The students are expected to be able to:
1. Identify the different art forms and practices in the
plains and valleys of Luzon.
2. Appreciate the different art forms in Luzon
specifically textiles, performance arts and myths and
epics.
3. Create an artwork based on the art forms in Luzon.
Before the Spanish colonial period,
Filipinos bartered cotton cloth for
goods that they fancied. The most
sought after clothing, were made of
local cotton, piña, sinamay, silk and
jusi.
Local cotton Sinamay
Piña Fabric Jusi Fabric Hemp Silk Fabric
Piña was considered a luxury that it
amounted to a provincial governor’s
wage in the 1890's. It was embroidered
delicately, as were fans and
handkerchiefs. It was sturdy and longer
lasting compared to jusi, that blended
piña threads and silk. The cheaper attire
considered of sinamay (pineapple and
hemp) or jusi (pineapple and silk).
Embroidery is called pagbuburda in
the Tagalog regions. Household linen
was always embellished with it.
Runners for church and household
altars are also embroidered.
Vestments used for ecclesiastical
occasions, such as the priest’s robes,
were sometimes embroidered with
gold threads.
Embroidery is called pagbuburda in
the Tagalog regions. Household linen
was always embellished with it.
Runners for church and household
altars are also embroidered.
Vestments used for ecclesiastical
occasions, such as the priest’s robes,
were sometimes embroidered with
gold threads.
In the 19th century, Manila and Taal, Batangas were almost
synonymous to embroidery. The woman who created the Philippine
flag used by Emilio Aguinaldo for the declaration of independence
hailed from Taal, Batangas. While in Hong Kong, General Emilio
Aguinaldo requested her to sew the flag that would represent the
Republic of the Philippines. Doña Marcela Mariño de Agoncillo,
with her eldest daughter Lorenza and a friend Delfina Herbosa de
Natividad, niece of Dr. Jose Rizal, manually sewed the flag in
accordance with General Emilio Aguinaldo's design which later
became the official flag of the Republic of the Philippines.
Nuns of the Assumption Convent in
Manila also used to teach embroidery,
but it is hardly integrated in basic school
education curriculum. Therefore,
embroidery today is an art form in
danger of disappearing.
Embroidery by hand is usually learned informally among
a community of practitioners, who are often women and
who are most likely relatives.
Women creating are women conversing together. They
interact casually, telling stories to one another as they
sew. They themselves assess whether a creation is well
made (pinagbuti), fine (pino), meticulous (masinsin).
Embroidery requires patience, neatness and orderliness
for it is a meticulous craft, a yaring kamay.
Elena Rivera Mirano
Elena Rivera Mirano, an art historian and professor, had
a groundbreaking research on the Musikang Pantinig
ng Lumang, Bauan, Batangas which identifies several
vocal forms.
The huluna
The huluna is a vocal form used to lull babies to sleep.
Because it is performed in intimate spaces, this vocal
form allows the performer to articulate affections,
complaints, and the like.
The awit
It is a vocal and solo instrumental form. The forms are generally
sung in free verse, with the punto or accents determined by
Tagalog language as spoken.
Pandanggo
Music used for accompanying dances.
Pabasa
Mirano also describe the pabasa as a community effort often
hosted by wealthy families. It is recited in the form of a song, the
content based on the Casaysayan ng Pasyong Mahal and is
often unaccompanied by music.
Performance, Faith and the Everyday
• The Senakulo, also called passion y muerte (passion and death), is
staged during Lent. The Senakulo has reached heights of technical
sophistication with its colorful display of costumes and props during Lent.
• Secular plays such as komedya (also known as moro-moro, linambay,
and arkayo) are also present.
• Komedya is a play in verse widely performed in the region. It was
introduced locally by colonizers in the 16th century and popularized in
town celebrations.
• Luzon is also the site of social dances such as fandango, mazurka, waltz
and valse.
• Courtship is stylized in the cariñosa and pandanggo while the habanera
botolena and sinambali are dances performed in weddings.
Performance, Faith and the Everyday
Processing Questions
1. The most sought after clothing, were made of _______?
2. It was considered a luxury that it amounted to a
provincial governor’s wage in the 1890's.
3. Embroidery is called _____________ in the Tagalog
regions.
4. Vestments used for ecclesiastical occasions, such as the
priest’s robes, were sometimes embroidered with
____________.
5. It is an art form in that is in danger of disappearing
today.
Processing Questions
1. Women creating embroidered products are women
___________________.
2. Embroidery requires patience, neatness and orderliness for it is a
meticulous craft, a ___________.
3. It is a vocal form used to lull babies to sleep.
4. She is an art historian and professor, had a groundbreaking
research on the Musikang Pantinig ng Lumang, Bauan, Batangas
which identifies several vocal forms.
5. Music used for accompanying dances.
6. She is the woman who created the Philippine flag used by Emilio
Aguinaldo for the declaration of independence hailed from Taal,
Batangas.
In his work Balatik, the late Dante
Ambrosio wrote that our ancestors have
always been fascinated by stars and
how their beliefs intertwined with their
knowledge of the constellations guided
them in their daily lives and across
seasons.
• Among the constellations and
asterisms that were named by our
ancestors, two were given wide
recognition among the diverse
regions of the Philippine archipelago
- Balatik and Moroporo.
• Popularly known as the "Tres Marias" (The Three
Marias) in Tagalog, Magbangal in Bukidnon, and
Seretar in Teduray, Balatik is composed of
perfectly aligned and evenly spaced stars which
act as the "belt" of the constellation of Orion (the
Hunter which is observable in the night sky during
the month of October to May). In Palawan and
Ibaloi however, Balatik is seen as both the "sword"
and "belt" of Orion.
• The second one, Moroporo, is also known by
many names such as "Supot ni Hudas",
Mapolon (Tagalog), San Apon (Ibaloi), and
Kufukufu (Teduray). In other parts of the world,
it is known as the star cluster Pleiades (Seven
Sisters) located in the constellation of Taurus
the Bull and appears sometime in the month of
January.
They attach causality to existing natural
phenomena, such as earthquakes, floods,
torrential rains, thunder and lightning,
volcanic eruptions, eclipses, the changing
of the tides, and how land masses were
formed and decimated.
Myths also reveal a certain hierarchy
among deities. It is interesting to note that
deities are ascribed with human qualities –
they are fallible and they sometimes
succumb to human emotions like
loneliness, jealousy, love and rage.
Myths also reveal concepts of good
and evil, justice and retribution, the
scared and profane, and a sense of
the common welfare.
Bathala was a caretaker of the earth and was
lonely. The other ancient gods were Ulilang
Kaluluwa, a traitor who lived in the clouds, and
Galang Kaluluwa, a winged god. Bathala and
Ulilang Kaluluwa had a chance meeting on earth
but the latter saw the former as rival. They fought
for three days.
When Ulilang Kaluluwa was defeated, Bathala
burned his body. After some time, Bathala met
Galang Kaluluwa and they became friends.
When the latter became ill, he asked Bathala
to bury him in the same spot where the serpent
was burned and soon, a coconut tree grew.
Bathala then created the first man and
woman and the coconut tree provided for
most of their needs. Thus, it can be said that
the coconut tree is the tree of life. Bathala is
considered the deity(god) of the Tagalogs.
According to the Myths: Philippine Folk Literature
by Damiana L. Eugenio (1994), a good deity
named Gugurang resided in Mount Mayon. The
people believed that the volcano rumbled to
indicate a warning for them to mend their ways
and offer a sacrifice (atang).
He was Gugurang, the chief deity of Bicol who
was ready to exact judgment on the people by
making the volcano erupt to wipe them out when
they are beyond reproach. He also controlled fire
and thus controlled the welfare of the people. He
was the brother of Asuang and lived in Mount
Malinao, Albay.
Long ago, good and evil deities co-exist as a form
of check and balance. However, Asuang grew
jealous and asked Gugurang for fire. He wanted
to have the power to harm people if he grew
angry. Unlike the Christian God, deities like
Gugurang are not almighty and absolute.
In the argument, between the two brothers, it is
revealed that even Gugurang cannot control the
fire fully, the earth rumbles beyond his will when
people are lawless- and thus the fire has to be
kept in Mount Mayon. Gugurang refused and
called his brother a “lay god” because Mount
Mayon was more beautiful than Malinao.
Asuang decide to oppose his brother whom he saw as
vain. Asuang made himself invisible just as Gugurang
tried to hurt him. He then gathered evil spirits and
encouraged the people to commit lawless acts.
Gugurang tried to restore order and required the people
for an atang. Soon, Asuang was able to steal fire from
the chamber by tempting the helpers (catambang) with
gold.
He went back to head for Mount Malinao with the stolen
fire in a coconut husk container. However, he was
unable to control the fire that ravaged towns that he
passed by. Gugurang eventually caught up to his
brother and wept to the heavens (calangitan) for
continues heavy rains so that the fires will be stopped.
He then sent a thunderbolt that decimated Mount
Malinao in half. Thus, to this day, Asuang was considered
the enemy of the good and the people.
Written Work #3
Directions: List at least five (5)
superstitious beliefs about
constellations in the Philippines on
one whole sheet of yellow paper.
Performance Task #4
Directions: Show your most creative
self in creating an infographic about
at least ten (10) mythical creatures in
the Philippines. Your infographic
must be a DIY not a printed one.
