58

Education Research Journal ISSN 2026-6332

Samsudin N. Abdullah, Volume (10) Issue (3): 58 – 83 May - 2020. RESEARCH PAPER

History, development and influence of kulintang music to the cultural heritage (adat-betad) of Maguindanaon

Samsudin N. Abdullah, PhD

Master Teacher II of Esperanza National High School, Esperanza, Sultan Kudarat, Region XII, 9806 Philippines

Author‟s email address: samsudinabdullah42@yahoo.com

Author

Samsudin N. Abdullah, PhD

Master Teacher II of Esperanza

National High School, Esperanza, Sultan Kudarat, Region XII, 9806

Philippines

*Author‟s email address: samsudinabdullah42@yahoo.com

Abstract The influence of kulintang music rooted from Maguindanaon cultures that had already existed for several centuries before Arab traders arrived in Mindanao. To further trace back how this ancient music originated, developed and influenced the cultural heritage (adat-betad) of Maguindanaon, this study was prompted. Multiple qualitative methods were employed to have an in-depth investigation of the history, development and influence of kulintang music. Tribe elders, kulintang musicians and teachers were the key informants of the study. As found out, Maguindanaon had authentically performed Kulintang music and Singkil before other tribes had their own version. Singkil is a Maguindanaon term which means “jewelry and ornament worn on the anklet”. Close ties between Maguindanaon and non-Maguindanaon were strengthened by kulintang orchestration. Galang type of kulintang was originally owned by Maguindanaon. It was made from cartridges of powerful bullets during World War II excavated under Japanese human shield tunnels. In 1950’s, tribesmen started to sell their galang antiques to the Maranao. This was the main reason why galang gradually vanished from the custody of Maguindanaon. Before the real history of the origin of kulintang music will be blown by the winds of oblivion, this study hopes to redeem the credits of authentic ownership of kulintang ensemble and singkil to the Maguindanaon. Keywords: History, Development, Influence, Kulintang Music and Maguindanaon

Introduction Filipino Muslims were once a dominant group in the Philippines (Bara, 2018). They had 500 years political history, so far, the longest political experience compared to other ethnic groups in the whole country. About five (5) to ten (10) percent of the Philippine total population constitute the Filipino Muslims. In the 1970‟s, in reaction to consolidation of central government power under Martial

Law declared by Former President Ferdinand E. Marcos which began on September 23, 1972 and ended on February 24, 1986, the Filipino Muslim (Moro) population have been increasingly identified by the worldwide Islamic community, particularly in Malaysia, Indonesia, Libya, and some Middle East countries (Abdullah, 2015). Maguindanaon of Cotabato City, North Cotabato, Kidapawan City, South Cotabato, Koronadal City, Sultan Kudarat, Tacurong City, General Santos City, Sarangani

59

and Maguindanao; Maranao of Lanao Del Norte, Lanao Del Sur, Marawi City and other nearby municipalities; and Tausug principally from Sulu Island and Zamboanga are the three largest Filipino Muslims in the country.

Maguindanaon constitute the sixth largest Filipino ethnic group, along with Tagalog, Cebuano, Ilocano, Bicolano and Kapampangan. They are the most dominant Filipino Muslim group in the Philippines. Jong (2010) stressed that Maguindanaon, being the largest group of Muslims in Mindanao Island, live in the most unappealing area due to the marshy portion of the present site of Maguindanao. Their ancestral land, particularly in Datu Piang, Maguindanao, is flooded many times every year by overflowing rivers. In fact, for many years, Maguindanaon had been challenged by several sacrifices due to the overspill of Rio Grande de Mindanao that broke the provincial road connecting Datu Saudi Uy Ampatuan, Maguindanao and Midsayap, North Cotabato. However, due to the great leadership of present Governor of Maguindanao, Bai Mariam Sangki-Mangudadatu, the long term problems of the Maguindanaon were already given solutions. Datu Saudi Uy Ampatuan, Maguindanao and Midsayap, North Cotabato are now connected by the excellent infrastructure projects of the beloved Governor.

Maguindanaon are referred to as the “people of the river” since they mainly inhabit along the wide range of Rio Grande de Mindanao, the second longest river in the Philippines. Bara (2018) stressed that Maguindanaon dynasty ruled almost the whole island of Mindanao, particularly the former Cotabato Empire before foreign colonial periods. Before such colonialism, Lanao Del Sur and Lanao Del Norte were once united as one province of Maguindanao sultanate. Dacumos (2013) noted that Maranao are just only splinter group of Maguindanao people. Maguindanaon families traced their religious origins to Shariff Kabunsuan who introduced the religion to the old Cotabato Empire in 14

th century. Maguindanao then

became home to most of the country‟s Muslim or Moro populations, composed of many other ethnic groups particularly the Maranao and Tausug (Ethnic Groups of the Philippines, 2020). In other words, Maguindanao, together with Sulu Island, was the center of the Islam religion in the whole Philippines and Cotabato City is the seat of Bangsamoro Autonomous Region in Muslim Mindanaon (BARMM).

Music is one of the important parts of the Maguindanaon cultural heritage (adat-betad). Almost all of their ceremonies and festivities are accompanied by some sort of music. Maguindanaon traditional music falls under the two general types: (1) music for ritual healing, which is basically vocal without instruments; and (2) music for entertainment which involves instruments specifically kulintang ensemble. Kulintang ensemble is well known entire the Philippine archipelago, particularly in the Southern parts of the Philippines, due to its great influence to the Maguindanaon traditional practices. The most emblematic of Maguindanaon musical traditions is

manifested in the percussion and exhibition of their kulintang ensemble (Abdullah, 2015).

Datu Piang, Maguindanao is the oldest municipality of the Cotabato Empire and the traditional place of Maguindanaon. Abdullah (2015) stressed that the people of Datu Piang, Maguindanao have firmly maintained their cultural heritage despite foreign colonialism. Before and after the World War II (December 8, 1941 to September 2, 1945), communities of landless Filipino Christian migrants elsewhere in the Philippines, including the Chinese merchants, directly reached Dulawan, Datu Piang, Maguindanao via pump boat passing through the Rio Grande de Mindanao from Celebes Sea, particularly the Moro Gulf. Although, there were Chinese traders and Christians who happened to permanently reside in Dulawan, Datu Piang, Maguindanao, Maguindanaon were able to preserve their cultural heritage (adat-betad). As a matter of fact, non-native residents already embraced the cultures and traditions of the Maguindanaon. Some of them cannot be identified as Christians or Chinese since their accent, language and actions conform to the norms of the community (Grounded Theory).

The peaceful stay of Christians in Dulawan, Datu Piang, Maguindanao prompted the creation of Notre Dame of Dulawan, Inc. (One of the oldest Notre Dame Schools) on October 13, 1954. Notre Dame Academy now known as Notre Dame of Midsayap College (NDMC), in Midsayap, Cotabato was the first Notre Dame School in Asia established on June 13, 1941. The national government then was only able to provide elementary education opportunities for the communities of Cotabato Empire. Christian migrants saw the need for more schooling for their children beyond the elementary level. This is one of the strong evidences that both Maguindanaon and non-Maguindanaon have had a good rapport with each other and this good relationship cannot be broken by their different religious affiliations. Christians respect the traditional practices of Maguindanaon. Maguindanaon heartily accept the presence of Christians in the heart of Filipino Muslim community in Mindanao (Grounded Theory).

Due to the huge number of Christians in Dulawan, Datu Piang, Maguindanao, a Christian cemetery along the provincial road is evident. Another school, Central Maguindanao Institute (CMI), now known as Gani L. Abpi College, Inc. (GLACI), was founded by the royal Maguindanaon clan “Abpi” on October 26, 1960. This strong comradeship between Maguindanaon and non-Maguindanaon has been strengthened by the traditional playing of kulintang ensemble. It cannot be denied that Maguindanaon cultures and traditions have been preserved due to the playing of kulintang ensemble (Abdullah, 2015). Both classical (pinaganay) and contemporary (sinaguna) pieces of Maguindanaon kulintang ensemble let the young generations to culturally appreciate, reflect and preserve (CARP) their traditional practices (Grounded Theory).

60

The authentic pieces of kulintang music originated from Maguindanaon and these classical orchestrations had existed already for several centuries even before the arrival of Arab traders and other foreign invaders. To further trace back how this musical ensemble developed before foreign colonial periods and how it has influenced the cultural heritage (adat-beta) of Maguindanaon, this study was prompted. Objectives This study generally aimed to investigate the history, development and influence of kulintang music to the cultural heritage (adat-betad) of Maguindanao people. Specifically, this study did the following:

1. Explain why kulintang music is an ancient tradition of Maguindanaon; and explore their inspirations in discovering the melodious and artistic music.

2. Give the classifications of Maguindanaon kulintang ensemble; trace back the development of these types of kulintang; explain the origin of galang type of kulintang; and disclose the gradual disappearance of galang from the custody of Maguindanaon.

3. Discuss the Maguindanaon cultural practices influenced by kulintang ensemble; explain how kulintang music has preserved their cultural heritage (adat-betad); and give specific traditional practices reflected in each component of kulintang ensemble.

4. Determine what ethnic group in Mindanao firstly and authentically played kulintang ensemble; discover who firstly performed the traditional dance, Singkil; give the traditional etiquettes depicted by Singkil; and give the motivations of Maguindanaon in conceptualizing the graceful movements in Singkil.

Ethical Consideration The researcher informed the participants about the purpose, expected duration, and the benefits of the qualitative research. To effectively choose the informants who can give very reliable sources of information, purposive sampling procedure was employed. Protection of participants‟ human rights was the top ethical consideration of this research. The researcher ensured that all research activities such as interviews, focus group discussions (FGDs), historical analysis, document analysis and participatory rapid appraisal (PRA) conformed to the highest degree of ethical standards. The researcher guaranteed that participants were protected from unintended harm, especially in the areas of confidentiality and informed consent. Human dignity, inherent to all participants, irrespective of place of residence, gender and status, was carefully safeguarded. Every participant was equally entitled to human rights in participating in this study

without discrimination. Respecting participants‟ rights, preventing them from violating their rights and providing positive assistance or services during the conduct of the study were some of the researcher‟s utmost concerns. Participation to this research was voluntary. No one was forced to partake in the study. Plagiarism is a violation of the Intellectual Property Rights. Thus, proper referencing, citations and paraphrasing were strictly observed. Methodology This study employed multiple qualitative methods such as ethnography, historical analysis, phenomenology and grounded theory with an aid of interviews, focus group discussions (FGDs), document analysis and participatory rapid appraisal (PRA) to have an in-depth investigation of the history, development and influence of kulintang music to the cultural heritage (adat-betad) of Maguindanaon. Tribe elders, kulintang musicians and teachers were the key informants of the study.

Guide questions (open-ended questions) were rigorously constructed before conducting series of interviews, FGDs, document analysis and PRA. Validation stage of the guide questions for the interviews and FGDs was undertaken. Validation committee was consulted for the content, grammar, style and local language translation of the guide questions. The comments and suggestions of the validation committee members were incorporated to improve the guide questions based on the research questions. Pilot-testing of the guide questions to the tribe elders, kulintang musicians and teachers as initial participants who were from Sultan Kudarat Province was also conducted. Initial participants were asked with the same guide questions. When they had different responses with the same guide question, revision of the guide question was done. After series of revision, same guide questions already generated similar responses from different initial participants. This gave the researcher an idea that the guide questions were already valid and reliable and ready for data gathering activities.

Abdullah (2019) stated that when the guide question cannot saturate the data, it is not reliable. So, revision of the guide questions should be done. If the guide questions can generate similar answer after asking it to different initial participants, guide question is now reliable and ready for data gathering activities. Pilot-testing is a rehearsal of the guide questions. Initial participants should have the same characteristics with the possible participants of the study. Participants answered the questions in open-text and oral forms. Verbatim quotes were thematically analyzed based on the specific objectives of the study.

After finding out that the guide questions were valid and reliable, the researcher personally distributed the invitation letters to the 15 identified participants, a combination of tribe elders, kulintang musicians and teachers, who really gave reliable data needed in the study. Additional informants were referred to him by the 15 participants of the study. Invitation letters were given to these additional

61

participants. So far, no one refused to participate in the study since the researcher explained very well the purpose and benefit of this qualitative research. In fact, they were very excited for the results of the study. After giving the invitation letters, the participants were the ones initiating the schedule of the interview and focus group discussion. Most of the time, upon giving the invitation letter, participants gave their go signal to conduct the interview. Participants allowed the researcher to have the voice recorder during the interviews and focus group discussions. After all potential participants were interviewed and the researcher noticed that the data were already saturated; review of records of the available printed materials regarding the cultural practices of Maguindanaon was conducted. Online resources played a significant role in tracing back the recorded history of the cultural heritage of Bangsamoro (Local People of Mindanao) as well as the important dates relevant to the study. After collecting all data needed for the comprehensive discussion of the results, thematic analysis was done. This research was three years in the making to really give justice to the history, development and influence of kulintang music to the cultural heritage (adat-betad) of Maguindanaon. For these three years, the researcher has always been in Datu Piang, Maguindanao to do the participatory rapid appraisal (PRA) and to personally witness the Kulintang Ensemble Festival celebrated in the whole month of November of the year.

The study was conducted at Datu Piang, Maguindanao, the native place of Maguindanaon. Formerly known as Dulawan which was created on November 25, 1936 by Executive Order No. 66 of Pres. Manuel L. Quezon being the first municipality of the Cotabato Empire by virtue of Republic Act No. 1035, enacted on June 12, 1954, Dulawan was renamed Datu Piang in memory to the influential Muslim leader “Datu Piang” popularly known by his constituents as Amaymingka (father of Mingka) from the region during the American colonial period. Results and Discussion Kulintang Music as an Ancient Tradition of Maguindanaon Kulintang music is considered to be an ancient tradition as it predates the influences of foreign colonizers in Mindanao. Its authentic pieces originated from the Maguindanaon indigenous cultures that had inhabited already for several centuries before the arrival of Arab traders in 14

th century (1301 – 1400) specifically in 1380 in

southern islands of the Philippines. The first Muslims to arrive in Mindanao and Sulu islands were traders followed by the Arab missionaries in the late of 14

th century and

early 15th century. More than 200 years later, Spanish

settlement took place in the 16th century specifically in

1521 to 1898. Some Sultanates were able to resist attempts of external dominance until the United Sates (US) took over as the colonial power in 1898 (Koerner, 2005).

The US and later the newly independent Government in Manila promoted the settlement of landless Christians from the rest of the Philippines, mainly from Ilocos region and the Visayas islands, to the fertile lands of Mindanao, particularly in various parts of the empire province of Cotabato (Bara, 2018). This displaced local populations, Bangsamoro (Local People of Mindanao) and non-Islamized indigenous peoples (IP‟s), from their ancestral domain (The World Bank, 2005). In fact, some historians stressed that if it were not for the interlude of 375 years of Spanish and American colonial rule, the Philippines would be likely be a Muslim country today (Taylor, 2017). Maguindanaon are the hardest hit against foreign invaders and Filipino Christians due to their very brave cultures. They prefer to die just to fight for their religion. “Kanu paganay man antu na dapan ma-Islam i manga Bangsamoro anan na pegkukulintang den sekanilan. Ka namba i pakalagian na manga taw paganay ka dala pan i nia ba a manga sengel a nia a bagu. Makagkukulintang den i taw paganay na mapia den gaid i ginawa nilan. Dua ka embiasan man i kapeg-kukulintang anan. Aden kamamatuan endu aden kangungudan. Namba a kamamatuan anan na nauget den a benal i nan. Kamamatuan a nan na pendalmetan na manga taw paganay. Maka-uno gaid sa ginawa. Aden manga bayok endu sindil samba na nia bu pakatuntay na su manga tua bu” (Before Maguindanaon were converted into Islam, kulintang music was their major orchestration. Their pain and sorrow were temporarily eased by the playing of kulintang music. There are two types of playing kulintang music, Classical (kamamatuan) and Contemporary (kangungudan). Classical pieces were immemorial and had been invented already before Islam was propagated in Mindanao. These classical pieces of kulintang music relayed significant messages in which only tribe elders can understand. Kulintang music was the major orchestration of Maguindanaon), insisted by the tribe elders.

Throughout the hardest times of Maguindanaon to fight for their ancestral domain against foreign invaders and Filipino Christians, Kulintang ensemble, particularly Agong (Figure 1), was their excellent tool (traditional alarm clock) to inform the villagers if there were foreign colonizers and Filipino Christian migrants. They just struck the Agong very loud to warn the communities to be vigilant. However, their political power diminished after long period of fighting and resisting colonialism and Christianization particularly at the beginning of the 20

th century (1900 – 2000). Maguindanaon

fought alone without foreign support during this colonial period. By 1970‟s, three-fourths of their homeland was lost to Christians, mostly Ilocano, Ilonggo and Cebuano (Bara, 2018). Until such time that they are now minorities in their homeland. Their population is outnumbered by the Christians. The World Bank (2005) stressed that the local populations of Bangsamoro and IP‟s have become minorities in their own homeland since 1960‟s. Data from Philippine Statistics Authority (2017) revealed that only 4.28% of 1,032,824 population of Region XII and 14.30% of 3,451,644 population of Autonomous Region Muslim

62

Mindanao (ARMM) are Muslims. This is a concrete proof that Bangsamoro are now minorities in their homeland and a very reason why Bangsamoro have struggled enough to get back their ancestral motherland. Nevertheless, their beautiful cultures and traditions have been gaining attractions even in the international stage of arts and fashion. As a matter of fact, kulintang music and kabpagaul

(loom weaving) are two of their most attractive cultural practices that had existed already for many centuries before Islam religion was introduced in Mindanao. One of the oldest kulintang musicians in Datu Piang, Maguindanao said “Tribe elders didn’t have hobbies except playing kulintang music and kabpagaul (loom weaving).”

Figure 1: Agong as excellent tool (traditional alarm clock) to inform the villagers that there are foreign colonizers and

Filipino Christian migrants

During the Spanish colonial period (1521 – 1898) and American colonial period (1898 – 1946), Maguindanaon had no interest to go to schools as they were afraid of being Christianized. Instead of going to the school, Maguinadanaon preferred to play kulintang ensemble (Figure 2). When the Christians went to the Mindanao for Greener Pasteur, Maguindanaon in Datu Piang, Maguindanao really welcomed them with all their open arms. As revealed by the Christian tribe elders, migrants from Ilocos and Visayas islands then, through the support of Philippine government, got permit from the influential leaders of Maguindanao to occupy the vastly vacant land areas of Old Cotabato Empire. Although, Christians had different cultures with that of the Maguindanaon, the former were very well accommodated by the latter. Christians were really amazed with the artistic way of playing kulintang ensemble. Many native people of Maguindanao then were not diligent to maintain their abundant farm areas. During the interview, one of the informants stressed “Instead of digging into their fertile land areas and trapping aquatic resources in the river, they chose to play kulintang ensemble early in the morning and late in the afternoon. Other tribes claimed that Maguindanao tribesmen were “mapok” (lazy) so as to not maintain their farm areas”. So, Maguindanaon sold their fertile lands with a very minimal price and some just gave their farm land areas without any assurance of payment. Tribe elders were emotional while narrating this

“Kanu lagun iganat kanu 1970 taman kanu 1972, tidtu man i kinapangimatay na Ilaga sa manga Bangsamoro. Tembu nakapangaden sa black shirt ka da maaden intuba ba na katimalan i madakel a Moro i matay. Manga bulu endu sundang bu i manga igagama na sekita santu a kapembunua. Su agong sa entuba a timpu na nakadtabang gaid ka upama ka aden makagilek na pebpupuken sa matanug gaid ka endu gatawan na madakel a taw i nakauma su manga Ilaga. Tidtu man i kinapangua na manga bisaya sa lupa na Bangsamoro labi-labi den lu tampal sa Sultan Kudarat endu North Cotabato.”

In the year 1970 to 1972, Ilaga (Visayan term for rat, later translated to mean Ilonggo land grabbers) massacred many Bangsamoro. That was the reason why black shirt (group of Moro fighters) was created to fight for the Ilaga who forcibly grabbed the land areas of the Bangsamoro in some parts of Old Cotabato Empire particularly in Sultan Kudarat and North Cotabato. That time, agong was very useful. It was struck loudly to warn local people if Ilaga approached the community).

63

Figure 2: Simultaneous playing of kulintang ensemble

Christians were educated enough and they improved the lands they bought and grabbed from the Bangsamoro (native people of Mindanao). They secured the land titles. Maguindanaon elders admitted that they didn‟t think they‟ll become minorities in their homeland. Even though their land areas were taken away from them, the only thing they can be very proud of is that their artistic way of playing kulintang ensemble still prevails despite several adaptations of other tribal people in the Southern parts of the Philippines (Grounded Theory). One of the very expert kulintang musicians at Datu Piang, Maguindanao stated:

“Kanu timpu na manga Meehkanu na dala kami man pamangagi ka gagilekan kami sa makapil kami. Nia nami temu i migkukulintang kami kumin sa nangagi kami. Manga Meehkanu i ebpamandu santu a tempu. Namba i sabap nin i dala kami egkakataw matia endu semulat. Su lupa nami na pibpapasa nami sa sakimet bu i alaga nin. Su ped a taw na inipangengay nin su lupa nilan sa dala bayad nin ka madakel man saleki tanu i mapok. Di malini enggalbek sa lupa. Su ped a taw na nakua na akal na manga bisaya. Pinangentu na manga saluwang bu a taw ka dala nasabutan nin.”

The kulintang musician reiterated that during American Colonial period, they preferred to play kulintang ensemble than going to the school. They were afraid of being Christianized. That was the major reason why almost all elders of Maguindanaon were illiterate. They emphasized that their land areas were sold to the Christians with very minimal price. Many just gave their land areas even without payment. Many were misled by the Christians just to own their land areas since they were not educated. Many teacher-informants confirmed these statements of the elders. They added that if Maguindanaon tribe elders should have been educated enough, Maguindanaon didn‟t become minorities in their homeland. They should have

known their basic rights if they just knew how to read and write. Some kulintang musicians stressed

“Although we became minorities in our homeland, we should still be thankful because we are still recognized due to our beautiful cultural heritage. Our artistic way of playing Kulintang music cannot be imitated by other tribal groups. Our authentic pieces of playing kulintang ensemble are more melodious compared to other tribes.”

Kulintang is a Maguindanaon term for the idiophone of metal gong kettles which are laid horizontally upon a rack to create an entire kulintang ensemble. By the 20

th century

(1901 – 2000), the term kulintang had come to denote an entire Maguindanaon ensemble of five instruments such as Kulintang itself (The most melodious gongs among the five instruments and the time-keeper of the ensemble), Gandingan (The talking gongs), Agong (Traditional alarm clock), Babendilan (The starter) and Debakan (The neutralizer). Preserved for more than 1,700 years by Maguindanaon, the largest ethnic group in Mindanao, kulintang is a living testament to the rich cultural history of the Philippines. A public school teacher and one of the kulintang musicians said

“Kulintang compositions are passed down orally from generation to generation. The beauty and elegance of female Maguindanaon are reflected in their artistic way of playing kulintang music. However, this historic cultural heritage is in danger of disappearing because of lack of potential successors who can transmit the artistic and melodious ways of beating the set of gongs from one generation to another. I appeal to the local government units (LGUs), not only here at Datu Piang, Maguindanao, but other municipalities dominated by the Maguindanaon, to initiate annual activity of kulintang musical orchestration. Look at these days, playing of kutyapi (two-stringed,

64

fretted boat flute), dayunday (improvisational vocal style singing in front of an audience), tudtol (folktale) and other ancient traditional practices of Maguindanaon are now blown by oblivion”.

In ancient tradition of Maguindanaon, the local term for the entire ensemble is Palabuni-bunian which means “an ensemble of loud instruments” or “music-making” or to date, “music-making using a kulintang” (Butocan and Mayo, 2007; Abdullah, 2015). Before other tribal groups in Mindanao did have their own versions of kulintang ensemble, Maguindanaon had authentically and originally owned the traditional musical ensemble. Many other ethnic groups including the Maranao adapt the playing of kulintang ensemble but the original Maguindanaon pieces cannot be copied. Maguindanaon are really excellent in dances and arts but because of lack of sincerity to recognize their work, their authentic pieces were not credited to them. “That’s a big challenge for the young generations to revive what Maguindanaon deserve to have,” one of the teacher-respondents insisted.

In the wild valley of Rio Grande de Mindanao (Figure 3), local communities of Maguindanaon are separated from each other due to the frequent overflow of the river. Long time ago, tribesmen hardly relayed message from each other. They communicated each other using the loud sounds produced by the Agong. If there was a danger in their local communities, tribe elders had beaten the Agong many times to warn the villagers to prepare before the colonizers came closer to their ancestral domain. Beating of Agong was also an excellent traditional alarm clock for

the Maguindanaon to cook for foods very early during the month of Ramadhan. There were no electric power and no microphones. Tribesmen created “Tahbu-tahbu” (Figure 4), a very long cylindrical drum made up of wood covered with goat skin in one end. They hanged it in the Masguit (Mosque) and beat it loudly if prayer nearly approached its time. Small version of “Tahbu-tahbu” was made and it was called Tambol (Figure 4 also), small drum covered with goat skin in both ends. Small version of Agong, the Babendilan, one of the components of Kulintang ensemble, was made. Small versions of Agong and Tambol were the major musical sounds during Kuyog (Figure 5), parade of Bride and Groom together with many spectators during wedding ceremony. Traditional ritual healers of Maguindanaon employed Debakan to take away the bad spirits incarnating in the body of the ill persons. The beating of kulintang was once inspired by the sounds produced by the birds that used to stay along the Rio Grande de Mindanao. Some birds used to stay in some other pawas (bodies of water created due to the human shield tunnels of the Japanese). Once upon a time, there were so many species of birds that used to stay in different bodies of water and these birds produced very lyrical sounds. Tribesmen imitated the sounds produced by the birds until such time they were able to create the melodious authentic pieces of Kulintang music. One of the Kulintang musicians said

“Lyric poems and allegory are relayed using classical pieces of Maguindanaon kulintang music and only very expert musicians are able to understand the message.”

Figure 3: Maguindanaon communities separated by the frequent overflow of Rio Grande de Mindanao

65

Figure 4: Tahbu-tahbu and tambol (drawn by Arjey B. Mangakoy)

Figure 5: Kuyog during the traditional wedding (kalilang) of Maguindanaon (Photo is credited to the owner)

Cotabato City stages Annual Shariff Kabunsuan Festival every December 16 – 19 (a four-day festival) that highlights Islamic heritage. The celebration is in commemoration of the arrival of Arab missionary, Shariff Muhammad Kabunsuan, who introduced Islam in Mindanao in the 14

th

century, way before the Spaniards brought Christianity in the Visayas. The festival kicks-off with the Guinakit Fluvial Parade (Figure 6), which features a re-enactment of Shariff Kabunsuan‟s arrival at Rio Grande de Mindanao. It was

said that the Arab missionary rode on a colourful boat called Guinakit. Through the years, Guinakit has been the sailing vessel of Muslim royalty. For the parade, it is decked with flag lets and vibrant-colored fabrics (Manila Standard.net, 2019). Maguindanaon ride small pump boat just to attend to the big gathering wherein kulintang orchestration, dayunday and tudtol are held. Their day could not go normally without witnessing the festivity of different talents of Maguindanaon.

66

Figure 6: Guinakit fluvial parade (photo is credited to the owner)

Maguindanaon local communities are separated by frequent overflow of Rio Grande de Mindanao. Colorful pump boat is the common transportation mean of Maguindanaon to reach other nearby communities. This pump boat is decorated with small pandala (flag lets) and likos (fabric of different colors and designs). The colorful pump boat brings the Groom and Bride together with the spectators to the stage where the kalilang (wedding ceremony) is held. Guinakit (Figure 7) is a large boat, made of wooden material and heavily decorated in colourful, traditional Maguindanaon garments and carrying musical instruments, actors and actresses on board personifying Shariff Kabunsuan and his fleet of missionary

Muslims. The Guinakit traverses the Rio Grande de Mindanao during the parade just like Shariff Kabunsuan‟s fleet did 500 years ago. All competing boats look very spectacular and colorful and the performers in it, totally captivating (Hiker‟s Itch: Travel & Outdoor Blog, 2012). Guinakit is brilliantly enlivened with Maguindanaon fabric in clear shades of yellow, red and green garments. A move translation joined by customary music is additionally done amid the festival. Different exercises of the Shariff Kabunsuan celebration are alimango (crab) celebration, banca (boat) race, road parade, social introductions and culinary challenges (Hellowtravel, 2019).

Figure 7: Guinakit (ornament-clad boat dressed with heaps of tribal weaves (photo is credited to the owner)

Development of the Maguindanaon Kulintang The development of the Maguindanaon kulintang has been evident in its four (4) types which include Inetog, Inantang, Inubab, and Galang. Inetog (Figure 8) is a Maguindanaon term meaning “tied up”. It was the type of kulintang played

by the Maguindanaon before the arrival of the Arab merchants in southern islands of the Philippines in the year 1380. “The inetog small brass gongs which vary in sizes and tuning are connected by nylon. Sometimes, inetog is being joined, suspended and hanged in a tree and the musician plays from a standing position”, narrated by one

67

of the oldest kulintang musicians. Three of the public school teachers who are very expert in kulintang music said

“Apia su manga tua paganay na di nin katanudan i ngen i lagun i kinaludso egkukulintang a manga paganay a taw.

Inetog ba anan na kulintang na namba i paganay a abenal a kulintang”

(Even the tribe elders was not able to recall the exact year of the first existence of kulintang music. Inetog was the first type of kulintang played by the Maguindanaon very long time ago).

Figure 8: Inetog type of kulintang (drawn by Arjey B. Mangakoy)

Inantang (Figure 9) is a Maguindanaon term which means “arranged horizontally”. It was the classification of Maguindanaon kulintang played by the tribesmen during Spanish and American colonial rule (1521 – 1946). Traditionally, inantang can be suspended in the ikam (traditional mat) or malmek a banggala (soft clothes) to produce better sounds. It doesn‟t require ayanan (stand). Player can sit on the floor while striking the small mound at the center of each gong. Inetog and inantang are basically played by beginners. “Parents start teaching their children to play kulintang as early as 6 years old using inetog and

inantang which are usually made up of rectangular semi-black or white brass pot graduated in different sizes”, stated by the teacher-participants during the interviews and focus group discussions. Inetog and inantang types of kulintang convey how this set of musical instruments has started to evolve (Abdullah, 2015). During the Japanese colonial rule (1942 – 1945), inetog and inantang were gradually disappearing since Maguindanaon elders were able to improvise their kulintang. In the later parts of 1942‟s, the “inubad” kulintang came into existence (Grounded Theory).

Figure 9: Inantang type of kulintang (drawn by Arjey B. Mangakoy)

Inubab (Figure 10) comes from the Maguindanaon term “ubab” which means “coconut shell”. This type of kulintang looks like half of the “coconut shell” (ubab). Modern type of kulintang started from the inubab type which is also in 8 different sizes and melodies. Kulintang is provided with antangan (rack) so that player won‟t feel tired in playing the

instrument. The player sits on the chair usually having the same height with kulintang rack. A pair of betay (smooth wooden sticks or light beaters) cylindrical in form is used to strike the gong bosses. Two participants insisted that “Some of the great kulintang players have kadtinengka (exhibitions) in playing with ma’na (personal message)

68

depending upon the ganggiginawa (emotions) they wish to impart to the audience.” The message can only be interpreted by the great musicians. Sindil (allegory) and

bayok (lyric poem) can be relayed using kulintang ensemble (Abdullah, 2015).

Figure 10: Inubab type of kulintang

Galang (Figure 11) is the most expensive type of Kulintang. It came into existence during the Japanese colonial rule (1910 – 1945), specifically in the later parts of 1940‟s. It replaced the “inubad” type of kulintang. It is being preserved by the Maguindanaon purposely to let the young generations remember that kulintang is the most significant musical instrument of their ethnic group. It is made up of expensive golden bronze which is also in 8 different sizes and tuning graduated in form. Kulintang which is white or semi-black in color is classified as “inubad”. Golden bronze kulintang belongs to “galang”. These two types of kulintang are almost the same; they basically differ only in colors. The expensive the kulintang, the better the tuning being produced! The three common colors of kulintang are semi-

black, white and golden bronze. Inetog is basically rectangular in form. Inantang is the improvised version of inantang. There is an inantang type of kulintang which is in rectangular form and there is also an inantang type which is circular in form. Inubab and galang are in circular form. Kulintang can be made from a brass, iron or bronze. “Replica of a kulintang is observed in the design of the costumes during cultural presentations, street dancing competitions and even in the decoration of the houses. That’s one of the evidences how Kulintang ensemble is influential to the lifestyles of Maguindanaon,” told by one of the teacher-participants. Development of kulintang from ancient type to the modern version is presented in Figure 12 and the replica of the kulintang is shown in Figure 13.

Figure 11: Galang type of kulintang (photo is credited to the owner)

69

Inetog type of kulintang was invented by the ancient Maguindanao people 1,700 years ago. Inetog was in very thin rectangular form made up of putaw (steel). The 8 gong kettles of different rectangular sizes and tuning were connected by a rope (cord). When Inetog had been horizontally laid upon the ikam (mat) or malmek a banggala (soft cloth), it didn‟t produce a good sound especially if the gong kettles were removed from the tali (rope). This prompted the Maguindanaon to make an inubab type of kulintang. Inubad was laid upon horizontally in the ikam or

malmek a banggala without a rope (cord) anymore and it produced better sound. Since ikam or malmek a banggala was not appealing for the Maguindanaon when they played kulintang in a certain gathering, they went back to the antangan (rack) but they didn‟t anymore connect the 8 different gongs with rope (cord). In other words, the rope (cord) no longer connected the gongs. Instead, the gongs were placed over the rope (cord) attached to the ends of the rack. Until such time that modern designs of the rack and gongs were invented.

Figure 12: Development of kulintang

70

Figure 13: Replica of kulintang as part of the costume of the cultural street dancers

In the middle parts of 1950‟s, Maguindanaon started to sell their galang antiques to the Maranao whose main source of income was trading antiques, kitchen utensils, cosmetics, etc. As of this time, there are only very few galang kulintang in the Maguindanao areas. During the focus group discussion, tribe elders emphasized that “Many galang kulintang are now owned by the Maranao. It has been observed that Maranao traders are seen in different parts of the Philippines trading various kinds of goods.” Antiques such as galang and other metals were originally owned by the Maguindanaon and these antiques were made from the cartridge cases of the huge bullets (kebu na sinapang a masla) during World War II (December 8, 1941 to September 2, 1945). These cartridge cases were excavated under the “kakal a Hapon” (Japanese shield tunnels). These “shield tunnels” were made by the Japanese to defend themselves from the attack of the American soldiers during World War II. These “kakal a Hapon” are still evident in some parts of Maguindanao. In fact, some of them became small lakes (Grounded Theory). This is the main reason why galang kulintang is now seldom seen in the Maguindanao areas and mostly observed in the Lanao territory and now owned by the Maranao. Due to the vanishing of galang kulintang, “inubad” kulintang with white or semi-black colors was revived. To date, this is the common type of kulintang ensemble owned by the most Maguindanaon. Maguindanaon Cultural Practices with the Accompaniment of Kulintang Ensemble Kulintang ensemble is commonly played by the Maguindanao people during the following occasions such as Kalilang (wedding), Kabpag-islam (to Islamize), Kabpagipat or Kabpagubad (ritual healing), Kaped-salanggunia (wedding engagement), Kabpagabis or kapedtabungaw sa wata (baptismal ceremony), Kapedsakaw-sakaw sa taw (welcoming visitors), Kabpaguli na migkagui (return from Holy land of Mecca), Kabpelodso sa kapembalay a masla (launching big establishment),

Masla a Pakalagian udina kalimudan (big gathering), Kabpelekat sa magingay (kneading a pregnant woman) and Kanduli (thanksgiving banquet). “Kanu paganay a timpu na di mapakay a dala kulintang a pakalagian ka miskinan den gaid i taw a pebpakalagian sa dala kulintang nin” (Once a upon a time, occasions or gatherings were not really complete without kulintang. A family having an occasion without kulintang music was considered very poor), said by the one of the tribe elders. Traditional marry-making was very unforgettable if there was a kulintang orchestration. Very expert musicians from several local communities were invited to play kulintang ensemble. One of the participants said

“Umengka aden man pakalagian labi-labi den umengka aden kulintang nin ka dili mapia i manggiginawa ku umengka dili aku makatalabok ka malini aku den man gaid milay sa pegkulintang. Namba i kinagkataw ku egkulintang na malini aku manalanti umengka aden pakalagian a masla”

(If there is a festivity in other places with kulintang music, my day is not complete unless I can go there and witness the playing of kulintang ensemble. That‟s how I learned playing the kulintang music. I used to imitate what the expert kulintang musicians do)

Once upon a time, kalilang (wedding ceremony) (Figure 14) of Maguindanaon was conducted in the home place of the bride wherein grandest celebration was prepared by the groom‟s family. Kalilang could not be complete without kulintang orchestration which was often times part of the samaya (parents‟ promise to their children). However, kalilang nowadays is held in the hotel or big restaurant. That‟s why, most of the times, no more kulintang music is evident. Tito (2018) stressed that kalilang projects a positive and dynamic Maguindanaon cultural meaning as it engulfs the artistic, humane and altruistic aspects of social

71

interaction among Maguindanaon. According to him, it doesn‟t only refer to the wedding of Maguindanaon, it also means festival, festivity or jubilee. It is a social gathering marked by exchanging of amenities among Maguindanaon traditional leaders, elders, allies and subordinates in varying tones. It is also a pageantry of unique and colourful Maguindanaon ethic rites, rituals and traditions like marriage celebrations, religious ceremonies, anniversaries,

enthronement of royal dignitaries and other social forms of political and economic activities. He added that kalilang is not just an economic activity, but a continuous season of merriment, gaiety and marry-making of Maguindanaon accentuated by sharing of gifts, traditional sports competition, dancing, singing and instrument rendition and other forms of exhibition games, entertainment and amusement.

Figure 14: Traditional kalilang of Maguindanaon (photo is credited to the owner)

Kabpagipat (7 days) and kabpagubad (1 – 3 days) are animistic rituals for healing. They are led by Maguindanaon traditional healers who ritually call the good spirits to join with the sagayan (war dance). These spirits are believed to subscribe one‟s human body to let him do the sagayan. During the kuyog of the couple in the wedding ceremony, the one doing the sagayan is a male Maguindanaon. For ritual healing practices, most of the times, the one doing the sagayan is a female Maguindanaon. The traditional healers are usually doing magical healing like letting the eggs cooked by just a little pass from the candle and these eggs are eaten by someone who has the sickness. The one who eats the egg is believed to become cured from his sickness. The ritual healer also gives his oration while rubbing the head or body of a sick person. The former lets the latter drink water which is believed to cure the sick from bad spirit subscribing his body and soul. If someone is doing sagayan accompanied by tagunggo kulintang melody, it is believed that all his sicknesses are taken

away from him. These sicknesses are usually those cannot be cured by medicines. In the last day of kabpagipat, male ritual healer is the one giving the closure of the healing practice and the sampan/alol (decorated small boat) is left in the body of the river to join the running stream. The sampan (alol) is believed to invite all bad spirits in order to not disturb anymore the family who has already executed the ritual healing practice. That‟s why; doing kabpagipat or kabpagubat is believed to cure all those ebpon sa taw (man-made) and ebpon sa di-gailay (created by unseen creatures) diseases. Sagayan is not just a war dance. It symbolically represents the slaying of evil that gives unexplained sickness. That‟s the reason why sagayan dancers (Figure 15) are always placed at the start of the kuyog to sweep out the bad lacks. Tagunggo is a kulintang musical tune that calls the presence of the good spirits letting someone to be cured from his disease. Traditionally, tagunggo music doesn‟t use a gandingan instrument.

72

Figure 15: Sagayan dancers (photo is credited to the owner)

Masla a pakalagian udina kalimudan (big gathering) is an informal gathering of Maguindanaon of different social ranks coming from different communities. It is a festivity of abundant harvest showcasing the rich cultrural heritage of Maguindanaon. One of the big gatherings in the province of Maguindanao is the “Inaul Festival”. In his blog, Potpot (2019) stated “Between the forgotten tales of the Sultanate of Maguindanao and the unimaginable speed of modern day living, there is a band of threads binding the stories together – the Inaul (hand woven fabric) of Maguindanaon.

Every mid-February, everything spreads larger than life at the Grand Inaul Festival held at Provincial Capitol, Buluan, Maguindanaon. During Inaul Festival, Maguindanaon truly deck out for the occasion. Huge floats are drown in the streets with mammoth expressions of moving architectures. Adorned with the finest brasswares, flags and kulintang ensemble, each one rolls with so much pride”. Maguindanaon come out from their houses and wear the best traditional attires (Figure 16) of Datu (Male Royal Family) and Bai (Female Royal Family) to join the parade.

Figure 16: Traditional attires of Maguindanaon during big gathering (photo is credited to Mrs. Jehan Ampatuan Acoy)

Maguindanaon women elders (Figure 17) are very fond of playing kulintang ensemble. Traditionally, kulintang music was considered to be women musical orchestration. However, at this time, most intelligent kulintang musicians are male Maguindanaon. Kulendet (very fast in melody) and limuken (very low in melody) are the two common types of playing gandingan. Kulendet utilizes a pair of gandingan which is struck in a very fast tempo. It can also be observed in playing agong. During “kulintangan”, a kulintang musical exhibition, kulendet type of playing

gandingan and agong is always observed. The major criterion in judging the best “kulendet” melody is the fastest way of striking the gongs with correct timbre, rhythm and loudness of the tone. Kulendet shows an ability to improvise the piece in a very fast tempo within the parameters of a rhythmic mode. Extra-ordinary exhibition in playing kulintang and agong captures the interest of the audience to participate through pinning of cash amounts in the musician‟s clothes serving as sadeka (gift).

73

Figure 17: Maguindanaon women elders playing kulintang ensemble

Life struggles of Maguindanaon are evident in their local communities which are severely susceptible to flooding. Playing of kulintang ensemble temporarily eases the sorrow and pain they experience in times of scarcity due to

rainy seasons. Annual Kulintang Ensemble Competition (Figure 18) is conducted to preserve the cultural heritage (adat-betad) of Maguindanaon.

Figure 18: Annual kulintang ensemble held at Datu Paing, Maguindanao

During Kulintang Ensemble Competition, board of judges (Figure 19) from different parts of Maguindanao are invited to choose the best group. Big prizes are given to the

winners. Consistency of rhythm, quality of apad (kulintang piece), variation of tones and mastery are the major criteria in judging the kulintang ensemble competition.

Figure 19: Board of judges during kulintang ensemble competition

Shown Figure 20 is a group of Pandita (Religious Leaders) offering their prayer to Almighty Allah before they will begin

to eat the foods in the dulang (set of foods covered by tudong). Each dulang has 5 sets of delicious and nutritious

74

foods. It consists of tudong (traditional food cover), talam (big plate usually golden) and ladiya (saucer). Kapen-

dulang is traditionally done during kanduli (thanksgiving ceremony).

Figure 20: Group of pandita

Maguindanaon are not only good in music and dance, they are also known for their native foods. Figure 21 shows a group of Maguindanaon cooking a “dudol”, one of the delicious native foods of the Maguindanaon.

Maguindanaon are the largest Islam believers in the Philippines whose religion nurtures a mystical surrender to Allah‟s will and that‟s the only tradition that will never fade away how long the time will have gone away.

Figure 21: Dudol (traditional delicacy made up of rice, coconut oil and sugarcane)

Awang (without machine) (Figure 22) is one of the traditional transportation means of Maguindanaon from one community to another. It is being improvised and it became pump boat (with machine) (Figure 23). Pump boat transports the captured fishes using fish traps such as wangay (small bamboo slats with nylon nets connected to a wooden post), baliat (very large version of wangay) and

panti (net); birds using bird traps such as litag (small spring bamboo trap with nylon) and bitik (slingshot); and agricultural products such as palay (rice), kamais (corn), kuplas (copra) and kamu (vegetables) to the market places. On the other hand, Maguindanaon are easily gathered if there is a playing of kulintang music.

75

Figure 22: Awang (In the photo is the researcher himself)

Figure 23: Pump boat

Tribe elders and professionals at Datu Piang, Maguindanao, under the baton of Hon. Mayor Victor T. Samama, Al-hadj (assumed his office on July 1, 2019), together with his first lady, Dra. Elizabeth Abpi Samama, Al-hadja, have been doing a lot of things to preserve their cultural heritage like playing kulintang ensemble even without important occasions, narrating Maguindanaon folktales, collecting pictures and videos of traditional practices and letting these documents seen by the children and encouraging them to join school or community presentations that portray Maguindanaon cultures and traditions. Thus, desirable cultural heritage of the

Maguindanaon needs to be preserved. This can only be done by preserving the authentic pieces of Maguindanaon kulintang ensemble. Expert kulintang musicians (Figure 24) at Datu Paing, Maguindanaon always play kulintang music even without important occasions and they do everything to produce potential young successors to transmit kulintang ensemble to the next generations. In Figure 24, males are wearing expensive inaul (hand woven) tubaw (turban) and inaul-a-malong (blanket) in a diagonal form. Females are wearing three-quarter length-sleeved golden blouse with V-neck, very expensive inaul-a-malong and lilit (hijab).

76

Figure 24: Expert kulintang ensemble musicians (photo is credited to Kero K. Abo)

Kulintang (Figure 25), the name of the entire ensemble, is the main melodious instrument in the ensemble. It is a set of eight bronze gongs, graduated in size and in tuning, and suspended horizontally on a wooden stand. It functions as the “time-keeper” of the whole ensemble. The gongs are played with betay (soft wooden sticks) which are struck against the prominent mound or "boss" at the center of each gong. The two largest gongs are called “pangendungan” which means “front” and the smallest gong is said to be “panentekan” which means “minute but higher sound”. Pangendungan gongs produce larger but

lower in pitch while panentekan provides smaller but higher in pitch. Panentekan comes from a root word “tek”, a sound produced by a hen inviting her chicks to gather themselves for a food. Striking the panentekan gong many times means inviting other instruments to stop in a few seconds. The third larger gong is known as “ludsuan” which means “starter”. The “ludsuan” gong is beaten to begin the musical play and it is also struck to stop the music. After the playing of kulintang ensemble, each instrument is kept in a bangkil (instrument holder) to make it safe from damage (Abdullah, 2015).

Figure 25: Kulintang (mother of the ensemble and the time keeper)

Gandingan (Figure 26) is a set of four large, shallow vertical-hanging gongs, almost the same in size but different in tuning, played by a single musician with a pair of rubber-covered sticks. Because of the melodious tunes of the gandingan, it is used to mimic the intonations of human speech and is therefore known as "talking gongs”. Sometimes, there‟s someone assisting the gandingan and agong musicians particularly in playing kulendet which means “very fast”. Kulendet and Limuken are the two

common types of playing gandingan. Kulendet utilizes a pair of gandingan which is struck in a very fast tempo. It can also be observed in playing agong. During “kulintangan”, a kulintang musical exhibition, kulendet type of playing gandingan and agong is always observed. The major criterion in judging the best “kulendet” melody is the fastest way of striking the gongs with correct timbre, rhythm and loudness of the tone (Abdullah, 2015).

77

Figure 26: Gandingan (talking gongs)

Agong (Figure 27) is a very large wide-rimmed vertical-hanging gong, struck with a rubber-covered stick. It is often played in pairs, by either one or two pairs of musicians. There are two types of playing agong: Kabpagagong and Kapadsimpal. Kabpagagong means single playing of agong. This type playing agong can be attributed to the desirable attitudes of Maguindanaon regarding their belief in oneness of ALLAH. Total surrender to the teachings of Islam cannot be accounted for many Maguindanaon. Mystical devotion to their religion can be reflected from playing single agong. Concentration and enthusiasm hamper them to beat the gong in a very strong power.

That‟s how the Maguindanaon fight for their religion. They have all the strengths to do charity works in consonance with Islamic teachings. Kapadsimpal means playing of two agongs at the same time and it is the common way of playing agong. Kapadsimpal comes from the word “simpal” which means “to exchange message”. Playing Kulintang ensemble lets the people from distant communities to unite and mingle. It relays an important message which can only be interpreted by the expert kulintang ensemble musician. As of this moment, there are still great musicians who can play and interpret the original tempo of kulintang musicality (Abdullah, 2015).

Figure 27: Agong (traditional alarm clock during the month of Ramadhan)

Babendilan (Figure 28) is a small vertical hand-held gong, struck on its rim (little striking on its boss) with a small, hard, rattan sticks. It comes from the word “bendil” which means “rim”. It is beaten on its takiliran (rim) of the instrument, seldom on its boss. It functions as the main “starter” of the ensemble. It invites all other instruments to begin playing the whole ensemble. It identifies the specific piece to play. Sometimes, there‟s no separate babendilan instrument. Usually, babendil (babendilan musician) stands beside the gandingan musician and he strikes (beats) the

circumference of one of the four gandingan gongs with a pair of rattan sticks. According to Alvin Sulaiman, a Kulintang ensemble enthusiast, babendilan is very important because the success of musical tempo depends on its tuning. Babendil must be excellent in choosing the rhythm to beat because the four other instruments just only follow. He must be alert to start the music every after the musical play to stop. Babendilan starts the music, followed by debakan, kulintang, agong and gandingan. Old kulintang, agong and gandingan can be used as

78

babendilan.The main time keeper of the whole ensemble is the kulintang itself. kulintang signals the whole ensemble to

stop. Sometimes, striking the panenteken gong many times warns other musicians to stop (Abdullah, 2015).

Figure 28: Babendilan (starter of the ensemble)

Debakan (Figure 29) is a single-headed kettle-shaped wooden drum, covered with a natural goat or lizard skin and played with a pair of elastic bamboo sticks. The tall debakan is commonly played from a standing position. Sometimes, tambol is used as debakan. In many cases, debakan and tambol are different. Tambol can be a debakan but debakan cannot be used as a tambol. Empty gallon can be a debakan but cannot be used as a tambol. Debakan tune is usually based from the rhythm produced by babendilan. It can also function as a “starter” of the ensemble. It completes the proper tuning of the music

ensemble although its tuning is monotonous from the very start up to the end. Both classical and contemporary playing of kulintang ensemble, kulintang, babendilan and debakan are inseparable. These three instruments are simultaneously struck whatever piece is played. Some classical pieces of kulintang ensemble music, gandingan and agong are not parts of the play. Tambol is two-headed drum and shorter in height. It can be tied tightly to the waist of a player during the procession of the couple towards their kingdom while debakan is single headed goblet drum and it is taller than tambol (Abdullah, 2015).

Figure 29: Debakan (neutralizer of the ensemble)

Maguindanaon as the Authentic Players of Kulintang Ensemble and Original Dancers of Singkil Most people know that Maranao are the original players of kulintang ensemble and the authentic dancers of Singkil. However, they don‟t know that the authentic pieces of Kulintang music rooted from the ancient cultures of Maguindanaon and these traditional practices had been

observed even before the foreign colonial periods. It was the Maguindanaon who firstly danced the famous dance, Singkil. Many tribe elders of Maguindanaon appealed to the researchers that Maguindanaon should be credited as to the originator of kulintang music and singkil. They stated:

79

“Makagkalat gaid sa nanam i su adat-betad tanu na nia penggumakeden na kaped a taw a dikena Maguindanaon. Kapeg-kulintang anan na sia abenal i nan limudsu saleki tanu a Maguindanaon. Labi-labi den i kapeg-kiya-kiya anan sa Singkil ka manga tuwa i nan i paganay a minggula lun. Kapeg-kulintang endu kaped-singkil anan na adat tanu gaid i nan. Napagadat a manga ped pan a taw ka nailingan nilan sia saleki tanu.”

Tribe elders emphasized that they are hurt since their ancient cultural identity such as playing of kulintang ensemble and performing singkil are not credited to the Maguindanaon. They stated that kulintang orchestration rooted from the ancient traditions and situation of Maguindanao people along the Rio Grande de Mindanao. Kulintang music was discovered due to the situation of their local communities which are separated by frequent overflow of Rio Grande de Mindanao. In support to this claim, Abdullah (2015) stressed that Maguindanaon researchers should conduct ethnographic studies to help the tribe elders preserve the beautiful cultures and traditions of the Maguindanaon. He suggested that other tribal groups should give credit to the original kulintang pieces of Maguindanaon.

The most popular Maguindanaon dance using kulintang ensemble is singkil which has been interpreted by dance troupes over time. Singkil is a famous Philippine dance of Maguindanao people, but it was popularized by the nearby Maranao and later Bayanihan Philippine National Folk Dance Company (Abdullah, 2015). Singkil is a Maguindanaon term which means “jewelry and ornament worn on the anklet”. It is a dance using two pairs of bamboo poles depicting the traditional courtship of Maguindanaon. It shows a Sultan (prince) courting the Bai Labi (princess) in relation to the marriage proposal. The Sultan and Bai Labi expertly step in and out of pairs of criss-crossed moving bamboo poles. Initially, the dance is performed with just one pair of bamboo poles, eventually adopting the use of two criss-crossing pairs. The four males who are clapping the bamboo poles and a female who is bringing the sinilatan (decorated yellow umbrella) are ulipen (slaves) of the balabansa (royal family). The Bai Labi dresses an elegant costume and weaves colorful paypay (fans). The Sultan flips brightly colored musala (handkerchiefs) right and left. As depicted in the said dance, the Sultan heartily courts the Bai Labi who is very conservative and aloof to a man. The Bai Labi is doing pedtengang (chin-up) to oppose the proposal of the Sultan. Because of his love and sincerity, the Sultan does everything to win the heart and approval of the lukes so babay (family of the princess). Until such time that the Bai Labi is forced to marry the Sultan. The parental engagement turns into a grandest wedding ceremony followed by a beautiful and happy ever family. This dance

reflects that it was the parents who used to arrange a right guy for their daughter to marry. Traditionally, the daughter was required to confine only herself in the padsudan (surrounding of the house) and limbunan (room). She was not allowed to go in a far distant place without the company of the elders or relatives. “Singkil reflects the cautious behavior of the parents toward their daughter and the kindness of a daughter toward her parents,” narrated by the participants. On the other hand, jewelry worn from the lobe of the ears is called pamalang (earrings), ornament placed on the wrist or arm is buluso (bracelet), string of jewels, gold, silver and beads worn around the neck is balig (necklace) and something worn on the joint connecting the foot and leg is singkil (anklet).

Singkil was formerly known by the Maguindanaon elders as “Kadsingkil” which means “to entangle the feet with disturbing objects”. It was firstly performed by the Maguindanaon elders at Dulawan, Datu Piang, Maguindanao in the early parts of 1960‟s. Then, it was interpreted by both elementary and the two established high schools (Notre Dame of Dulawan, Inc. and Gani L. Abpi College, Inc.) during major school activities. Until such time that “Singkil” was adapted by the Gandingan Dance Troupe of Mindanao State University – Maguindanao, improvised by the Darangan Cultural Troupe of Mindanao State University – Marawi (Main Campus) and popularized by Bayanihan Philippine National Folk Dance Company in the later parts of 1970‟s (Grounded Theory). The Bayanihan Dance Troupe started performing the Maguindanaon traditional dance with a simple version and has since developed it into a theatrical and stylized spectacle to the point of its becoming the troupe‟s signature piece (Abdullah, 2015).

“Singkil is authentically performed by the Maguindanaon. It didn’t originate from the Maranao people. The term singkil itself is not a Maranao term. It is a Maguindanaon term. This is the concrete evidence that singkil should be credited to the people of Datu Piang who firstly performed the traditional dance of Maguindanaon,” claimed by the tribe elders at Datu Piang, Maguindanao. The “Chin-Up” signature style of Maguindanaon dancers was adapted from the bird “limuken” (turtle dove). The bird walks along the shorelines of Rio Grande de Mindanao with composure and deportment. If this bird sees that somebody is coming, it gradually walks away to evade the person and instantly flies away very fast. Singkil (Figure 30) is performed very slow and gradually goes on the fast beating. It reflects how the female Maguindanaon are conservative in their way of living. The way they talk, wear clothes and put designs on their houses bears conservative etiquettes. Yet, these traditional conservative styles and other desirable cultures of the female Maguindanaon were blown into oblivion by the modern way of wearing clothes. Nowadays, mini-skirts, leggings and skinny jeans are rampant among the female Maguindanaon. There are only few female Maguindanaon who maintain wearing Hijab (Tendong) all the times.

http://en.wikipilipinas.org/index.php%3Ftitle%3DSingkil

80

Retired professional Maguindanaon tribe elders said

“When Miss World 2013 Megan Young from the Philippines had her talent presentation using Singkil, Filipino Muslims were very proud since the cultural heritage of Bangsamoro ethnic groups was brought in the international stage. However, it was hurting in the

part of the Maguindanaon since the Singkil was only credited to the Maranao. Singkil didn’t originate from the Maranao, it was firstly performed by the Maguindanao people at Datu Piang, Maguindanao. The originator of Singkil is the Maguindanaon, not the Maranao.”

Figure 30: Singkil (photo is credited to the owner)

Another famous dance of Maguindanaon is an indoor dance called silong sa ganding (Figures 31, 32 and 33). Silong is a Maguindanaon term which means “under”. It can be synonymous to “exclusiveness”. Silong sa ganding is a Maguindanaon idiom which is interpreted as “Whatever hardships and obstacles encountered, Maguindanaon will be able to overcome those trials and there will be a good shelter that will protect them against all odds”. It is performed by all female dancers with their wrists turned in and out and wearing a Maguindanaon traditional wear consisting of three-quarter long-sleeved blouse with V-nect, malong (blanket) and lilit (shawl) tied tightly in their head to welcome and entertain important dignitaries. Female dancers doing silong sa ganding show a pleasing, slow, fast and loosened up movements that carry a refined superiority, conservative lifestyle and polite society among the tribesmen. It is popularly known as silong sa ganding because the star instrument in the dance is a gandingan

which is firstly beaten in a very slow tempo (pace) which soon goes in a very fast rhythm wherein dancers are sometimes showing exhibitions to wear colorful inaul-a-malong (hand woven blanket). Contemporarily, silong sa ganding is now observed in a field demonstration wherein some male dancers are joining the dance. The male dancers are bringing a small pandala (traditional flag lets). But the Maguindanaon authentic silong sa ganding is performed by female dancers only. Inaul-a-malong is worn by the male Maguindanaon in a diagonal form. Kabpagaul (traditional loom weaving) is now seldom seen among the Maguindanaon. Kulintang music and kabpagaul are two of the most beautiful traditional practices of Maguindanaon. The Maguindanaon elders appeal to some dance choreographers to retain the authentic dance movements, choreography and the kulintang pieces so that adat betad (cultural heritage) in Maguindanao will not be in danger of disappearing.

81

Figure 31: Silong sa ganding performed by female dancers

Figure 32: Silong sa ganding performed by male dancers

Figure 33: Silong sa ganding performed by elementary pupils (male and female dancers)

82

It is a big challenge for the Maguindanaon researchers to conduct ethnographic studies about their cultural heritage before it‟s too late that even the Inaul (The Maguindanaon Fabric of Hope and Cultural Heritage) will be credited to other tribe. Inaul and Kulintang ensemble had already pre-existed before the arrival of Arab traders, Spanish conquerors, Japanese invaders and American colonizers (Grounded Theory). Summary of Findings Kulintang music is considered to be an ancient tradition as it predates the influences of foreign colonizers in Mindanao. Its authentic pieces originated from the Maguindanaon indigenous cultures that had inhabited already for several centuries before the arrival of Arab traders in 14

th century specifically in 1380. Agong, was the

Maguindanaon excellent tool to inform the villagers if there were foreign colonizers and Filipino Christian migrants particularly the Ilaga (Ilonggo land grabbers). Maguindanaon original kulintang pieces were inspired by the sounds of different species of birds that used to stay along the wild range of Rio Grande de Mindanao.

The development of the Maguindanaon Kulintang has been evident in its four (4) types which include Inetog, Inantang, Inubab, and Galang. Inetog was the type of kulintang played by the Maguindanaon before the arrival of the Arab merchants in southern islands of the Philippines in the year 1380. Inantang was the classification of Maguindanaon kulintang played by the tribesmen during Spanish and American colonial rule. In the later parts of 1910‟s, the “inubad” kulintang came into existence. Galang is the most expensive type of Kulintang. It came into existence during the Japanese colonial rule, specifically in the later parts of 1940‟s. It replaced the “inubad” type of Kulintang. Ancient types of kulintang were inetog and inantang. Modern version of kulintang started from inubad type of kulintang.

Kulintang ensemble is commonly played by the Maguindanao people during the following occasions like Kalilang (wedding), Kabpag-islam (to Islamize), Kabpagipat or Kabpagubad (ritual healing), Kaped-salanggunia (wedding engagement), Kabpagabis or kapedtabungaw sa wata (baptismal ceremony), Kapedsakaw-sakaw sa taw (welcoming visitors), Kabpaguli na migkagui (return from Holy land of Mecca), Kabpelodso sa kapembalay a masla (launching big establishment), Masla a Pakalagian udina kalimudan (big gathering), Kabpelekat sa magingay (kneading a pregnant woman) and Kanduli (thanksgiving banquet).

Most people know that Maranao are the original players of kulintang ensemble and the authentic dancers of Singkil. However, they don‟t know that the authentic pieces of kulintang music rooted from the ancient cultures of Maguindanaon even before the foreign colonial periods. It was the Maguindanaon who firstly danced the famous dance, Singkil.

Finally, Kulintang ensemble and Singkil, which are credited to the Maranao, originally rooted from the Maguindanao people. Thus, Maguindanaon are the authentic originators of kulintang music. Insights Gained Kulintang music is considered to be an ancient tradition of Maguindanaon as it predates the influences of foreign colonizers in Mindanao. Its authentic pieces originated from the Maguindanaon indigenous cultures that had inhabited already for several centuries before the foreign colonial periods. Agong was the excellent tool of Maguindanaon to warn the residents if there were non-Maguindanaon settlers who arrived in their local communities.

Most people know that Maranao are the original players of Kulintang ensemble and the authentic dancers of Singkil. However, they don‟t know that the authentic pieces of Kulintang music rooted from the ancient cultures of Maguindanaon even before the foreign colonial periods. Kulintang music and Singkil originated from Maguindanaon, not from Maranao. Recommendations

School administrators should use the results of the study as a baseline data in developing programs and activities that would appreciate, reflect and preserve the desirable cultures and traditions of some significant minorities in the Philippines particularly the Maguindanaon cultural heritage (adat-betad) to let the young generations appreciate the importance of these colourful cultures and traditions.

Maguindanaon traditions, folk narratives and beliefs are slowly disappearing and being gradually blown by the winds of oblivion due to modernization. Thus, it is highly recommended that local political leaders (particularly Maguindanaon leaders) should do something to retain these desirable cultures and traditions of Bangsamoro people. Parents should encourage their children to join any ethnic or tribal dance competitions in and out of the academe to let them understand the significance of the diversity of cultures in the Philippines.

Other tribal groups should give due credits to the real originators of Kulintang music and Singkil. Local Government Units (LGUs) of Maguindanaon-dominated communities should do something to produce potential successors who can transmit the rich cultural heritage (adat-betad) of Maguindanaon from one generation to another.

83

Acknowledgement The researcher would like to acknowledge the moral and spiritual support of MR. MOHAMAD M. KUDAY. Without him, this research could not be possible. He served as the researcher‟s consultant and the one who provided him some photos needed in the comprehensive discussion of the results of the study. The researcher also pays special tribute to KERO K. ABO, for his warm accommodation during the participatory rapid appraisal (PRA) of the researcher every Kulintang Ensemble Festival of Datu Piang, Maguindanaon. Special appreciation is also due to MR. MOHAMAD T. SIMPAL for helping the researcher in online transactions. MR. ARJEY B. MANGAKOY also deserves the researcher‟s gratitude as an illustrator of the ancient version of kulintang. References Abdullah, S. N. (2015). Kulintang ensemble of

Mguindanaon: Refection and preservation of their cultures and traditions. Research Paper Presented in the BIMP-EAGA International Research Conference at Palawan State University (PSU), Puerto Prinsesa, Palawan

Abdullah, S. N. (2019). Qualitative research (practical research I) for senior high school students. Power-point presentation. Esperanza National High School, Esperanza, Sultan Kudarat, Region XII, 9806 Philippines

Bara, H. (2018). The history of the Muslim in the Philippines. Retrieved from https://ncca.gov.ph > subcommissions on March 15, 2020

Benedicto, C. J. (2018). The palabuniyan kulintang ensemble. Retrieved from https://www.festalpagdiriwang.com on May 15, 2028

Dacumos, J. (2013). Ethnic groups of the Philippines. Retrieved from www.ethnicgroupsphilippines.com on April 15, 2020

Ethnic Groups in the Philippines (2020). Retrieved from www.ethnicgroupsphilippines on February 16, 2020

Grounded Theory. It is a research method concerned with the generation of theory to uncover such situation wherein tribe elders were the sources of the information and the information gathered reached its “saturation”

Hellowtravel (2019). Guinakit of Maguindanaon 2019 in Philippines. Retrieved from https://www.hellowtravel.com on November 22, 2019

Hider‟s Itch: Travel & Outdoor Blog (2012). Guinakit fluvial parade in Cotabato City. Retrieved from https://hikersitch.com on January 21, 2012

Inquirer.Net (2018). Muslims hope Bangsamoro Organic Law (BOL) will bring „dream of peace‟. Retrieved from www.eaglenews.com.ph > Filipino-muslims-hope… on May 15, 2020

Inquirer.Net (2019). BOL „ray of hope‟ for the people of Mindanao. Retrieved from https://newsinfo.inquirer.net on January 27, 2019

Jong, R. (2010). The last tribes of Mindanao, the Maguindanaon, People of the Flood Plains. Retrieved from thingsasisn.com > last-tribes

Koerner, B. (2005). How Islam Got to the Philippines. Retrieved from https://slate.com. 2005/01 > how-islam..on January 28, 2005

Manila Standard Net (2019). Cotabato City stages Shariff Kabuansuan Festival. Retrieved from https://manilastandard.net on December 14, 2019

Philippine Statistics Authority Region XI (2017). Factsheet on Islam in Mindanao. 2015 Population of Muslims in the Regions of Mindanao. Reference No. 2017-008. Retrieved from rss11.psa.gov.ph > article > factsheet-islam.. on September 28, 2017

Potpot (2019). Inaul festival: weaving Maguindao‟s threads of time. Travel trilogy: retreat, revel & restore. Retrieved from www.traveltrilogy.com on February 23, 2019

Sabornido, L. R. (2015). The 10 Poorest Provinces in the Philippines. Retrieved from https://faq.ph.ph>the-10-poorest-provinces… on October 14, 2015

Schiavo-Campo, S & Judd, M. (2005). The Mindanao Conflict in the Philippines: Roots, Costs, and Potential Peace Dividend. Social Development Papers. Conflict Prevention & Reconstruction. Paper No. 24

Taylor, V. (2017). Origins of Islam in the Philippines. Mackenzie Institute. Retrieved from mackenzieinstitute.com > origins-islam-p… on January 9, 2017

The Light Traveler (2019). Inaul festival 2019: the vibrant colors of Maguindanao‟s traditional weave. Retrieved from https://iamtravelinglight.com on February 18, 2019

The Word Bank (2005). Social Assessment of Conflict-Affected Areas in Mindanao. Environment and Social Development Unit. East Asia and Pacific Region. Retrieved from sitesources.worldbank.org > WP24_Web on May 5, 2005

Tito, B. J. (2013). Kalilangan festival of General Santos City. City economic management and cooperative development office (CEMCDO). Retrieved from https://www.gensancemcdo.org on April 28, 2020

Turner, M. (2016). The Struggle for Peace in Mindanao. Retrieved from https://www.gppac.net on October 6, 2016

https://ncca.gov.ph/https://www.festalpagdiriwang.com/http://www.ethnicgroupsphilippines.com/http://www.ethnicgroupsphilippines/https://www.hellowtravel.com/https://hikersitch.com/http://www.eaglenews.com.ph/https://newsinfo.inquirer.net/https://slate.com/https://manilastandard.net/http://www.traveltrilogy.com/https://faq.ph.ph/https://iamtravelinglight.com/https://www.gensancemcdo.org/https://www.gppac.net/