U N I T 8 : N o n - I s l am i c M u s i c o f M i n d an ao

UNIT 8: Non-Islamic Music of Mindanao

Table of Contents

Introduction 2

Lesson 1: The Christian Music of Mindanao 4 Learning Targets 4 Let’s Warm Up! 4 Learn about It! 5 Check Your Understanding 9 Challenge Yourself! 9 Let’s Jam! 10

Lesson 2: Music of the Lumad 12 Learning Targets 12 Let’s Warm Up! 12 Learn about It! 13 Check Your Understanding 18 Challenge Yourself! 18 Let’s Jam! 19

Did You Know? 20

Web Links 20

Performance Task 21

Self-Check 23

Wrap Up 24

Bibliography 24

Glossary 25

1 Copyright © 2018 Quipper Limited

GRADE 7

UNIT 8

Non-Islamic Music of Mindanao

Fig. 1. Lumad women in their traditional attire.

Source: MansakaTribe, Mansaka Tribeswomen 2015, CC BY-SA 4.0

Introduction Mindanao, the southernmost island of the Philippines, is considered the Muslim stronghold of the country. The Islam religion began to spread throughout the region in the 13th century due to the presence of Arab traders and missionaries.


However, Mindanao is also home to minorities such as Christians and the Lumads.

In this unit, we will learn about the non-Islamic music of Mindanao, specifically that of the Christians and the Lumads. We will first discuss the history of these groups and their cultural practices and then move to their music.

By the end of the unit, we aim as learners to have a deeper understanding and appreciation of music from this part of our country.


Lesson 1: The Christian Music of Mindanao Learning Targets

In this lesson, you should be able to

● discuss the history of how Christianity arrived in the Philippines, specifically in Mindanao, and

● describe the differences between the Islamic and indigenous music from Christianized music.

Before the arrival of the Spaniards, the Philippines was slowly becoming predominantly Muslim. Mindanao, until today, is the Muslim stronghold in our predominantly-Christian country. How did Christianity arrive in Mindanao? What are some of the differences between Islamic and Christian music?

Let’s Warm Up!

1. Listen to two examples of music: ● Gregorian Chant ● Bayok from the Maranao

What differences can you hear between the two examples?

How would you describe the melodic contour of the two examples?

Are there any similarities? If so, what are they? Describe them.

Do these examples effectively represent their respective cultures? Why or why not?


https://www.youtube.com/watch?v=ehK1juwbtS0

https://www.youtube.com/watch?v=niGDSS5JKOQ

https://www.youtube.com/watch?v=niGDSS5JKOQ

Learn about It!

Spanish Arrival and Conflict with the Moro

Christianity first came to the country when the Spanish arrived in 1521. The Spanish also had various objectives when they went to the Philippines, such as:

● To gain control of trade routes that supply Europe with goods from Asia; and ● To spread Christianity to the natives, competing with the spread of Islam throughout

the country.

Spain’s motives can be summarized in three words: God, Gold, and Glory.

However, the Spaniards carried with them a hatred for the moro, which dates back to the Crusades, the holy war between Christians and Muslims.

From the beginnings of Spanish colonization of the Philippines up to the Spanish-American War, there was a three-century Spanish-Moro conflict that occurred in Mindanao—the moro declared a jihad against the Spaniards, who retaliated with their massive numbers.

Fig 1.1 Spanish ships at anchor.

Source: Sebastian Castro creator QS:P170,Q18960999, Sebastian Castro - Spanish Ships at Anchor, marked as public domain, more details on Wikimedia Commons


Spanish Influence in Mindanao

The Spanish first arrived in Mindanao in 1596, when they landed in Jambangan (modern-day Zamboanga).

Like in other parts of the country, missionaries were tasked with spreading the faith to the natives and converting them to Christianity, which included turning them away from their cultural practices.

From 1565 to 1898, Philippine culture including music was reshaped—epics about war heroes and their exploits, and the rhythms of the drums and gongs were replaced by the liturgical chants of the Christians, Western harmony, and instruments like the organ, harp, and guitar.

Fig 1.2 Spanish missionaries baptizing a Moro convert, circa 1890

Source: Unknown, Two Spanish missionaries baptise a Moro convert to Roman Catholic, circa 1890, marked as public domain, more details on Wikimedia Commons

Unfortunately, the missionaries deemed the music of the natives as demonic and were considered barriers to the spread of the faith, so these, along with other cultural practices, were eradicated. This led to a decrease in the performance and practice of what must have been a rich musical culture.

The missionaries opened schools that taught the Indio the music of the faith. It turns out, some of the natives were enthusiastic about learning new instruments and proved to be adept in performing songs from the new faith.


Christian Music in Mindanao

Fig 1.3 A Gregorian Chant sheet music

Source: Domínio Público, Ave maria gregorian chant, CC BY-SA 4.0

The first examples of music that the newly-converted locals heard were the Gregorian chants or the plainsong. These chants were unaccompanied and monophonic in nature.

A typical Latin mass consisted of 7 parts:

● Kyrie ● Gloria ● Alleluia ● Credo ● Sanctus ● Pater Noster ● Agnus Dei


Fig 1.4 A depiction of Indios from Carta Hydrographica y Chorographica de las Islas Filipinas (1734).

Source: Pedro Murillo Velarde, Nicolás de la Cruz Bagay and Francisco Suarez, Indios, detail from Carta Hydrographica y Chorographica de las Yslas Filipinas 1734, marked as public domain, more details on Wikimedia Commons

During Medieval times, Pope Gregory I ensured that these plainchants were uniform in style and had a consistent quality from church-to-church through establishing schools for singing called the Schola Cantorum.

Following this, the Spaniards made sure to bring with them, church musicians and music teachers. They taught the locals music theory, composition of liturgical songs, and performance of music for liturgical masses.


Try It Yourself Listen to other examples of Gregorian chants. How do these compare to our present liturgical songs? What are the most remarkable differences?

Check Your Understanding

Fill in the blanks with the correct answers. 1. ____________________ first arrived in the Philippines when the Spanish arrived in 1521. 2. Spain’s motives can be summarized in three words: ____________________,

____________________, and ____________________. 3. The holy war between the Christians and Muslims is called the ____________________. 4. The epics about war heroes were replaced by ____________________ chants. 5. The natives were taught to play instruments such as ____________________,

____________________, and ____________________. 6. Spanish missionaries opened ____________________ that taught the indios about the music

of the faith 7. The first examples of Christian music heard by the locals is called ____________________. 8. Pope Gregory I established schools called ____________________ that taught students to

sing. 9. Aside from missionaries, the Spaniards also brought with them ____________________ and

____________________ to teach the locals Christian music. 10.The Spanish missionaries deemed the indigenous music as ____________________.

Challenge Yourself!

Answer the following questions:

1. Based on your new and previous learnings, why do you think the Spaniards had difficulty in fully occupying Mindanao?

2. Is music a vital part of faith? Why or why not?


3. Filipinos were first taught about Western music harmony during the Spanish period. How do you think this impacted Philippine music in general in the years that followed?

4. The early Filipinos were enthusiastic about learning new instruments. What does this say about the musicality of Filipinos?

5. How different would it be if the Spaniards did not completely eradicate the cultural practices and music of the early Filipinos and instead allowed them to express the Christian faith using their own music?

Let’s Jam!

Activity 1: Given the lyrics of the Kyrie below, create your own melody. Be creative with your composition—make use of instruments, rhythms, and melodies that may not be found in a regular plainsong, but take into consideration the appropriateness of your composition. Perform your composition in front of the class.

● How unique is your composition? ● Do you think your composition would be appropriate for a liturgical celebration? Why

or why not?

4 3 2 1

Performance Students performed the piece with complete

Students performed the piece with 1-3 rhythmic/pitch

Students performed the piece with 3-5 rhythmic/pitch

Students performed the piece with more than 5


rhythmic and pitch accuracy.

errors. errors.

rhythmic/pitch errors.

Creativity Students exhibited creativity in the composition and performance stages of the activity.

Students exhibited some creativity in the composition and performance stages of the activity.

Students exhibited little creativity in the composition and performance stages of the activity.

Students exhibited no creativity in any aspect of the activity.

Posture and Eye Contact

Students observed proper posture and maintain eye contact with the audience throughout the performance.

Students missed observing proper posture and eye contact with the audience at some points of the performance.

Students missed observing proper posture and eye contact with the audience during the majority of the performance.

Students did not observe proper posture and did not maintain eye contact with the audience.

Total: /12


Lesson 2: Music of the Lumad Learning Targets

In this lesson, you should be able to:

● discuss the history and culture of the Lumad of Mindanao; ● identify the different Lumad groups; ● identify some examples of their music; and ● create a poem inspired by your learnings about the Lumad.

Mindanao is said to be home to three main groups: the Islam, the Christians, and the Lumad. Who are the Lumad of Mindanao and how is their culture displayed in their music?

Let’s Warm Up!

1. Read about the Lumad of Mindanao here. 2. Answer the following questions below:

● Where did the word Lumad come from? ● Why did they adopt this name? ● What is the main objective of the Lumad people?


https://www.festalpagdiriwang.com/lumad-cultures-of-mindanao

Learn about It!

Historical Overview of the Lumad

The term Lumad is a collective term first used in 1986 to refer to a large number of indigenous people in Mindanao who are neither Christians nor Muslims. The use of this term was a result of the desire to be freed from derogatory labels such as paganos (pagan) and nitibo (native).

Fig 2.1 Datu Manib, a Bagobo bagani (warrior), with his family, followers, and missionaries

Source: Frederic H. Sawyer, The Datto Manib, principal Bagani of the Bagobos, with some wives and followers and two missionaries (c. 1900, Philippines), marked as public domain, more details on Wikimedia Commons

Lumad is a Cebuano term for indigenous. It was chosen because Cebuano was the common language among the different indigenous groups. The main objective of the Lumad is to


achieve self-government in their ancestral lands, ruled under their customary law.

They are separate from the Moro (indigenous Islamic groups) and the indigenous groups with Visayan roots.

They are found in remote mountainous areas, valleys, plains, and coastal areas throughout Mindanao. The Lumad have been able to nurture and protect their ancestral lands and individual cultures. They also have a diverse collection of languages, chants, rituals, and dances.

Try It Yourself Do some more research on the Lumad people. What is their current state? How are they being treated by the government?

Music of the Lumad

Lumad music includes a wide variety of music and musical instruments for different occasions, for example:

● The Subanen of Zamboanga, the biggest group of the Lumad tribes, have a repertoire of vocal music that includes chants and songs such as dionli (love song), buwa (lullaby), and giloy (funeral song).

They also make use of instruments such as the agung (bossed hanging gong) and kolintang (horizontally-laid gongs).


● The Manobo from Sarangani, Agusan del Sur, Davao, Bukidnon, and Cotabato have different ritual songs, narrative songs, lullabies, and songs about nature.

These songs may be accompanied by the sounds produced by the singer’s armpit.

Fig 2.3 Women in traditional Manobo attire.

Source: Constantine Agustin, Women in traditional Manobo dress (Kaamulan Festival 2017, Bukidnon, Philippines), CC BY-SA 2.0

● The T’boli from South Cotabato sings songs for different occasions such as weddings. They, like many other indigenous groups, also sing while working. They also show their closeness to nature through imitating sounds produced by nature (onomatopoeia).

They make use of the hagelung (two-stringed lute) in their musical performances.

Fig 2.4 T’boli woman in the T’nalak festival.

Source: mark navales, T'nalak Festival T'boli, CC BY 2.0


● The Tiruray have songs like the balikata (melodic patterns for debates and conversations), lendugan (love song), siasid (prayer), foto moto (teasing songs sung in weddings), and meka meka (a wife’s song of loyalty to her husband).

● The Mansaka from Davao del Norte and Compostela Valley have a wide array of musical instruments that includes the gimbal (drum), and musical forms like the saliada (ballad) and bayok (love and adventure).

● The B’laan from Davao del Sur makes use of instruments like the tangungo (a set of 8 metal gongs on a harness) to accompany their rituals and dances.

Fig 2.6 B’laan girl

Source: mark navales, T'nalak Festival B'laan, CC BY 2.0


● The Bagobo from Southern Mindanao has musical forms that accompany their religious and festive occasions, as well as their daily activities. These include advice songs, children’s songs, and lullabies.

Fig 2.7 A Bagobo chief.

Source: Unknown, A Bagobo Chief of Mindanao, marked as public domain, more details on Wikimedia Commons


Check Your Understanding

Fill in the blanks with the correct answers.

1. ____________________ is a collective term that refers to indigenous people in Mindanao who are neither Muslim nor Christian.

2. It is also a ____________________ term for indigenous. 3. Indigenous Islamic groups are called ____________________. 4. The ____________________ from Zamboanga is the biggest group of Lumad tribes. 5. The ____________________ show their closeness to nature by incorporating sounds

produced in nature in their songs. 6. A ____________________ is a two-stringed lute. 7. The Tiruray sing love songs are called ____________________. 8. The ____________________ are found in Davao del Norte and Compostela Valley. 9. The B’laan play the ____________________ as an accompaniment in their rituals and

dances. 10.The Subanen sing love songs called ____________________.

Challenge Yourself!

Answer the following questions:

1. Why do indigenous groups in the Philippines have songs for daily activities, such as working?

2. Why do you think it is important for minorities to be united? 3. Why do you think lullabies are considered an important musical form for the Lumad? 4. The Tiruray have prayer songs called siasid. Is music an effective way to express

prayers? Why or why not? 5. Explain in your own words how the T’boli expresses their closeness to nature through

their music.


Let’s Jam!

Activity 1: With what you already know about the Lumad, write a one stanza poem about independence and self-determination. Set your poem to music and perform it in front of the class.

Do you think it is right that the Lumad have their own autonomy in ruling their ancestral lands? Why or why not?

4 3 2 1

Performance Students performed their composition complete with rhythmic and pitch accuracy.

Students performed their composition with 1-3 rhythmic/pitch errors.

Students performed their composition with 3-5 rhythmic/pitch errors.

Students performed their composition with more than 5 rhythmic/pitch errors.






Students observed proper posture

Students missed e proper posture

Students missed observing

Students did not observe proper posture


and maintain eye contact with the audience throughout the performance.

and eye contact with the audience at some points of the performance.

proper posture and eye contact with the audience during the majority of the performance.

and did not maintain eye contact with the audience.

Total: /12

Did You Know?

The song entitled Kastifun is one of the most famous songs of the B’laan people. Its lyrics call for unity within the people—to set aside their differences and work together because they are of one blood. The line “deen to baling suteh, nawan di banwe” is repeated numerous times throughout the song and asks why the members of the tribe are fighting one another.

To review the lyrics of the song, click here. If you want to read the English and Filipino translations, click here.

Web Links

● https://www.filipinaslibrary.org.ph/articles/the-moro-to-the-spanish-colonizers/

● https://www.festalpagdiriwang.com/lumad-cultures-of-mindanao

● https://www.filipinaslibrary.org.ph/himig/music-of-the-lumad/

● https://www.youtube.com/watch?v=ehK1juwbtS0

● https://www.youtube.com/watch?v=QlqwTCzBLe8


https://cotabatoliteraryjournal.com/tag/lyrics-blaan/

https://cotabatoliteraryjournal.com/tag/lyrics/

Performance Task Kastifun

Purpose:

At the end of this activity, the students should be able to:

● listen to a performance of the B’laan song Kastifun; ● create their own rendition of the song; and ● perform their rendition in front of the class.

Role: You are a group of musicians who have been invited to perform the song Kastifun in a Lumad music festival.

Competence: You must perform your own rendition of the song with a new twist but still maintaining the message of the song.

Procedure

1. Group yourselves into 5. 2. As a group, listen to a performance of the song here. Learn the melody, harmony, and

structure of the song. ● For a copy of the text, you may refer here. ● For an English and Filipino translation of the lyrics, click here.

3. Create your own rendition of the song. You may make tweak some parts of the melody, or even create a new arrangement for the song in different genres. Be creative with your rendition but make sure to keep the essence of the song intact. The use of musical instruments is also highly encouraged.

4. Practice your rendition as a group. You may choose to wear costumes and create simple choreography to add more creativity to your performance.

5. Perform your rendition in front of the class. After all the groups have performed have a sharing of insights facilitated by your teacher, who will also grade your performance based on the rubric below:


https://www.youtube.com/watch?v=dTjJkSuL-SY

https://cotabatoliteraryjournal.com/tag/lyrics-blaan/

https://cotabatoliteraryjournal.com/tag/lyrics/

Rubrics:

4 3 2 1

Performance Students performed their arrangement complete with rhythmic and pitch accuracy.

Students performed their arrangement with 1-3 rhythmic/pitch errors.

Students performed their arrangement with 3-5 rhythmic/pitch errors.

Students performed their arrangement with more than 5 rhythmic/pitch errors.






Students observed proper posture and maintain eye contact with the audience throughout the performance.

Students missed observing proper posture and eye contact with the audience at some points of the performance.

Students missed observing proper posture and eye contact with the audience during the majority of the performance.

Students did not observe proper posture and did not maintain eye contact with the audience.

Total: /12


Key Guide Questions

1. What is the message of the song? 2. Is it applicable to you as a student? Why or why not? 3. What sets your rendition apart from the other groups?

Reflective Questions

1. How was your experience working together as a group? 2. Was it easy or difficult to sing the original text? Why? 3. How did your group collaborate in the creative process? What special contributions did

each member give? 4. How well did you think your performance go? Do you think it would have been a

successful performance had it been a real-life music festival? Why or why not?

Self-Check Reflect

I find __________________________ the most interesting because ____________________.

I got ____ checks because _________________________________________________________.

I need to improve on _______________________because _____________________________.

I need to practice _________________________ because _____________________________.

I plan to __________________________________________________________________________ .


Wrap Up

Bibliography Frias, Patrick S. Lecture 7 Liturgical and Paraliturgical Musical Genres. PDF.

"Music of the Lumad." Filipinas Heritage Library | Music of the Lumad. March 30, 1970. Accessed June 14, 2019. https://www.filipinaslibrary.org.ph/himig/music-of-the-lumad/.

"The Lumad Cultures of Mindanao." Pagdiriwang Philippine Festival. Accessed June 14, 2019. https://www.festalpagdiriwang.com/lumad-cultures-of-mindanao.

"The Moro to the Spanish Colonizers." Filipinas Heritage Library | The Moro to the Spanish Colonizers. Accessed June 14, 2019. https://www.filipinaslibrary.org.ph/articles/the-moro-to-the-spanish-colonizers/.

"Tri-People of Mindanao: Christians, Lumads and Muslims Representing Diversity." Steemit. Accessed June 14, 2019. https://steemit.com/philippines/@zam398/tri-people-of-mindanao-christians-lumads-and-muslims-representing-diversity.

"Zamboanga City History." Zamboanga City History - Zamboanga.com. Accessed June 14, 2019. https://www.zamboanga.com/history/history_zamboanga.htm.


Glossary

ancestral lands refer to the territories and resources originally owned by indigenous people.

colonization refers to the process of settling among and establishing control over an indigenous people’s territories and resources.

Crusades refer to a series of wars fought by Christians and Muslims in the Medieval period to gain control of holy sites claimed by both religions.

customary law refers to a set of customs and beliefs that are seen as obligatory by members of indigenous groups.

Indio refers to the term used by the Spanish to call the early Filipinos.

jihad refers to a fight against the enemies of Islam.

liturgy refers to a form according to which Christian worship is conducted.

missionaries refer to people sent on religious missions to other countries.

monophonic refers to a musical texture comprised of only one voice or melody.

onomatopoeia refers to a word that imitates the word it describes.

repertoire refers to a list of pieces that a performer knows and is prepared to perform.


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U N I T 8 : N o n - I s l am i c M u s i c o f M i n d an ao