Chapter 4 PRE- Colonial ARTS Ethnic ARTS PDF

Preview

Summary

CAT 4: PE- COAL S NI TPRE-COLONIAL ARTS / ETHNIC ARTSWas there art before colonization?In art chronicle terms, we imply art a few times as of late the coming of the essential colonizers as “pre - triumph”. In expound terms, we insinuate to it as natural the thought that our forerunners have been mak...

Description

CAT 4: PE- COAL S NI T PRE-COLONIAL ARTS / ETHNIC ARTS

and prey, and the sounds that they made. But how do arts apply?

Was there art before colonization? In art chronicle terms, we imply art a few times as of late the coming of the essential colonizers as “pre - triumph”. In expound terms, we insinuate to it as natural the thought that our forerunners have been making art without a doubt a few times as of late colonization. It is also described in cultural terms as “pre-colonial” as a term to use the general way of life before colonization. Although the terms are interchangeable, it is also useful to keep these distinctions in mind when studying the art of the past. In Pre – colonial Philippines, arts are for ritual purposes or for everyday use. Art of the ancient Filipinos was woven into the fabric of everyday life. They do not refer to art as we do today. That is, as an expression of an individual, and seen largely in galleries and concert halls. They do not distinguish forms into different categories like music, theater, visual arts, etc. Everyday expressions were all integrated within rituals that marked significant moments in a community’s life, like planting, harvesting, rites passage, funerary, ceremonies, weddings, among others. (crafted from: Flaudette May Datuin et. al, 2016. Contemporary Philippine Arts of the Regions p. 15) Our ancestors, just like others in the world during those times, were hunter gatherers. The forefathers hunted food and game that were shared among members of a community in a gathering where they told stories about the hunt. They imitated the movement of animals

In this simple activity alone evolved ritual, music, dance, theater and yes even literature. When they told stories about the hunt, this form of oral storytelling marked the beginnings of the literature. When they imitated movements of the animals they hunted, this marked the early beginnings of theater or play acting. When they learned to add drum beating and attach rhythm to their movements, they have given birth to music and dance The pre- colonial peoples of the Philippines already possessed a varied and vibrant musical culture. The country’s indigenous cultures through the existence of ethnic musical instruments such as pipes , flutes, zithers, drums, various string instruments like kudyapi a three stringed guitar, the kulintang – an array bossed gongs, the gansa or flat gong, bamboo percussion instruments, and the gong – large bossed gong. The following are the native dance forms imitated from the movements of the animals: 1. Pangalay dance (Sulu) is mimetic of the movements of the sea birds. Pangalay is a traditional Tausug dance characterized by elaborate body postures and gestures and the graceful arm and hand movement of the dancer, amplified by the use of janggay or metal claws. The dance is performed to the music of the kulintangan, gandang, agong and gabang. Commonly referred to as the fingernail dance, Pangalay is usually performed during weddings and other festive celebrations.

2. Mandaya’ Kinabua, Banog – banog (Higaonon & B’laan), and ma- manok (Bagobos in Mindanao is imitated the movements of predatory birds. The Indonesians who came to the Philippines in a series of immigration waves from 3000 to 500 BC, intermarried with the native women and begot the Manobo of eastern Mindanao. The Malays who migrated to the Philippines between 300 to 200 BC through Palawan and Mindoro, intermarried with the Manobo and begot the Mandaya. The Chinese came in the 13th century and through intermarriage contributed further the racial development of the Mandaya. 1. Talip dance (Ifugao) that is used for courtship is mimetic of the movements of wild fowls. The Ifugaos inhabit the rugged and mountainous part of Northern Philippines. They built the magnificent payo or rice terraces, the grandest manmade structure of antiquity not made by slave labor. They dance at weddings, planting and harvest rituals, funerals and rites of passage. Full of symbolism, their dances reflect their values and aspirations, civility and spirituality. 2. Inamo dance (Matigsalugs) and Kadaliwas dance (T’Boli) represent the comedic movement of the monkey. The T’boli rhythmic movement often builds up to trance to ensure that omen from the spirits is

interpreted properly. The T’boli ritual dance is used to appease the gods; solicit good harvest; seek deliverance from pestilence; mark birth, weddings and death; prepare for war; celebrate victories; affirm social unity and identity. 3. Tinikling dance evocative of the movements of the crane, balancing itself on stilts – like legs or flirting away from the clutches of bamboo traps. Tinikling is a traditional Philippine folk dance which originated during the Spanish colonial era. The dance involves two people beating, tapping, and sliding bamboo poles on the ground and against each other in coordination with one or more dancers who step over and in between the poles in a dance. It is traditionally danced to rondalla music, a sort of serenade played by an ensemble of stringed instruments which originated in Spain during the Middle Ages. FAMOUS ARTWORKS DURING PRE – COLONIAL 1. Carving

● Bulul (Cordillera) a granary God that plays an important role in rituals ● Hagabi (Ifugao) a wooden bench Santos / sculptures of saints (Laguna and Pampanga) ● Okir (Tausug / Samal / Badjao) mythical sarimanok, the naga or serpent. ● Manunggul Jar discovered at Manunggul cave of Palawan.

2. Weaving

● Textile weaving a. Pis siyabit (Tausug of Sulu) a headpiece woven b. Malong (Maranao of Lanao del Sur) ● Mat and basket weaving a. Tepo mat (Sama of Tawi-Tawi) is a double layer made of Pandan leaves. b. Ovaloid basket (Itbayat, Batanes) a head sling made of nito or bamboo used to carry the harvests. c. Bubo (Ilocos region) is a sturdy bamboo strip used to trap fish. 3. Ornamentation

representations of various ethnolinguistic groups. a. Wearing gold jewelry (upper class Tagalog) b. Tattooing (Visayan) is believed to protect the individual from evil spirits, it is also a sign of bravery and maturity....