Kulintang music of the southern Philippines

Unit check #3 - WM

Maritime Southeast Asia (the islands)

• Includes Brunei, Indonesia, Malaysia, the Philippines, Singapore, and East Timor

• Comprised of people of Austronesian descent (likely from ancient Taiwan and reaching S.E. Asia by 2000 BCE)

• Austronesian language family: 5th largest in the world

The Philippines

• ~7600 islands (~2000 inhabited, 26%)

• Luzon: the largest and most populated island (50 million people) and home to metro Manila (13 million)

• Tagalog: indigenous group and language, primarily on Luzon

• Primarily Catholic population (under Spanish rule 1521-1898)

• Significant Muslim presence in the southern islands starting ~1300s (Maranao and Maguindanao indigenous groups)

Gong cultures of Maritime S.E. Asia

• Gong: Javanese (Indonesian) word referring to a hammered bronze cymbal, suspended, and hit with a mallet

  • Gong chimes/pot gongs

  • Bronzed slabs

  • Gong chime ensembles/orchestras: groups containing combinations of these instruments

2 regional gong chime ensemble traditions

• The gamelan traditions of Indonesia (mainly Java and Bali)

• The kulintang of the southern Philippines (associated with the S.W. area of the island of Mindanao and the nearby Sulu archipelago)

• Both traditions share a colotomic structure: a pattern of regular punctuation by various instruments (plus, low-range instruments move more slowly than high-range instruments)

Kulintang gong chime ensemble of the southern Philippines

• Associated with the S.W. area of the island of Mindanao and the nearby Sulu archipelago

• Reflect both Southeast Asian and Muslim influence

Kulintang gong chime ensemble cont. 1

• “Gamelan”: from the old Javanese word for “to strike” or “to hammer”

• Range from very large to relatively small

• Can be brash/loud or soft/soothing

• “Gamelan”: from the old Javanese word for “to strike” or “to hammer”

• Instruments can be bronze or bamboo

Kulintang gong chime ensemble cont. 2

• Major instruments: suspended gongs, pot gongs, and tuned bronzed slabs

• Each gamelan unique and sacred: named, inhabited by a spirit, distinct tuning

• Kulintang (or Kolintang): can refer to the instrument or the ensemble featuring it

• The instrument: set of 5-9 pot gongs placed in a rack and struck with wooden beaters – perhaps a descendent of the kolenang pot gong (from the Sunda region of West Java)

Kulintang gong chime ensemble cont. 3

• Typically smaller than gamelans and more improvisatory

• Kulintang ensembles well in place before the arrival of Islam in the 14th century

• Traditional repertoire: old/new compositions for weddings, healing rituals, dance accompaniment

• Instrument primarily associated with women

• Orally transmitted - only began appearing in historical records in the 16th century (European travelers’ accounts)

Kakolintang Ensemble of the Maranao people (indigenous to Mindanao island)

• Onor: kolintang player and ensemble leader - a professional female performing artist and culture bearer

• Other instruments played by male musicians of high musical caliber

• The ensemble performs a repertoire of adung (old) and bago (new) style compositions.

• Kaganat sa Darangen: In addition to musical performance, includes dancing and poetic singing by the onor

Kakolintang Ensemble instruments

• Kolintang: row of 8 gongs - the lead instrument, melody instrument, and a woman’s instrument 

• D’bakan: goblet-shaped drum played with 2 rattan sticks

• Babandir: mid-sized gong - timekeeping instrument

• Agong Penang-isa: low-pitched hanging gong - main rhythmic pattern

• Agong Pamulasan: high-pitched hanging gong - interlocking rhythm

Kaganat sa Darangen - typical performance

• “Kakini-kini” entrance by the onor, followed by dancing with a fan, scarf, or malong

• Onor sings poetic verses from the Darangen epic (and maybe a love song)

• Onor elegantly sits at the kolintang and explores the high and low registers with a melodic riff (kaanon)

• Ensemble begins - onor joins by setting the tempo with a repeated striking of the 3rd gong before playing the melody of her first song choice

• While playing, onor may do kapangolilat (stick twirling)

Kaganat sa Darangen - typical performance cont. 1

• Fun and highly interactive: performers keep each other on their toes, often trying to outdo each other

• Gestures of courtship common:

• Male accompanists vie for the onor’s favor by displaying improvisation skills.

• In turn, her treatment of the melody and eye gestures can serve as a response. 

• Allows courting without public displays of affection (frowned upon in many Muslim societies)