Gothic dome and fringed by a “lacework” of metal and wood.

Stairs leading to the choir loft

The separate, three-storey octagonal bell tower, topped by a domed roof, was built by Fr. Carlos Ubeda (1859 to 1865).  The stone and wood convent now houses the Holy Trinity Academy, founded in 1947.

The separate, 3-storey bell tower

Church of the Holy Trinity: Tel: (038) 538-9158 and (038) 501-1145. Feast of the Holy Trinity: Trinity Sunday (May).

How to Get There: Loay is located 22.1 kms. (a 30-min. drive) east of Tagbilaran City.

Bohol Tourism Office: Governor’s Mansion Compound, C.P.G. Ave. North, Tagbilaran City, 6300 Bohol.  Tel: +63 38 501-9186.  E-mail: inquire@boholtourismph.com.

Panglao Bluewater Resort: Bluewater Rd., Sitio Daurong, Brgy. Danao, Panglao, 6340 Bohol.  Tel: (038) 416-0702 and (038) 416-0695 to 96. Fax: (038) 416-0697.  Email: panglao@bluewater.com.ph. Website: www.bluewaterpanglao.com.ph.  Manila sales office: Rm. 704, Cityland Herrera Tower, Rufino cor. Valera Sts., Salcedo Village, 1227 Makati City, Metro Manila.  Tel: (632) 817-5751 and (632) 887-1348.  Fax: (632) 893-5391.