ICC Reviewer (MINDANAO)

Mindanao

Land of Promise. Home to some of the largest and most vibrant indigenous communities in the Philippines and it is rich in biodiversity and natural resources.

T’boli, Yakan, Maranao, Sama-Bajau, Maguindanao, Mandaya, Blaan, Tausug

Major Indigenous Groups in Mindanao

T’boli

South Cotabato, around Lake Sebu. Intricate weaving tradition, (T’nalak). Culturally rich, indigenous community with a unique language and traditions. Makes up 15% population of tribal groups. Approximately 60, 000 individuals. Hunter/gatherers and agriculturalists. Widely known for weaving tradition T’nalak.

Yakan

Basilan and parts of Zamboanga. Vibrant hand-woven textiles featuring bold geometric patterns.

Maranao

Largest Muslim communities in Mindanao, in Lanao del Sur. Okir designs. Meranao”, “Mranao”, derived from ranao (lake), (people of the lake). First inhabitants of the shores of Lake Lanao.

Sama-Bajau

Sea gypsies, moving between coastal regions of Mindanao, Sulu, and nearby islands. Mat weaving and the creation of intricately carved wooden boats. Found along the coastline of the Philippines, Malaysia, and Indonesia. Known for their maritime lifestyle, living on houseboats called vintas.

Maguindanao

Lives in the Province of Maguindanao and surrounding areas in Central Mindanao. Rich cultural heritage, with traditions rooted in Islam and centuries of history. Migrated to the islands from Southwest Asia several thousand years ago. Magig and danao --> “people of the flood plains.” Occupy Pulangi River, part that flows toward Illana Bay

Mandaya

Live in the provinces of Davao Oriental and Compostela Valley. skill in beadwork and weaving.

Blaan

South Cotabato and Sarangani. Tabih Weaving. Found in the neighbour provinces of South Cotabato, Sarangani, and Davao Del Sur. Speak Blaan language which belongs to Austronesian language family. “Opponent”, and “people.” Leadership roles are often hereditary, with the datu (chief) holding significant authority within the community.

Tausug

Sulu Archipelago. Pis Syabit and metalcrafts. Follow Sunni Islamic and believed to have migrated from northeastern Mindanao following contact with Sama Bajau traders.“Person”, and “sea current”, “people of the current.” Land ownership is clan-based and managed by local leaders called datus, and their marriage and family customs align with Muslim traditions.

Cultural Identity and Heritage Preservation

Crafts serves as living connection to their ancestors and cultural roots. Designs, techniques, and materials used are closely tied to their collective memory and identity.

Social and Spiritual Significance

Crafts are intertwined with the social and spiritual lives of the communities. Produced in relation to specific rituals ceremonies, or milestones in life.

Economic and Communal Value

Vital source of livelihood. Funds the community activities and cultural preservation efforts. Women play a central role in craft production, contributing significantly to both household income and the continuity of their cultural practices.

Abaca, Bamboo & Rattan, Natural Dyes, Wood, Beads & Shells, Metal

Common Materials used across the Region

Backstrap Loom Weaving, Ikat Dyeing Technique, Brass Casting (Lost-Wax Method), Mat Weaving, Wood Carving, Beadwork

Traditional Techniques

Backstrap Loom Weaving

Used by indigenous groups like Yakan, Mandaya, and T’boli, involves strapping the loom to the weaver’s back with another end fixed.

Ikat Dyeing Technique

Resist-dyeing where threads are tightly wrapped to resist dye, creating intricate patterns.

Brass Casting (Lost-Wax Method)

Used by Maranao’s to craft items like traditional gongs and betel nut boxes with detailed okir designs.

Mat Weaving

Practiced by Sama-Bajau and Yakan, involves drying, splitting, dyeing, and weaving pandan or buri palm leaves into intricate, colorful designs.

Wood Carving

Highly specialized craft, particularly among the Maranao and Bagobo. Artisans use chisels and other tools to carve intricate patterns and figures into wood

Beadwork

Prominent among the Mandaya, Blaan, and Bagobo communities, where artisans create necklaces, bracelets, and belts with symbolic patterns reflecting spiritual beliefs, social status, and cultural narratives

T’nalak

Sacred cloth woven traditionally made by women of royal blood, thousands of patterns that reference folklore and stories are known to the T’boli women by memory. Features intricate dyed imagery that they believed came from their dreams. T'boli women are known for their sense of beauty which is reflected in their weaving known as “Woven dreams.”

Fu Dalu

spiritual guardian (guides). The spirit of abaca.

Kedungon, Tembong, Mewel, Semaki

T’nalak Weaving Process

Yakan

Native inhabitant of Basilan Island in the Sulu Archipelago, Southern Philippines. Means “Dayak Origin”, believed to be descendants of Orang Dyaks or Tagihamas of Eastern Indonesia. Women are renowned as exceptional weavers in the Philippines and Southeast Asia. Skilled in agriculture, cultivating upland rice.

Apuh Ambalang Ausalin

Master magtetennun (weaver) of Yakan textiles, was renowned for her exceptional expertise in Yakan weaving techniques and designs, particularly the distinctive sinalu'an and seputangan , the trademark of which characterized by vibrant colors and a harmonious blend of tiny diamonds and geometric designs, a trulyeye-catching creations.

Tennun

Woven cloth

Suwah Pendan

embroidery-like embellishment

Suwah Bekkat

Pandey

Yakan traditional midwife

Bayre or beyde

Wooden bar in backstrap loom

Gadur, Kulintang, Tabak, Betel Nut Box

Brassware of Maranao

Gadur

Features a bulbous, rounded base that tapers to a thinner neck, topped with a domed lid and a long, spire-like finial. Stylized orchids (obar-obar) and rope twist (obid obid) borders. Ceremonial container for rice, tobacco, or other items. Popular decorative object and a symbol of wealth and status among the Maranao.

Kulintang

Consists of a row of small, horizontally laid gongs that are tuned to specific pitches. Struck with wooden or bamboo beaters to produce melodic tunes. Made of either brass or bronze. Ensemble includes the kulintang (melodic gongs), larger suspended gongs (agung and gandingan), and drums (like the dabakan). Plays rhythmic and melodic patterns, celebratory occasions (weddings, festivals...)

Tabak

Brass pedestalled tray, often elaborately decorated with intricate designs. Features geometric and floral motifs. Serving platter for food during special occasions and festive events

Betel Nut Box

Known as lotoan among the Maranao people, is a beautifully crafted container used to hold the various components of betel chewing. Consists of multiple compartments, each designed to hold different ingredients such as betel leaves, areca nut, lime, and chewing tobacco Primary use of the lotoan is to store and organize the ingredients for betel chewing, a traditional practice among many Southeast Asian cultures.

Okir Motif

Distinctive curvilinear design that is prevalent in Maranao art. It features intricate patterns inspired by nature, such as vines, leaves, and flowers

Naga (Serpen/Dragon) and Pako Rabong (Fern)

Curvilinear Design

Naga (Serpent/Dragon)

Depicted with flowing, serpentine lines. Believed to drive away evil spirits and symbolizes power and protection

Pako Rabong (Fern)

Symbolizes growth and resilience, and cyclical nature of life.

Geometric Pattern

Rectelinear Design. Zigzags, diamonds, and others. Used in okir-a-bai (female okir) and symbolize feminity and grace.

Floral Motifs and Leaf & Vine Motifs

Floral & Foliage Motifs

Inaul

Weaved” in Maduinadanaon language. Hand-woven cloth that traces its history all the way from the introduction of Islam in Mindanao by Shariff Mohammad Kabunsuan. Comes in different designs and patterns that symbolize something deep and emotional about the weaver. Made into malong and tubaw. Gowns, trousers, polo shirts, wallets, bags, shoes, and many more. 2017,first Inaul Festival, showcased designs of famous designers

Sultan Umping

Popularized Inaul Festival.

Karanda

Cloth  version of treasure holder

Sikukaruwang

Blends the main pattern shaped like an elbow, with a diamond-shaped figure called the “kinayupu”

Lombayan

Evokes the emotions of love and sadness

Biyaludan

Most expensive and used only during special occasions

Sikuandune

Characterized by a small tip with a shorter tail design

Mandaya Jewelry

Beadwork. Used materials such as glass beads, shells, and seeds. Red, yellow, white, and black, very rarely green and blue are added

Sewn Beadwork

Embroidery on Fabric. Beads are sewn onto woven fabric or traditional garments. Used to adorn clothing and ceremonial attire with patterns that often have cultural significance

Bead Applique

Overlay Techniques. Beads are sewn or glued onto a base fabric to create decorative patterns. Used in decorating traditional garments and accessories

Kulubata (Necklace), Lusag, Balikug

Jewelry of Mandaya

Kulubata

Apron-like necklace made of beads and adorned with coins

Lusag

Choker made of beads

Balikug

Earring made of four strands of beads with red thread tassel

Blit Blaan

A courtship dance, is one of their famous traditional dances, showcasing their rich cultural heritage.

Tabih

A traditional cloth made from abaca fibers, woven with colorful and intricate designs that often carry symbolic meanings

Handwoven Tradition

Involves attaching the loom to the weaver's body and anchoring it to a stationary object, allowing for precise control over the weaving process

Intricate Patterns

Picking threads to form specific designs and using different colors and textures

Symbolic Color Usage

Include vibrant reds, yellows, blues, and blacks, each representing different elements of Blaan culture and beliefs

Darhata Sawabi

Renowned Tausug weaver who has gained significant recognition for her work in preserving and promoting traditional Tausug weaving techniques. Awarded the Gawad sa Manlilikha ng Bayan (National Living Treasures Award) in 1998

Pis Siyabit

Highly valued handwoven cloth. Used as a head covering, it is made from cotton or silk, sometimes incorporating gold threads, and features intricate geometric patterns in small squares, triangles, and diamonds. Worn on the shoulder, tied around the sword hilt, or used as a headpiece by Tausug men. Used for decorating homes and as gifts. Believed to have been influenced by Chinese textile methods.