Arts in the Philippines refer to all the various forms of the arts that have developed and accumulated in the Philippines from the beginning of civilization in the country up to the present era. They reflect the range of artistic influences on the country's culture, including indigenous forms of the arts, and how these influences have honed the country's arts. These arts are divided into two distinct branches, namely, traditional arts [1] and non-traditional arts.
The National Commission for Culture and the Arts , the official cultural agency of the government of the Philippines, has categorized Filipino arts into traditional and non-traditional.
Each category are split into various arts, which in turn have sub-categories of their own. The traditional arts in the Philippines encompass folk architecture, maritime transport, weaving, carving, folk performing arts, folk oral literature, folk graphic and plastic arts, ornament, textile, or fiber art, pottery, and other artistic expressions of traditional culture. Folk architecture in the Philippines differ significantly per ethnic group, where the structures can be made of bamboo , wood , rock , coral , rattan , grass , and other materials.
These abodes can range from the hut-style bahay kubo which utilizes vernacular mediums in construction, the highland houses called bale that may have four to eight sides, depending on the ethnic association, the coral houses of Batanes which protects the natives from the harsh sandy winds of the area, the royal house torogan which is engraved with intricately-made okir motif, and the palaces of major kingdoms such as the Daru Jambangan or Palace of Flowers, which was the seat of power and residence of the head of Sulu prior to colonization.
Folk architecture also includes religious buildings, generally called as spirit houses , which are shrines for the protective spirits or gods. Many of these bahay na bato buildings have been declared as world heritage site , as part of Vigan. Daru Jambangan Palace of Flowers , the royal residence of the ruler of the Tausug. Bahay na bato in Cebu. Bahay na bato houses in Intramuros , Manila.
Bahay na bato houses in Vigan , world heritage site and part of a National Cultural Treasure. Vega Ancestral House , built with the bahay na bato prototype style with sculptures of Atlases. Bahay na bato-style Hizon-Ocampo House. Bahay na bato-style Henson-Hizon House. Bahay na bato-style Archdiocesan Chancery. Bahay na bato-style Jose Laurel House. Maritime transport in the Philippines includes boat houses, boat-making, and maritime traditions.
These structures, traditionally made of wood chosen by elders and craftsfolks, were used as the main vehicles of the people, connecting one island to another, where the seas and rivers became the people's roads. Although boats are believed to have been used in the archipelago for thousands of years since the arrival of humans through water, the earliest evidence of boat-making and the usage of boats in the country continues to be dated as AD through the carbon-dating of the Butuan boats that are identified as remains of a gigantic balangay.
The Sama-Bajau 's lepa house-boat with elaborate carvings. A modernized falua in Batanes. A paraw in Palawan. Garay warships of the Banguingui. An owong at Lake Sebu. An armadahan at Laguna de Bay A Manila galleon visiting Micronesia, c. Weaving is an ancient art form that continue in the Philippines today, with each ethnic group having their distinct weaving techniques. Expensive textiles are made through the intricate and difficult process called back-strap looming.
Pinilian is an Ilocano cotton cloth weaved using a pangablan, where weaving styles of binakul, binetwagan, or tinumballitan are inputted. Bontoc weave revolves on the concept of centeredness, a key cultural motif among the Bontoc people.
In its weave, the process starts with the sides called langkit until it journeys into the pa-ikid side panels , fatawil warp bands , and shukyong arrows.
Afterwards, the sinamaki weaving commences, where the tinagtakho human figure , minatmata diamond , and tinitiko zigzag are incorporated.
The last is center, pa-khawa, which features the kan-ay supplementary weft. Kalinga textiles are embedded into the geometry, where motifs include continuous lozenge pattern locally called inata-ata, and mother-of-pearl platelets called pawekan, among many others. Those made by the Aklanon are the most prized, and are utilized in the national costumes of the country, such as barong Tagalog. Hablon is the fine textiles of the Karay-a and Hiligaynon people, which have been known from the epics of the people.
The textile is usually used for Visayan patadyong and panuelo. The saputangan tapestry weave of the Yakan people is a highly skilled weaving utilizing the bunga-sama supplementary weft weave, the siniluan warp-floating pattern, the inalaman supplementary-weft technique, and the pinantupan weft band pattern. Mabal tabih of the Blaan people depicts crocodiles and curls.
Weavers of the art can only be women, as the art is dedicated and taught by Furalo, goddess of weaving. Bagobo inabal utilizes abaca into creating two tube skirts, namely sinukla and bandira. Dagmay is the weaving art of the Mandaya, who use the mud-dye technique in their craft.
Meranaw textile is used for the creation of the malong , among many other Maranao clothing. These crafts are imbibed with okir designs including potiok bud , dapal or raon leaf , pako fern , pako rabong growing fern and katorai flower. The pis syabit weave of the Tausug utilizes the free imagination of the weaver, as having no preset pattern for the weave is the cultural standard for making the high art.
T'nalak is a fine textile of the Tboli crafted by the dream-weavers who are provided the designs and patterns through dreams by Fu Dalu, the deity of the abaca used in weaving. Unlike cloth weaving, mat weaving does not utilize a loom or similar equipment and instead relies on the craftsfolk's attention in hand-weaving.
The difficult art form is known throughout the Philippines, with those made in Sulu, Basilan, and Samar being the most prized. In general traditions throughout the Philippines, mat-weaving is only done in shaded and cool placed as to preserve the integrity of the mats and their fibers.
An example is the banig of Basey, where the weavers usually work inside a cave. Fibers used vary from banana, grass, palm, and many others. Banton cloth , the oldest surviving ikat textile in Southeast Asia 13thth century , a National Cultural Treasure. The fine art of basket weaving in the Philippines has developed intricate designs and forms directed for specific purposes such as harvesting, rice storage, travel package, sword case, and so on.
The art is believed to have arrived in the archipelago due to human migration, where those at the north were the first to learn the art form. The finest vessel basket crafts made, however, comes from the ethnic groups of Palawan, in the southwest. The Batak of Palawan has utilized the craft into high art, as well as retaining their craft's status as functional art. Intricate basketry can also be found among the Mamanwa, various Negrito groups, Mangyans, Ivatan, and many others.
Materials used in basketry differ per ethnic group. Some important materials include bamboo, rattan, pandan, cotton cloth tassel, nito, beeswax, abaca, buri, bark, and dyes. In the same manner, each ethnic group has their own basketry patterns, which include closed-crossed over under weave, closed bamboo double twill weave, spaced rattan pentagon pattern, and closed tetrahedron buri, among many others.
A few of the many basketry products from the Philippines include the tupil lunch box , bukug basket , kabil carrying basket , uppig lunch basket , tagga-i rice basket , bay'ung basket-pouch , lig-o winnowing tray , and binga bag. Weaved headpieces are prevalent throughout the Philippines, wherein multiple cultures utilize a variety of fibers to connect mediums forming Filipino headgears such as the Ivatan's vakul, the head-cloth of the Manobo, and the snake headpiece of the Bontoc. Notable weaved fish traps include bubo, barekbek, and pamurakan.
Weaved hornbill headgear of the Ilongot. The art of carving in the Philippines focuses on woodcarving and folk non-clay sculptures. Indigenous woodcarving is one of the most notable traditional arts in the Philippines, with some crafts in various ethnic groups date back prior to Hispanic arrival with perhaps the oldest surviving today are fragments of a wooden boat dating to AD. Religious Hispanic woodcarvings abounded in the Philippines with the introduction of Christianity.
The techniques utilized infuse both indigenous and Hispanic styles, creating a fusion of Hispanic-Asian wood art. Paete, Laguna is among the most famous woodcarving places in the country, especially on religious Hispanic woodcarving. Detail of a torogan 's panolong with a naga okir motif.
Kulintang from Mindanao. San Agustin Church door carvings , part of a world heritage site and a National Cultural Treasure. Maragondon Church door, part of a National Cultural Treasure. Stone carving is a priced art form in the Philippines, even prior to the arrival of Western colonizers, as seen in the stone likha and larauan or tao-tao crafts of the natives. These tombs are believed to have been originally roofed, as evidenced by holes marked onto them, where beams have been placed.
The Kabayan Mummy Burial Caves is a prime example. Majority of the marble crafts are currently meant for export, mostly Buddhist statues and related works.
Most of which were either parts of a church such as facades or interior statues, or statues and other crafts intended for personal altars. Ivory carving is an art practiced in the Philippines for more than a thousand years, with the oldest known ivory artifact known is the Butuan Ivory Seal , dated 9th�12th century.
In , the Philippines became the first country in the world to destroy its ivory stock, to show solidarity among like-minded nations against the ivory trade which has decimated the world's elephant and rhino populations. Stone carvings at the facade of Miagao Church , world heritage site and a National Cultural Treasure. Stamp of the Butuan Ivory Seal 9thth century.
A likha portraying a god, one of only two likha that survived Spanish persecution and destruction. Carving at Fort Santa Isabel , Taytay Folk dances, plays, and dramas constitute most of the folk performing arts in the Philippines.
Like other Southeast Asian countries, each ethnic group in the Philippines possess their own heritage on folk performing arts, however, Filipino folk performing arts also includes Spanish and American influences due to the country's historical narratives. Some dances are also related to the dances from neighboring Austronesian and other Asian countries.
Among non-Hispanic traditions, dramas over epics like Hinilawod [82] and Ibalong [83] are known, while among Hispanic groups, the Senakulo is a notable drama.
Audio of one versions of the Sinulog a Kamamatuan, a composition used during recreational events among the Maguindanao people. The arts under folk oral literature include the epics, songs, myths, and other oral literature of numerous ethnic groups in the Philippines.
The poetic arts in the Philippines has been attributed as high in form and full of metaphor. It cam also be written on bamboo. Notable epic-poems include 17 cycled and 72, lined Darangen of the Maranao [97] and the 29,versed Hinilawod of Panay. The oral literature have shaped the people's thinking and way of life, providing basis for values, traditions, and societal systems that aid communities in multiple facets of life.
As diverse as Filipino folk literature is, many of the literary works continue to develop, with some being documented by scholars and inputted into manuscripts, tapes, video recordings, or other documentary forms. Pabasa during the Pasyon.
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