7

Arts
Quarter 3 – Module 1:
The Unique Identity
of the South
(Arts and Crafts of Mindanao)

CO_Q3_Arts 7_ Module 1
Arts – Grade 7
Alternative Delivery Mode
Quarter 3 – Module 1: The Unique Identity of the South (Arts and Crafts of Mindanao)
First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any work of
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wherein the work is created shall be necessary for exploitation of such work for profit. Such
agency or office may, among other things, impose as a condition the payment of royalties.

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Every effort has been exerted to locate and seek permission to use these materials from their
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over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Author: Wendell V. Lizardo

Content Editor: Emmanuel C. Alveyra
Language Editors: Cherrie Rose L. Desaliza, Gladys F. Cantos
Reviewer: Emmanuel C. Alveyra
Illustrators: Louie J. Cortez, Reymark L. Miraples, Richard Amores,
Pablo M. Nizal, Jr., Jan Christian D. Cabarrubias
Layout Artists: Reymark L. Miraples, Jhunness Bhaby A. Villalobos, Louie J.
Cortez, Magnolia M. Mabulo-Delos Santos, Marjorie P. Gabumpa
Management Team: Benjamin D. Paragas, Mariflor B. Musa, Freddie Rey R. Ramirez,
Danilo C. Padilla, Annabelle M. Marmol, Florina L. Madrid,
Norman F. Magsino, Dennis A. Bermoy, Emmanuel C. Alveyra

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Office Address: Meralco Avenue, Cor. St. Paul Road, Pasig City, Metro Manila
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 7

Arts
Quarter 3 – Module 1:
The Unique Identity of the South
(Arts and Crafts of Mindanao)
Introductory Message
This Self-Learning Module (SLM) is prepared so that you, our dear learners,
can continue your studies and learn while at home. Activities, questions, directions,
exercises, and discussions are carefully stated for you to understand each lesson.

Each SLM is composed of different parts. Each part shall guide you step-by-
step as you discover and understand the lesson prepared for you.

Pre-tests are provided to measure your prior knowledge on lessons in each

SLM. This will tell you if you need to proceed on completing this module or if you
need to ask your facilitator or your teacher’s assistance for better understanding of
the lesson. At the end of each module, you need to answer the post-test to self-check
your learning. Answer keys are provided for each activity and test. We trust that you
will be honest in using these.

In addition to the material in the main text, Notes to the Teacher are also
provided to our facilitators and parents for strategies and reminders on how they can
best help you on your home-based learning.

Please use this module with care. Do not put unnecessary marks on any part
of this SLM. Use a separate sheet of paper in answering the exercises and tests. And
read the instructions carefully before performing each task.

If you have any questions in using this SLM or any difficulty in answering the
tasks in this module, do not hesitate to consult your teacher or facilitator.

Thank you.
 What I Need to Know

Mindanao, referred to as the Land of Promise, is known as the second largest

and southernmost island in the Philippine archipelago. Mindanao is a Muslim outpost
in the predominantly Roman Catholic Philippines. Although Muslims are no longer a
majority, Islamic is evident. The island of Mindanao also has the largest concentration
of ethnolinguistic groups and diverse islands. There are many mosques, and distinctive
brassware, including various crafts made by different ethnic minorities. It is already in
the culture of Mindanao to produce crafts which may or can be useful in different
activities in the daily life of the people Their talent in making various crafts has made
the island one of the best craft makers in the whole country. The unique artistic talent
of the various ethnic groups in Mindanao has also created a great impact on our history
and culture. Furthermore, the products showcase distinct designs and features that
leave a good impression on the island’s visitors. Thus, up to this day, we still use their
crafts specifically their attire, textiles, tapestries, accessories and body ornaments.

The artistry of the people in the islands of Mindanao has been an asset in
increasing opportunities for livelihood as well as its tourism. Mindanao products reflect
how the people put effort in using their artistry and talent to develop authentic crafts
that are popular in the Philippines.

The featured provinces of Mindanao have their own unique designs and art forms
that are featured in their traditional clothing, accessories and other colorful ornaments.

This module was designed and written with you in mind. Your learning
experiences in the previous module have helped you understand the arts and crafts of
other regions. You also had exciting and interesting activities that led you to learn about
new concepts. In this module, you will know more about the characteristics and designs
of various attires, accessories, body ornaments, textiles and tapestries of some
provinces in Mindanao.

Be ready as you are about to be amazed by the beautiful arts and crafts of
Mindanao. Let’s begin and have fun!

Learning Objectives:

After working on this module, you should be able to:

A. describe the attire, fabrics, tapestries, crafts, accessories and body

ornamentation of Mindanao.

B. state the characteristics of attire, fabrics, tapestries, crafts, accessories and

body ornamentation of the featured places

C. appreciate the beauty and uniqueness of the sample arts and crafts by
indicating their characteristics.

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CO_Q3_Arts 7_ Module 1
 Before we start discovering what this module is all about, take some time to test
yourself on what you already know about the concepts covered by the lesson. Try to
activate your prior knowledge as you answer the activity below!

What I Know

Directions: Read each question carefully. Write the letter of the correct answer in your
activity notebook.

1. Which of the following is described as a special textile woven from abaca fibers
used by Bagobo people?
A. ikat C. seputangan
B. malong D. t’nalak
2. Which of the following is defined as a process of dyeing the fabric where the
yarns are wrapped with strings and dyed before weaving?
A. badjulapi C. malong
B. ikat D. pinalantupan
3. Which of the following occasions involves the exchange of T’nalak?
A. giving birth C. offering prayer
B. attending mass D. wedding rituals
4. Which of the following characteristics BEST describes the malong of Maranao?
A. It is woven from abaca and embellished with embroidery, buttons, and
beads.
B. It is a woven fabric with complicated beadworks and beautiful brass
ornaments.
C. It is woven using deep brown abaca treated in the ikat process to achieve
an intricate design.
D. It is a hand-made or machine made multi colored cotton cloth, bearing a
variety of geometric or floral design.
5. How is the Ikat process of the B’laan done?
A. The B’laan first cuts the fabric s into different sizes before dyeing it.
B. The B’laan ikat process is done by tying the fabric using a string of abaca
and dipping it in dye after the actual weaving.
C. This ikat process is done by combining different strings and then dipping
the tips of the strings in colored paint.
D. The B’laan’s process is done by dyeing the fabric where the yarns are tightly
wrapped with strings before weaving.
6. Which of the following shows the MOST unique characteristics of the
Sarimanok?
A. It has sharp claws covered with yellow-gold skin.
B. It has tiny pieces of artificial feathers in different colors.
C. It has a long and sharp beak holding a fish or a golden coin.
D. It has colorful wings, a feathered tail, and its head is decorated with
scroll, leaf, and spiral motifs.

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CO_Q3_Arts 7_ Module 1
7. Which of the following is NOT a part of a Yakan wedding attire?
A. kandit C. pis
B. okir D. saruk
8. Which of the following ornaments is believed to protect one’s life from illness
caused by evil spirits?
A. anting-anting C. maniksembulan
B. maniktegiyas D. pegupaan
9. What is the MOST distinct characteristic of the T’boli accessory, Hilot?
A. It is furnished with ball-bearings.
B. It is hung from a distinctive brass.
C. It uses vines and geometric patterns.
D. It has triangular amulets with symbols.
10. Which of the following is known to be a symbolic protection from spears and
knives during combat?
A. gilim C. pis
B. kandit D. saruk
11. In what way do Maranao people use malong?
A. They use malong to cover their crafts.
B. They use malong to wrap a newborn baby.
C. They use malong to create a bag or a sack.
D. They use malong to make a cowl or a raincoat.
12. Where do the Yakan people get their inspiration to weave symmetrical
patterns?
A. Their ancestors send design inspirations through their dreams.
B. Their inspiration for design comes from their loved ones who support them.
C. Their design inspiration comes from other groups that use the same
geometrical pattern.
D. Their inspiration for designs comes from their environment and the
influence of Islamic sacred geometry.
13. How is the Bagobo‘s textile design related to that of T’boli's?
A. Both use T’nalak as a fabric in making clothes.
B. Both use symmetrical patterns.
C. Both textile designs exhibit a cosmological color scheme
D. Both use resist-dyeing to produce a good textile design.
14. What okir pattern depicts a leaf?
A. dapal C. poyok
B. pako D. todi
15. Which of the following is a piece of cloth worn like a turban to protect one’s self
from the rain?
A. kayab C. maniksembulan
B. maniktegiyas D. Pegupaan

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CO_Q3_Arts 7_ Module 1
 What’s New

Have you answered all the questions in the pre-test correctly? Excellent work if
you have. If you haven’t, do not worry because there are many chances for you to learn
the concepts in the pre-test using this module.
As discussed earlier, the renowned arts and crafts of Mindanao are made by the
different ethnolinguistic groups in the island such as the B’laan, Bagobos, T’boli,
Maranao and Yakan. These ethnolinguistic groups have been doing trademark designs
that serve as the region’s cultural spine. Undoubtedly, some of the most prominent
crafts and accessories in the country come from Mindanao.
So now, begin your journey by answering Activity 1 to get a glimpse of awaits
you in this module.

Activity 1: JUNGLE BOX

Directions: Look for the 10 words related to the arts and crafts of Mindanao inside the
puzzle and write them inside the given box. Then, record your answers to the questions
that follow in your activity notebook.

X T L K K R D I V I D E R S N X M A L O N G A

C B A A U E X B A D J U L A P I S A O Q A E P

D O S N J N A A B U L N K D T S A M D L D P B

E L I D D X I K A T T X S E P U T A N G A N T

F I D I D V F D Y V D R S T E A I N X F J U H

G W R T I S S A R I M A N O K R H X H I L O T

H C K X Y J G G X G A A I V M N O K A R W Q S

S X O K I R P J P I N A L A N T U P A N T D R

1. 6.
2. 7.
3. 8.
4. 9.
5. 10.

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CO_Q3_Arts 7_ Module 1
 Now, check your work. Did you find the words from the jungle box? If yes, that
is a signal that you have somehow understood the previous sections.
Let’s process your answers further by answering the following questions:
1. Are you that familiar with the words you have found in the previous
activity?
2. How did you come to know these concepts?
3. What did you feel after knowing these concepts?
4. Have you seen actual objects or examples of the words you listed? How
do you think they are they used in real life?

Now that you have accomplished the previous task, it’s time for you to be more
engaged in the lesson through the activity below.

Activity 2: DRAW THE ITEMS

Directions: Draw your impression of the following attires based on their descriptions.
Accomplish this activity in your notebook

T’NALAK MALONG BADJULAPI SAWAL

 a tight blouse  traditional
 it is woven  it is a tube-
with long tight-fitting
from deep skirt fabric
sleeves trousers
brown  this fabric is a
abaca  it is  it is
hand-woven
ornamented characterized
 only women or machine
with gold, by vertical
are allowed made
silver and stripes.
to weave  a fabric with a
bronze button
this fabric variety of
geometric or
floral design

Great job! What did you learn from the activity? Share your experiences by
answering the questions below:
1. Were you able to draw all the attires?
2. Based on your understanding and drawings, what were the differences of
the attires?
3. Have you observed any similarity/ies among the attires you have drawn? If
yes, what are those?

Arts and crafts can be classified into various types such as wood crafts, metal
crafts, beaded works and textiles which are commonly the main products of
ethnolinguistic groups in Mindanao.
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CO_Q3_Arts 7_ Module 1
 Let’s try categorizing the different crafts this time. Recall the previous
discussions and use them as guide for the next activity.

Activity 3: WHAT KIND OF CRAFT IS IT?

Directions: Using the graphic organizer below, categorize the following objects inside
the table whether it is an example of woodcraft, metal craft, bead work, or design motif.
Accomplish this activity in your notebook.

Crocodile tooth necklace Maniksembulan Pegupaan

Hilot
Matilak Sarimanok
Kandit
Okir Saruk
Snake bone belts

Wood Craft Metal Bead Textile/

Craft Work Design Motif

You just have accomplished the required task. Now, try to respond to the
following questions to know how well you have done in the activities presented above.
1. How did you categorize the crafts presented?
2. Do you have any of these crafts at home? If yes, what crafts do you have?
Congratulations for a job well done!

What is It

As already mentioned, this module focuses on the characteristics of arts and

crafts in specific areas in Mindanao, and as promised, you will get fascinated as you
discover their unique and peculiar arts and crafts.

So, what are you waiting for? Let’s discuss them one by one and learn
important concepts about this lesson.

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CO_Q3_Arts 7_ Module 1
 ATTIRE, TEXTILES, AND TAPESTRIES

B’laan’s Traditional Clothing and its characteristics

One of the ethno-linguistic groups that

inhabits Mindanao is the B’laan. They usually
reside in specific place in Mindanao like
South and North Cotabato and Davao del Sur.

The B’laan’s name comes from a

combination of two words “bila”, which means
“house”, and “an”, which means “people”. This
ethno-linguistic group is known for its
embroidery, brass ornaments, and beadwork
which are used in their traditional clothing.

The B’laan’s clothes are woven from abaca

fiber, and embellished with buttons, beads,
embroidery, and brass and copper work. One
B’laan distinct item is the heavy brass belt that B’laan
women usually wear around their waistline.
These brass belts have numerous tiny bells that produce pleasing chiming sounds that
signal the arrival of the women.

The B’laan also use mother-of-pearl that are cut and shaped into geometric
forms to look like sequins called taknum.

The B’laan are also known for their ikat process which is used in weaving
highly-polished abaca textiles. This process is done by dyeing the fabric where the
yarns are tightly wrapped with strings before weaving.

The colors of the textiles are usually in shades of black or brown, red or ochre
(darker shade of orange), and ecru (the color of the undyed abaca). The B’laans put
high value on their textiles that woven blankets are considered as an important part
of the bride’s dowry.1

Furthermore, B’laan’s first known process of abaca weaving called mabal has
also made them popular. Even though they became more well-known in using the ikat
process in producing their textiles, they still trying to preserve mabal as part of their
culture and tradition. This process is done by weaving abaca fibers to create their
traditional tubular skirt for B’laan women, Tabih. The designs of this indigenous
textiles, are usually from the natural dyes that come from endemic plant species found
in their community.
Moreover, the identity of Tabih is slowly disappearing because B’laan usually
use t’nalak textile from the T’bolis. It is the frustration of cultural development workers
to see B’laans use the T’nalak of T’boli. However, there is still a group of B’laan people
in Sarangani who continuously passing their traditional weaving process and their
textile to their next generation.

1
Music and Arts. Pasig: DepEd- BLR via FEP Printing Corporation, 2017.
Manquiquis Rio. “The B’laan Tribe. 2015. Accessed May 29, 2020. https://prezi.com/uhkwgymzsqsh/the-blaan-tribe/

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CO_Q3_Arts 7_ Module 1
 Bagobos’ Traditional Clothing and its characteristics
The Bagobos are one of the ethno-
linguistic groups in Mindanao that contributes
to the area’s culture and tradition. This group’s
name comes from the word “bago” which means
“new”. and “obo”, which means “growth”.

Bagobos are known for their ceremonial

cloth called Inabal. This is a special textile
woven from deep brown abaca fibers. Like the
B’laan, ikat process is used by Bagobos to
obtain intricate designs for their textiles.
Bagobo women are the only ones who are only
allowed to weave this fabric. Inabal clothing is
valued by both men and women.

Additionally, red holds a special meaning

in Bagobo textile design for men. The hero or Bagobos wearing Inabal
warrior called bagani by Bagobos usually wear
blood-red clothes, and a head kerchief called tangkulu. This style of clothing represents
their courage as Bagobos. The weaving tradition of Bagobo is usually tied to the
magandi, a dominant warrior class that is recognized through a red color of their
clothing.

Women on the other hand, are covered with inabal skirts and blouses. Their
clothes are designed with stripes, plaids, and other organic motifs such as plants,
stars, lightning and even human figures. Bagobo women also wear rows of bells
around their waist and ankles that produce tinkling sounds every time they move or
walk called Kolungkolung. The sound made by the Kolungkolung is relatively
“standard” to the bagobo taste which means that they use Kolungkolung to give
pleasing sound as they perform their traditional dance.

The distinct ceremonial attire of Bagobo, made of ikat textiles, is likely to be

referred to as kostyom (costume) or dress. They use kostyom (costume) when speaking
to a person outside their tribe. However, among themselves they use their language’s
term for garment or clothing, which is ompak'n Bagobo. Wearing these clothes
expresses various meanings, describing different modes of being a Bagobo. This original
textile helps the Bagobos to be more attached with their culture and tradition but also
to connect to the modernity that plays out in the city where they live.2

Furthermore, the most meaningful features of abaca cloth among the Bagobo
today is not dependent on technique but on the group-specific style. Upon
consideration of the specific features of abaca cloth, Bagobo textiles share the most
features with that of B’laan and to a lesser extent, the T’boli. 3

2
Quizon, Querubim A. “Costume, Kostyom, And Dress: Formulations of Bagobo Etnic Identity in Southern Mindanao.Ethnology. Vol.
46, No. 4 pp. 271-288. 2007. Accessed May 29, 2020.https://www.jstor.org/stable/20456632?seq=1
3
Quizon, C. (1998). Between the field and the museum: the Benedict Collection of Bagobo abaca ikat textiles. pp 293-294. Retrieved from
https://core.ac.uk/download/pdf/188078081.pdf

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CO_Q3_Arts 7_ Module 1
T’boli’s Traditional Clothing and its Characteristics
Another popular ethnolinguistic
group is the T’boli. They come from South
Cotabato, particularly Lake Sebu. Like
any other ethnoliguistic groups, T’bolis
are famous for their complicated
beadwork, wonderful woven fabrics, and
beautiful brass ornaments. T’bolis are
also known in using t’nalak similar to the
Bagobos. However, unlike Bagobos,
T’bolis are more well-known in the use of
t’nalak. They also find this textile sacred
and important. Occasions like traditional
wedding rituals usually involve the
exchange of t’nalak textile.
The t’nalak of T’bolis are made by
T’bolis wearing T’nalak
women of royal blood, and thousands of
patterns with reference folklore and
stories are known to the T’boli women by memory. Fu Dalu, a spiritual guardian, is said
to guide t’nalak weaving, a process that follows several rituals and rules.4
T’boli weavers believe that they are visited by their ancestors and gods in their
dreams to teach them weaving designs and patterns. In 1998, Lang Dulay, the famous
T’boli dream weaver, was able to receive the National Living Treasures- Gawad
Manlilikha ng Bayan (GAMABA) Award by the National Commission for Culture and
the Arts. The GAMABA is an award that aims to give honor and pride to different
traditional artist who contributed to preserve the works, skills and crafts of their group.
This also promotes the preservation of the Filipino culture through arts. A dream
weaver like Lang Dulay, has proven that T’bolis are great keepers of culture and
tradition.
T’bolis also believe that the fiber they weave will easily break once the weaver
fails to follow the rule of abstinence during the weaving process. This rule also strictly
prohibits men to touch the materials used in the weaving process because the t’nalak
weavers are the only ones allowed to handle the cloth.

The t’nalak occupies a special significance in the lives of the T’boli tribe. Basically
used for blankets and clothing, the t’nalak is also deemed helpful in pregnancy and
delivery as a pre-natal covering.T’bolis learned how to weave the t’nalak at a very young
age. The production of this piece of cloth takes time and uses a painstaking process
that requires patience, creativity, good memory, and a range of skills.5
Fibers used in weaving are harvested from the abaca tree and prepared in a
process known as kedungon. Two metal blades are used to quickly remove the pulp
from the filaments, which are worked by hand into fine threads. During tembong
(connecting), an artisan connects individual threads from end to end. Temogo, or

4
Lush Emily. “Making of: T’nalak Weaving, Philippines”. Accessed May 29, 2020. https://www.thetextileatlas.com/craft-stories/tnalak-
weaving-philippines
5
Mercurio Edwin C. “T’boli T’nalak Weaving”. A Centuries-old Tradition of Tie-dye Weaving in the Philippines. 2013. Accessed May 29,
2020. https://muntingnayon.com/102/102732/

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CO_Q3_Arts 7_ Module 1
dyeing, is done in the ikat- style using beeswax and natural pigments. Fibers are first
boiled in a black dye for several weeks. Weaving is done on a backstrap loom (legogong)
and weaving one piece of cloth can take up to a month of uninterrupted work. The final
stage in the process, semaki, involves burnishing the fabric with a cowrie shell that is
heated by friction. Nut oil is used to condition the fabric and add sheen.5
Some of the distinctive colors featured in the tri-color scheme of the t’nalak are
white for the pattern, red for relief elements, and black (or deep brown) for the
background.
Making t’nalak has been passed down from generation to generation for many
centuries now. Each design has its own meaning that makes the cloth more distinct
and memorable.

Maranao’s Traditional Clothing and its Characteristics

The Maranao is the the biggest group of
Muslims living in Mindanao. They are dwellers who
occupy the lands surrounding Lake Lanao. They are
known to be the “People of the Lake” because they
are the considered as the Lake Lanao’s guardians.
The Maranao people are popularly known for
their malong. It is a traditional hand woven tube skirt
that is made using a backstrap loom. It can also be
a machine-made multi-colored cotton cloth.
The malong measures at least 165x165 cm, and can
be used in many ways. Maranao women usually wear
it as a skirt, dress, blouse, or gown. It may also be
used as a
hammock,
Maranao woman performing a fruit basket,
malong dance sleeping bag,
bathrobe,
baby carriage, or even as a simple market bag,
depending on how a person folds this special fabric.
It can also be used as a cowl or raincoat, sack, and
headgear for both men and women.6
The famous malong of Maranao is somehow
similar to the sarong of Malaysia, Brunei, and
Indonesia. However, the malong we have in
Mindanao is much bigger and longer than sarong,
Maranao woman wearing
and it is stitched together at both ends so that it
malong
has a tubular shape. Meanwhile, the sarong is not
stitched at both ends and it is usually square in shape with varied patterns like
checkers. This traditional garment can vary in length and width, but generally four to

5 Lush Emily. “Making of: T’nalak Weaving, Philippines”. Accessed May 29, 2020. https://www.thetextileatlas.com/craft-stories/tnalak-
weaving-philippines/
6 Ayala Museum. “The Maranaos”. Accessed May 29, 2010. https://artsandculture.google.com/exhibit/the-art-of-the-
malong/owKCDBBzFibtIg
five meters in width and length. It is also usually worn around the waist but can be
tied in various methods.
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CO_Q3_Arts 7_ Module 1
 The malong used for ceremonies and rituals is usually made of silk, while the
ones for daily use are with a simple pattern of plaids and stripes. On the other hand,
the more elaborate silk malong features intricate designs in red, purple, and yellow,
which are the colors used in different ceremonial occasions.
The other types of Malong are the following:
a) Malong a andon- it is considered the most expensive and rarest or oldest of the
three types. Andon refers to the “patola” motif, or a double ikat woven sari,
usually made from silk.
b) Malong a landap- it is characterized by “langkit”, or decorative strips of
profuse geometric designs, which are hand sewn on the malong. This type is
considered the most popular.
c) Malong a ampik- it is characterized by a pattern with geometrical shapes
colored with black and white, and combination of contrasting primary colors.7

The malong’s different uses have become a significant part of the Maranaos’
living from birth to death. One is wrapped in this fabric as a newborn baby, and as the
baby grows into adulthood, it becomes a part of daily life as a piece of clothing and as
a material used for different purposes. Upon one’s death, the individual is wrapped
once again with a malong. These various uses are shown in the traditional dance
called Kapa Malong Malaong or Sambisa malong, which demonstrates the
various ways to fold and use a malong.

Yakan’s Traditional Clothing and its Characteristics

The Yakan is an indigenous
tribe native to the island of Basilian.
Their weaving skills is recognized for
their use of remarkable technicolor
geometric patterns. The intricately
woven fabrics are used for clothing
and other accessories. They also use
distinctive face decorations to
complement their attire in
traditional ceremonies.

Yakan women traditionally

made the textiles for their cultural
dress known as the Semmek. They
also crafted accessories and interior
decors from abaca, pineapple, and
bamboo fibers grown on the island.

7 Ayala Museum. “The Maranaos”. Accessed May 29, 2010. https://artsandculture.google.com/exhibit/the-art-of-the-

malong/owKCDBBzFibtIg.
8
Haute Culture. “Textile Tribes of the Philippines:Yakan Weaving, Wedding and Wears”. 2016. Accessed May 29,
2020.https://hauteculturefashion.com/yakan-tribe-textiles-mindinao-philippines/

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CO_Q3_Arts 7_ Module 1
 However, the Yakans moved from Basilan to Mindanao Island due to the
political unrest and armed conflicts in their original location. Consequently,the the
original material have been replaced with colored cotton with bolder design.8

The malong used for ceremonies and rituals is usually made of silk, while the
The hand-loomed fabrics woven by Yakan women are known for their bright colors and
geometric patterns. These fabrics are traditionally used as garments, which include:

• Seputangan is a square cloth used by the Yakan women as a head or as a

belt. It is the most decorative piece of garment because of its with different
designs, but it is the most time- consuming to make.
• Badjulapi, is a tight blouse with long sleeves worn by Yakan women, which
is ornamented with gold, silver and bronze buttons.
• Yakan sawal, is a traditional tight-fitting, striped trousers made of bamboo
fibers with vertical stripes, zigzag and diamond patterns.
• Pinalantupan is a type of skirts layered over the trousers made from a mix
of pineapple and bamboo fibers.
• Pagal Bato is a bride’s button-up jacket made of satin or cotton cloth, and
sometimes mixed with lurex threads.

As discussed, Yakan weaving highlights bright, bold and contrasting colors in

big symmetrical patterns. The inspiration for their designs come from their
environment, and Islamic sacred geometry.

CRAFTS, ACCESSORIES, AND BODY ORNAMENTS OF MINDANAO

Ethnolinguistic groups in Mindanao are also known for their crafts which are
made from indigenous materials, usually from their own community. They make crafts
not only to display and introduce their culture and tradition but also to maximize their
skills and experience in making objects that can be used by the entire community.

Crafts denotes a skill. It is employed in branches of the decorative arts and

usually associated in an artistic practice thatis honed through hands-on experiences
following the principles of craftsmanship. Part of Mindanao culture is the artistry of
the various craft made by different ethnic groups. There are different varieties of crafts
in Mindanao which may be categorized as textiles, wood craft, metal craft, and
beadwork.

12
CO_Q3_Arts 7_ Module 1
 1. Textiles include embroidery , felt making , knitting, lac making, tapestry and
weaving. It is the most common form of craft among the different ethnolinguistic
groups in Mindanao.

The distinct motifs and patterns

characterize the design of each group.
For example, one of the decorative
motifs used in the textiles of Maranao
is the Sarimanok. The sarimanok is the
Maranao’s legendary bird. It comes
from the words “sari”, meaning cloth or
garment and “manok” , the Filipino
term for chicken.
It further is derived from the
totem bird of the Maranaos called Itotoro, which is believed to be a medium to the
spirit world together with its twin spirit bird called Inikadowa.9

It is also said to be a symbol of good fortune, and. It is depicted as a fowl with

colorful wings and feathered tail, holding a fish on its beak or talons. The head is
profusely decorated with scroll, leaf and spiral motifs.

People around the world used to regard birds as figures of worship and
inspiration for artistic expression. Locally, Filipinos have come to value birds as a
symbol for luck. This representation may be attributed to the bird’s ability to fly,
which the ancient people believed to be a rare power given by the Supreme Being to
chosen creatures. Being an important part of our culture, this mythical bird from
southern Philippines has been a part of many legendary tales, and is now recognized
as one of the country’s national symbols.10

2. Woodcraft- it is a type of handicraft that uses wood as a primary material to

carve an object such as a statue or relief, accessory, ornament, masks, and other
craftworks like frames. This also includes different processes such as carving,
wood turning, and furniture making.

Similar to its value textile design, the sarimanok also plays a vital role in wood
crafts. It is sometimes carved by Maranaos in order to make souvenirs for their
livelihood. The sarimanok motif is also a popular motif in architectural designs.

9 The manila Times. “Sarimanok”. March 25, 2019. Accessed May 29, 2020.
https://www.manilatimes.net/2019/03/25/supplements/sarimanok-a-rooster-in-the-first-of-seven-heavens/530576/

13
CO_Q3_Arts 7_ Module 1
 Okir
Another popular design motif in
Mindanao is the okir. This design is
prominent in the traditional wood
carvings of the Moro communities.

The word okir originated from an

old Malayan word which means carve or
“ukit” in Filipino. It is referred to as okir
in Maranao, while it is called okkil in
Maguindanaon.

The pattern now known as the okir

motif has evolved from the Indian stylized
bird and naga themes, and the Islamic
tradition of using flowers, vines and
geometric patterns. Okir design is often
carved or etched on hardwood, brass and
silver. It is also used on decorative wall
paintings.

The Okir Motif is a prolific design

motif that can be seen in almost all Okir motif
Maranao artifacts, and architecture,
revealing the Maranao’s distinct and original culture.11 According to Dr.
Nagasura, okir has different symbolic patterns which are used by Maranao
crafts makers. Some of these patterns are:
1. Matilak (circle),
2. Poyok (bud),
3. Dapal (leaf),
4. Pako (fern or spiral form),
5. Todi (fern leaf with spiral at upper edge,
6. Pako lungat (fern leaf with a cut at one edge).

These patterns used by Maranao reflect the rich culture and excellent artistry
in making various handmade crafts.
3. Metal crafts- these crafts include the process of making jewelry, ornaments,
and accessories using steel and light metal materials. Metal crafts also involve
the processes of embossing and engraving. Embossing in metal artworks is the
process of forming a design that slightly protrudes or bulges around the
surface. Engraving is a technique of making prints and designs
from metal plates by making incisions on the metal surface with the use of a
cutting tool.

10Villalobos Apolinario. “ SARIMANOK: Its Legend and Significance To Filipino Culture”. 2014. Accessed May 29, 2020.
https://penpowersong.wordpress.com/2014/08/07/sarimanok-its-legend-and-significance-to-filipino-culture/
11
Jehad Z P and Pangcoga Haron A. “THE OKIR (MOTIF): AN ART OF MARANAO DEPICTING THEIR CULTURE AND SOCIETY”. Accessed March 18,
2014. https://tugayaartefactsblog.wordpress.com/2014/03/18/the-okir-motif-an-art-of-maranao-depicting-their-culture-and-society/

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CO_Q3_Arts 7_ Module 1
 An example of metal craft the
handmade article called, lutuan. It is a
small bronze box with engraved patterns
that is carried at the waist. It has an outer
lid and handles, with several inner
compartments used for storing betel nut
and leaves. Usually, lutuan is
accompanied by pegupaan which is
bamboo container for paraphernalia used
in chewing betel nut.

The outer box and interior lids are

decorated with silver inlay using motifs
that most probably represent the stylized
tail feathers of the sarimanok and orchid
blooms, while scrolling obid-obid (stylised
rope) pattern are used within its borders.12
Lutuan /Pegupaan

A red textile strap beaded with red and green cut glass called rocaille beads is
attached to the handles, which functions as a shoulder strap. The lutuan represents
a fine example of Islamic metalwork from Southeast Asia, which still remains
underrepresented in the world’s major collections of Islamic art. 13

1. Beadworks- these craft works include the use of beads in making accessories
and ornaments such as necklaces, bracelets, earrings and hairclips. Beads are
also used to add more designs on on textiles and different clothes such as
traditional attires. The processes used in beadwork include loom and off-loom
weaving, stringing, bead embroidery and bead knitting.

a. Accessories are supplementary components which commonly adds

features in the traditional outfit of different ethnolinguistic groups. These
groups use it as a part of their culture and tradition, usually during
important occasions such as a wedding ceremony.

Most of the accessories of the ethnolinguistic groups serve as evidence

of their artistry and craftsmanship. Their culture and tradition are reflected
in their products and artifacts. In Mindanao, elaborate accessories are
specifically made and used for traditional events and rituals, such as
weddings. For example, Yakan grooms wear a handwoven head cloth called,
Pis, which represents men’s bravery, and is a symbolic protection from spears
or knives. On the other hand, brides wear a short skirt over trousers called
Olos. This traditional attire is worn with a hat called, Saruk. Another
significant traditional accessory is the Kandit, a 15-meter belt or sash made
of gilim (red cloth). These pieces of clothing are all decorated with beads.

12
“Mindanao Lutuan Betel Box, Philippines”. Accessed May 29, 2020. https://www.michaelbackmanltd.com/archived_objects/mindanao-
lutuan-betel-box- philippines/
13
“Mindanao Lutuan Betel Box, Philippines”. Accessed May 29, 2020. https://www.michaelbackmanltd.com/archived_objects/mindanao-
lutuan-betel-box-philippines/

15
CO_Q3_Arts 7_ Module 1
 Aside from their traditional accessories, the Yakan also practice the
custom of tanyak-tanyak, or face painting, during weddings. A foundation of
white powder is applied on the faces of the bride and groom, followed by
putting dots and lines that create various patterns.14

Another group that has a fondness for

accessories is the T’boli. Some of their
accessories festivals are the Hilot and Suwat
lmimot. The hilot is a heavy brass belt worn by
women during festivals. The T’boli nobility
wear it with bracelets, anklets, furnished with
ball-bearings, which signal their approach.
Meanwhile, the hilot lmimot is a brass belt with
dangling strings of beads.

.
Hilot lmimot

On the other hand, the Suwat lmimot

is a wooden comb with colored glass beads,
that is worn at the back of the head.

Other accessories worn by T’bolis are the

l'mimot, a big necklace that practically
covers the whole neck and chest area,
blonso or brass bracelet worn about 15-20
on each arm, and the nomong, an earring
made of glass beads and horse hair.
Suwat lmimot Variations of colors like red, yellow, white,
and black are arranged in different
geometrical patterns.

b. Ornaments on the other hand, are accessories used to beautify and to make
the appearance of objects and people more attractive. Such ornaments of
Mindanao are used in traditional events and rituals, and has the added value
of protection from different elements.

Ornaments have been a part of the daily life of different ethnolinguistic groups.
It highlights their own unique culture and tradition. These ornaments are believed
to be protective talismans that shield them from harm and misfortune. Below are the
most common ornaments used in Mindanao

 Crocodile tooth necklace for fortune

 Triangular amulets with symbols wrapped in black cloth (anting- anting)
which is a protection against bullets
 Snake bone belts to guard from pain

14 Haute Culture. “Textile Tribes of the Philippines:Yakan Weaving, Wedding and Wears”. 2016. Accessed May 29,
2020.https://hauteculturefashion.com/yakan-tribe- textiles-mindinao-philippines/

16
CO_Q3_Arts 7_ Module 1
  Maniktegiyas, a beaded necklace or bracelet from dried fruit seeds that
protects the wearer from illness caused by evil spirits
 Maniksembulan, a necklace or bracelet made of a short bamboo stems
that serve as added protection
 Kayab, a piece of cloth worn like a turban, which is a protection from rain.

You have just finished the topic on crafts. Think about how you can show your
understanding of the ideas and concepts presented in the previous section. How did
you find the lesson? What was the most interesting part for you? Use the guide
questions below to further reflect on the previous discussions.

1. Based on the previous sections, reflect on the unique characteristics of the

traditional clothing used by each ethnolinguistic group presented in the lesson.
How are these attires and fabrics different from each other? Share at least three
distinct differences and explain them briefly.
2. Did you find any similarities about the arts and crafts of the featured
ethnolinguistic groups in Mindanao? What are these similarities? Explain.
3. What do you think are the important and relevant concepts that you need to
remember about the arts and crafts of Mindanao? Explain their significance
and relevance in our present context.
4. How would you contribute to raising awareness and developing appreciation for
the traditional arts and crafts of Mindanao?

What’s More

Great! You have just finished reading important information and answering
processing questions about the arts and crafts of the featured ethnolinguistic groups
in Mindanao.
You may now continue to explore and understand more about the lesson as
you answer the following activities.

Activity 1: WRITE it RIGHT!

Directions: Below are statements with faulty concepts about the arts and crafts of
Mindanao. Your task is to identify and encircle the words that make the statement
incorrect. Then, write the accurate words inside the text box to make the statements
correct. Copy the entire statements and accomplish this task on your activity
notebook.
Example: Maranao T’boli women usually use malong as as skirt, a dress, a
blouse or a gown.
1. The Okir motif is an artistic pattern that is profusely used
by the Mangyan people.
2. The gangsa is derived from the totem bird of the

17
CO_Q3_Arts 7_ Module 1
 Maranaos called Itotoro
3. The B’laan people also cut mother-of-pearl into small
shapes that look like sequins called
4. T’boli women traditionally make the textiles for their
cultural dress known as the Semmek.
5. The Malay ethnic group is known for applying face painting
on brides and grooms as part of their traditional wedding
ceremony.
6. T’nalak is a garment usually used by the Maranao and
Maguindanao from southern Philippines.
7. One of the patterns of okir is the “dapal” which means
circle.
8. Kayab is a necklace made of bamboo stems that serve as
a form of protection.
9. The clothes worn by the Tausug are woven from abaca
fiber embellished with buttons, beads and embroidery.
10. One of the best examples of using okir motif on textiles is
the malong a-Ampik.
Have you answered all the items correctly? Good job!

If you got all the correct answers, that’s very good! That means you learned
the initial concepts well. However, if you made mistakes, don’t be bothered because
you can still review the parts of this module that you did not quite understand.

Now, let’s do another activity on traditional attire.

Activity 2.1: WHAT DO I POSSESS?

Directions: Go back to your answers in the guide questions after the module about
the unique characteristics and differences of the traditional clothing of the
ethnolinguistic groups and write them on the table below. Then, examine the words
or phrases that show their differences and similarities and transfer them in the given
diagram on similarities and differences below in activity 2.2. Afterwards, answer the
succeeding processing questions. Accomplish this activity in on your activity sheets.

1. B’laan’s
Traditional Clothing

2. Maranao’s
Traditional Clothing

3. Bagobos’
Traditional Clothing

18
CO_Q3_Arts 7_ Module 1
 4. T’ bolis’
Traditional Clothing

5. Yakans’
Traditional Clothing

Activity 2.2: DIAGRAM OF SIMILARITIES AND DIFFERENCES

1. In your own opinion, what makes the arts and crafts of Mindanao unique
from others?
2. Based on the table you have answered in activity 2.1 and the diagram in
Activity 2.2, how similar are the clothing of the five featured ethnolinguistic
groups?
3. If you were to wear a traditional clothing from the five featured
ethnolinguistic groups, which would you wear? Why? Explain your answer.

Congratulations for making it this far! You have almost reached the final part
of the module. All you need to do is finish the remaining activities. Do your best
and let’s see if you can remember all that you learned from this module.

19
CO_Q3_Arts 7_ Module 1
 What I Have Learned

Now, the time has come for you to reflect and focus on the essential points of
the lesson.

Express the significant concepts you learned and insights gained in the
learning box. Write your reflection in your activity notebook.

Learning Box

_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________________
_______________________________________
Since you are done with the activity, it’s time for you to answer a brief
assessment on the key concepts of the lesson. Break a leg!

Assessment

Directions: Read each of the questions carefully. Write the letter that corresponds
to correct answer in your activity notebook.

1. Which of the following occasions involves the exchange of T’nalak?

A. giving birth C. offering prayer
B. attending mass D. wedding rituals

2. How is the Ikat process of the B’laan done?

A. The B’laan first cuts the fabric s into different sizes before dyeing it.
B. The B’laan ikat process is done by tying the fabric using a string of abaca
and dipping it in dye after the actual weaving.

20
CO_Q3_Arts 7_ Module 1
 C. This ikat process is done by combining different strings and then dipping
the tips of the strings in colored paint.
D. The B’laan’s process is done by dyeing the fabric where the yarns are
tightly wrapped with strings before weaving.

3. Which of the following is defined as a process of dyeing the fabric where the
yarns are wrapped with strings and dyed before weaving?
A. badjulapi C. malong
B. ikat D. pinalantupan

4. Which of the following is described as a special textile woven from abaca fibers
used by Bagobo people?
A. ikat C. seputangan
B. malong D. t’nalak

5. Which of the following characteristics BEST describes the malong of Maranao?

A. It is woven from abaca and embellished with embroidery, buttons, and
beads.
B. It is a woven fabric with complicated beadworks and beautiful brass
ornaments.
C. It is woven using deep brown abaca treated in the ikat process to achieve
an intricate design.
D. It is a hand-made or machine made multi colored cotton cloth, bearing a
variety of geometric or floral design.

6. What is the MOST distinct characteristic of the T’boli accessory, Hilot?

A. It is furnished with ball-bearings.
B. It is hung from a distinctive brass.
C. It uses vines and geometric patterns.
D. It has triangular amulets with symbols.

7. In what way do Maranao people use malong?

A. They use malong to cover their crafts.
B. They use malong to wrap a newborn baby.
C. They use malong to create a bag or a sack.
D. They use malong to make a cowl or a raincoat.

8. Which of the following is known to be a symbolic protection from spears and

knives during combat?
A. gilim C. pis
B. kandit D. saruk

9. Which of the following ornaments is believed to protect one’s life from illness
caused by evil spirits?
A. anting-anting C. maniksembulan
B. maniktegiyas D. pegupaan

21
CO_Q3_Arts 7_ Module 1
10. What okir pattern depicts a leaf?
A. Dapal C. Poyok
B. Pako D. Todi

11. Which of the following is NOT a part of a Yakan wedding attire?

A. kandit C. pis
B. okir D. saruk

12. Which of the following is a piece of cloth worn like a turban to protect one’s self
from the rain?
A. Kayab C. maniksembulan
B. maniktegiyas D. Pegupaan

13. Where do the Yakan people get their inspiration to weave symmetrical
patterns?
A. Their ancestors send design inspirations through their dreams.
B. Their inspiration for design comes from their loved ones who support
them.
C. Their design inspiration comes from other groups that use the same
geometrical pattern.
D. Their inspiration for designs comes from their environment and the
influence of Islamic sacred geometry.

14. How is the Bagobos textile design related to that of T’bolis?

A. Both use T’nalak as a fabric in making clothes.
B. Both use symmetrical patterns.
C. Both textile designs exhibit a cosmological color scheme
D. Both use resist-dyeing to produce a good textile design.

15. Which of the following shows the MOST unique characteristics of the
Sarimanok?
A. It has sharp claws covered with yellow-gold skin.
B. It has tiny pieces of artificial feathers in different colors.
C. It has a long and sharp beak holding a fish or a golden coin.
D. It has colorful wings, a feathered tail, and its head is decorated with
scroll, leaf, and spiral motifs.

Did you enjoy answering the test? Check your answers by referring to the
Answer Key at the last page of this module.

You may now proceed to the next module once you have answered the
assessment and reviewed your mistake/s, if any was/ were made.

Remember that you can always go back to the parts of the module which you
did not understand very well.

22
CO_Q3_Arts 7_ Module 1
 What I Can Do

Congratulations for finishing this module!

Here is another opportunity to enrich your learning about the lessons in this
module.

Activity: Go Negosyo!
Directions: Read the situation, examine what is needed, and do the given task.

Situation:

Imagine that you own and manage a business that is more on organizing
events. You plan and implement gatherings for different occasions like birthday
parties, anniversaries, reunions and most especially, weddings.

Your client, Mr. Jay Santos and his fiancée, Ms. Jen Enriquez, visited your
office to inquire about invitations designs that they might use in their upcoming
wedding. Miss Enriquez who is from Mindanao wants to have a customized wedding
invitation inspired by Mindanao’s arts and crafts. She wants this invitation to be
simple yet unique.

Task:

Now, help the couple by designing their wedding invitation.

 Your goal is to design an invitation that is inspired by the arts and crafts of
Mindanao.
 The invitation that you are going to make must incorporate patterns, colors,
and motifs of well-known arts and crafts from Mindanao like Sarimanok, Okir,
and their famous textiles.
 Use basic principles of lay-outing as your guide. You may learn more about it
by watching the video tutorial titled Beginning Graphic Design: Layout and
Composition at https://www.youtube.com/watch?v=a5KYlHNKQB8. You may
also search it from GCFLearnFree.org youtube channel.

As the owner of the business, it is up to you to choose the medium for the
invitation to make it unique and creative.

You may use any of the following media according to your preference:

- Paint - Oil Pastels

- Crayons - Water Colors
- Water Colors - Or you may use digital arts
- Color Pencils - boxes and cardboards

Note: Take a photo of your artwork and submit it to your facilitator through
messenger, e-mail, or other media platforms.

23
CO_Q3_Arts 7_ Module 1
 Remember this activity will be assessed using the following rubrics:

Criteria 5 4 3 2 1
The student’s The The student’s The The
artwork student’s artwork student’s student’s
contained artwork contained artwork was artwork did
Use of patterns contained minimal lack of not contain
patterns/ and designs patterns patterns and patterns and any patterns
designs that are and designs designs and design of and designs
inspired by and were quite Mindanao’s of
Mindanao’s somehow inspired by arts and Mindanao’s
arts and inspired by Mindanao’s crafts. arts and
crafts. Mindanao’s arts and crafts.
arts and crafts.
crafts.
Visual The student’s The The student’s The The
Appeal/ artwork was student’s artwork was student’s student’s
Creativity appealing, artwork was made but artwork artwork
and creatively requires a was made had no
creatively done but little bit more but lack of creativity
done and not visually of creativity creativity and visual
with visual appealing. and visual and visual appeal.
appeal. appeal. appeal.
The The The The The
Craftsmans student’s student’s student’s student’s student’s
hip/ Skill artwork was artwork artwork was artwork was artwork was
done with was done done with done with done
exceptional with care basic care minimal without
care and and and care and care and
attention to attention to attention to attention to attention to
detail and detail and detail and detail and detail and
neatness. neatness. neatness. neatness. neatness.
Completenes The artwork The artwork The artwork The artwork The artwork
s/ is complete, was was finished was was
Punctuality and was complete and was incomplete incomplete
passed on and was passed on but was and was not
time. passed on time but passed on passed on
time but needed an time. time.
The effort to needed a improvement.
produce little bit of The effort to There is no
quality work punctuality. The effort to produce effort in
is evident in produce quality work producing
the output. The effort to quality work is unclear quality work.
produce is good and and not that
quality work somehow evident in
is adequate evident in the the output.
and evident output.
in the
output.

24
CO_Q3_Arts 7_ Module 1
 Additional Activities

Congratulations! You have reached the end of the lesson. You are now ready
for the next module!
At this point, take this activity as you ready yourself for your next journey.

Activity 1: Clouds of Thought

Directions: Express your understanding by writing a significant insight on the given

concepts about the arts and crafts of Mindanao. Accomplish this activity in your
activity notebook.

Crafts

Textiles/
Tapestries

Accessories

Body
Ornaments

Guide Questions:
1. How do these arts and crafts from Mindanao help the country’s culture and
tradition?
2. What makes the arts and crafts from Mindanao unique from other arts and
crafts in some parts of the Philippines?

25
CO_Q3_Arts 7_ Module 1
 3. What particular arts and crafts would you want to have from the featured
places in Mindanao? What particular characteristic/s do you like the most?
Why do you say so?
4. In your own opinion, why is it important to know these ideas and concepts
in today’s time? How beneficial these are to people?

Congratulations! You made it. You have performed very well. Hope that this
module has given you significant information and insights that would help you in
understanding various concepts about Mindanao!

Good luck on your next learning endeavor!

26
CO_Q3_Arts 7_ Module 1
CO_Q3_Arts 7_ Module 1
27
Assessment What I Can Do What’s More What’s More
1. D Answers may vary Activity 2.1 Activity 1
2. D
3. B Answers may vary 1. Maranao
4. A 2. Sarimanok
5. D Activity 2.2 3. Taknum
Additional 4. Yakan
6. A
7. A. Activities Answers may vary 5. Yakan
8. C 6. Malong
Answers may vary 7. Matilak
9. C
10. A 8. Maniksembulan
11. B 9. B’laan
12. A 10. Malong
13. D
14. A
15. D
What’s New (Activity 3)
Textile/ design
Woodcraft Metal craft Beadwork
motif
 Sarimanok  Pegupaan  Crocodile Tooth  Sarimanok
Necklace
 Okir  Kandit  Saruk
 Matilak  Maniksembulan
 Snakebonebelts
 Hilot
What’s New What’s New What I Know
Activity 2 Activity 1 1. A
2. B
Answers may vary 1. T’boli 3. D
2. Kandit 4. D
3. Malong 5. D
4. Badjulapi 6. D
5. Ikat 7. B.
6. Seputangan 8. C
7. Sarimanok 9. A
8. Hilot 10. C
9. Okir 11. A
10. Pinalantupan 12. D
13. A
14. A
15. A
Answer Key
References
Online Sources

Music and Arts. Pasig: DepEd- BLR via FEP Printing Corporation, 2017.

Lush Emily. “Making of: T’nalak Weaving, Philippines”. Accessed May 29, 2020.
https://www.thetextileatlas.com/craft-stories/tnalak-weaving-philippines

Mercurio Edwin C. “T’boli T’nalak Weaving”. A Centuries-old Tradition of Tie-dye

Weaving in the Philippines. 2013. Accessed May 29, 2020.
https://muntingnayon.com/102/102732/

Manquiquis Rio. “The B’laan Tribe. 2015. Accessed May 29, 2020.
https://prezi.com/uhkwgymzsqsh/the-blaan-tribe/

Canete Reuben, Ramas. “Magical Weaves: Textile of the Mindanao and Sulu
People”. 2019. Acessed Accessed May 29, 2020.
https://bluprint.onemega.com/magical-weaves/

Ayala Museum. “The Maranaos”. Accessed May 29, 2010.

https://artsandculture.google.com/exhibit/the-art-of-the-
malong/owKCDBBzFibtIg.

Haute Culture. “Textile Tribes of the Philippines:Yakan Weaving, Wedding and

Wears”. 2016. Accessed May 29, 2020.https://hauteculturefashion.com/yakan-
tribe-textiles-mindanao-philippines/

Other references (Maranao)

Fraser-Lu, Sylvia. Handwoven Textiles of Southeast Asia. Oxford University Press,

1988.

Guatlo, Rene E., ed. Habi: A Journey Through Philippine Handwoven Textiles.
Manila: Habi The Philippine Textile Council, 2013.

Hamilton, Roy W. Textile Style Regions of Mindanao and Sulu. From the Rainbow’s
Varied Hue.

Pastor-Roces, Marian. Sinaunang Habi: Philippine Ancestral Weaves. Philippines:

Nikki Coseteng, 1991.

Rubinstein, Donald H. Ph.D. Fabric Treasures of the Philippines. Guam: ISLA

Center for the Arts, University of Guam, 1989.

Reyes, Lydia Angelica N. The Textiles of Southern Philippines. University of the

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(ETHNOLOGY vol.46 no 4. Fall 20017. Pp 271-288

ETHNOLOGY, c/o Department of Anthropology, the University of Pitssburgh,
Pittsburg PA 15260 USA)

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