MINDANAO DANCES & INSTRUMENTS
Mindanao dances ♥
Mindanao, the Philippines' southernmost island, is the country's cultural melting pot. It houses influences from Spain, China, Indonesia, and the Middle East. Although Mindanao carries a strong flavor from other lands, there are people who have lived there before it became a breeding ground of foreign trade. Tribes such as the T'boli, Bilaan, Manobo, Bagobo, and other groups inhabit the vast regions of Mindanao.
Like their Northern Luzon counterparts, these groups honor pagan gods for the fruits and trials of daily life. What distinguishes them from other tribes in the Philippines is their intricate craftsmanship in metal, clothing, and jewelry. These tribes pride themselves in their concept of beauty and are known for creating colorful sets of jewelry and clothing out of dyed pineapple and banana fibers with are showcased in their traditional dances.
Like their Northern Luzon counterparts, these groups honor pagan gods for the fruits and trials of daily life. What distinguishes them from other tribes in the Philippines is their intricate craftsmanship in metal, clothing, and jewelry. These tribes pride themselves in their concept of beauty and are known for creating colorful sets of jewelry and clothing out of dyed pineapple and banana fibers with are showcased in their traditional dances.
Singkíl (or Sayaw sa Kasingkil) is a famous dance of the Maranao people of Lake Lanao, which was popularised by the Bayanihan Philippine National Folk Dance Company.
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Mindanao instument's ♥
Kulintang is a modern term for an ancient instrumental form of music composed on a row of small, horizontally-laid gongs that function melodically, accompanied by larger, suspended gongs and drums. As part of the larger gong-chime culture of Southeast Asia, kulintang music ensembles have been playing for many centuries in regions of the Eastern Malay Archipelago—the Southern Philippines, Eastern Indonesia, Eastern Malaysia, Brunei and Timor,[6] although this article has a focus on the Philippine Kulintang traditions of the Maranao and Maguindanao peoples in particular. Kulintang evolved from a simple native signaling tradition, and developed into its present form with the incorporation of knobbed gongs from Sunda.[5] Its importance stems from its association with the indigenous cultures that inhabited these islands prior to the influences of Hinduism, Buddhism, Islam, Christianity or the West, making Kulintang the most developed tradition of Southeast Asian archaic gong-chime ensembles.
Technically, kulintang is the Maguindanao, Ternate and Timor term for the idiophone of metal gong kettles which are laid horizontally upon a rack to create an entire kulintang set.[7] It is played by striking the bosses of the gongs with two wooden beaters. Due to its use across a wide variety groups and languages, the kulintang is also called kolintang by the Maranao and those in Sulawesi, kulintangan, gulintangan by those in Sabah and the Sulu Archipelago and totobuang by those in central Maluku.[8]
By the twentieth century, the term kulintang had also come to denote an entire Maguindanao ensemble of five to six instruments.[9] Traditionally the Maguindanao term for the entire ensemble is basalen or palabunibunyan, the latter term meaning “an ensemble of loud instruments” or “music-making” or in this case “music-making using a kulintang.”
Technically, kulintang is the Maguindanao, Ternate and Timor term for the idiophone of metal gong kettles which are laid horizontally upon a rack to create an entire kulintang set.[7] It is played by striking the bosses of the gongs with two wooden beaters. Due to its use across a wide variety groups and languages, the kulintang is also called kolintang by the Maranao and those in Sulawesi, kulintangan, gulintangan by those in Sabah and the Sulu Archipelago and totobuang by those in central Maluku.[8]
By the twentieth century, the term kulintang had also come to denote an entire Maguindanao ensemble of five to six instruments.[9] Traditionally the Maguindanao term for the entire ensemble is basalen or palabunibunyan, the latter term meaning “an ensemble of loud instruments” or “music-making” or in this case “music-making using a kulintang.”
A Kolitong is a bamboo polychordal tube zither from Bontok, Kalinga, Philippines with six strings that run parallel to its tube body. The strings are numbered from one to six, from lowest to highest pitch. The body acts as the instrument's resonator. The body may be a whole tube or a half tube, in both cases the two ends of the body are closed by the bamboo nodes. To help with the resonance of the instrument, holes are made on both nodes and long cracks are made along the body parallel to the strings. In the Kalinga group, men play the Kolitong at night as a solo instrument.[1] A variety of bamboo tube zithers are found throughout the Philippine archipelago, each zither differing from the other in name, size, and design depending on its associated ethnic group.
Kudlung
Two stringed lute made of wood, one string for the melody, one for the drone. Eight frets are glued on the neck of the lute. The body of the instrument is carved with geometric patterns. The neck and the head are adorned with horse hair; the tail has two (originally three) pieces of carabao skin; the strap is adorned with bead work.
Dimensions: length: 98 cm., width: 8,5 cm., height: 5,5 cm.
Two stringed lute made of wood, one string for the melody, one for the drone. Eight frets are glued on the neck of the lute. The body of the instrument is carved with geometric patterns. The neck and the head are adorned with horse hair; the tail has two (originally three) pieces of carabao skin; the strap is adorned with bead work.
Dimensions: length: 98 cm., width: 8,5 cm., height: 5,5 cm.