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SA MANGA TAGA KATIPUNAN

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sa manga taga katipunan

SA MANGA TAGA KATIPUNAN


Manga guiniguilio cong capatid at dating casamasama:


Maguing tua ó cadalamhatian, maguing hirap ó caguinhauahan ang capadparán co sa paquiquibaca at pamimiyapis sa lahat nang bagay na humehadlang sa pagcatimaua nang ating bayan, ay talastasin ninyong di co malilimutan ang manga dating caramaydamay sa hirap.


Talastas nang lahat na cayo ang nagbucas nang daan, cayo ang unang sumangab sa madlang panganib; ng maligtas at maagao ang bayan sa cuco ng cabangisan at camurahan: gsino ang macalulupig sa pinamuhunanang capurihan na inyong tinamó?


Nguni’t bulaybulayin ninyo: ng una’y nagtatandâ ang manga taga Katipunan, upang magcaquila-quilala ang tunay na magcacapatid; ngayo’y hindi na, sa pagca’t sumapit ang arao na ating inaanantayan na ang lahat na tubo sa Pilipinas ay magquilalanang tunay na magcacapatid, ngayo’y ualá ng Katipunan at hindi Katipunan, sa pagca’t ang boong Pilipinas, ang pinacamamahal nating Inang bayan ang siyang tunay na Katipunang quinadoroonan ng lahat niyang anac na nagcacaisang loob at nagcaca-ayon-ayon sa pag-hango sa Inang naaba sa cailaliman ng caalipnén.


Caya itong aquing Gobierno ay ualang tinitingi sino man: tungcol cababaya’y mahal sa caniyang loob, cayat ipinagcacatiuala ang lahat na catungculan sa canila mang magpatanao nang tunay na carapatin, upang maipaquilala sa manga taga ibang lupa na ang bayang Pilipinas ay marunong na mamahala sa sariling pamumuhay at di nagcacailangang paquialaman pa ng iba. At talastasin ninyo manga sama na ang matulis na cuco ng mga ibang caharia’y nacaacmd sa ating abang bayan; ualang inaantay cundi ang tayo’y magcagacagalit at magaauay at tayo’y pagsasaclutanan at ang raatmatuiri’y cailangang tayo’y husayin at acayin nila, pagca’t cun hindi tayo-tayo rin ang magpapatayan. Talastasin ninyo na ang mahaguip nang salangapang nilang camay ay di macapipiglas sucdang magcauaray-uaray.


Ito rin ang dahilan caya co ipinaubaya sa mga lalong pinananaligan ng mga bayan ang catungculang mamahala sa canila.


Pinagmulan: museumxstOries (sundan sa Instagram)


Mungkahing Basahin:

Pilando el Palay / Husking the rice

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pilando el palay

Pilando el Palay / Husking the rice


Palay refers to the unhusked rice.

Bugas or bigas, when it is without shell.

In the Visayan Islands, palay has the name humay.


The steps carried out for husking palay are the following:

From the damasig or tambubu, the palay or humay is taken to dry, for three to four hours, in the intense heat of the sun in a sauali or hamacanes.

Damasig or tambubu are what are called granary and where palay is stored.

Sauali or hamacanes resemble the mat woven made from bamboo bark.

Once the humay is already dry, it is passed through the galingan with wooden teeth to remove the shell from the grain.

Galingan is a lightweight cane mill used to facilitate the shelling off of the palay.


Once this step is done, the palay is completely husked in the following way:

In the lusong, a chunky piece of wood with a hole in the middle of a conical figure, the palay is emptied, and the tauos or men, using masses of wood, peel the rice husk without crushing it.

Carrying out this process requires skill and finesse. Not everyone is suitable for this work.


In the photo, four tauos perform the task next to a traditional house in the countryside.

Next comes the sieve to separate the shell of the bugas or bigas.

The rice is carried out using the calalau.

Calalau is a fabric also made from cane bark with a quadrangular shape that is used to easily extract the humay bran.

Once these steps are done, all you have to do is put the rice in the pot to be cooked.


In the cities, the process is done with modern procedures and tools.


Source:

Felix Laureano’s Recuerdos de Filipinas

Falvey Memorial Online Library

Villanova University

Pennsylvania, United States

MuseumxstOries (follow at Instagram)


Battle of Manila: Ermita

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battle of manila ermita

Battle of Manila: Ermita


Ermita, was once the epitome of elegance, where power dressed in linen suits and lived behind wrought iron gates. Tree-lined streets led to gatherings filled with the city’s most distinguished residents. It was a district built on civility and wealth, where the world made sense if you had the right address. Then came the war, bringing destruction so complete that even memory struggled to reconstruct what was lost. The mansions burned, the avenues crumbled, and the people who once called it home never returned.


Now, Ermita wears a different face, less refinement, more necessity. The grand homes have given way to neon-lit commerce, with pawnshops standing where parlors once stood. The dignity of its past lingers in crumbling facades and the occasional lamppost that refuses to fall. Walking its streets is less a stroll through history and more a confrontation with what time, war, and progress have done to a city that never had the luxury of staying the same.


As we conclude the tour, we walk through the echoes of what was lost and what remains. From its shattered mansions to the institutions that struggled to rise again, Ermita tells the story of Manila, a city that never had the luxury of standing still. Join us in this final leg, where we confront the past, remember its scars, and honor the history that shaped the Manila we know today.


Source: manila.girls (follow at Instagram)


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Manlilikha ng Bayan Hadja Sakinur-Ain Delasas

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Manlilikha ng Bayan Hadja Sakinur-Ain Delasas

Sama Traditional Dance


Dancing at a young age, Hadja Sakinur-ain has mastered the art of “Igal”. Igal is a Sama term for “dance” and is tantamount to the Pangalay of the Tausug, the Pamansak, and Gandingan of the Yakan. According to Hadja Sakinur-ain, “It happens right when the dancer is one with her soul and spirit, as guided by the traditional 'tagunggu' music.


Regarded by her community as the Danda Pandey Ngigal (Igal expert), she learned so much of her dance skills from her mother who taught her gestures mimicking the ocean water, fishes, and birds. She is known for spreading her expertise in art performances where she emphasizes the need to keep all elements of the dancer and the dance in harmony.


Hadja Sakinur-ain has been dancing in time with the past, against the crosscurrents of the present, to the challenging, irrepressible tides of the future as she relentlessly dances the Igal for her omboh, her great ancestors, her family, her Sama community, her Igal students, and the next generations of Igal dancers.


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Manlilikha ng Bayan Samporonia Madanlo

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Manlilikha ng Bayan Samporonia Madanlo | @nccaofficial


Manlilikha ng Bayan Samporonia Madanlo
Mandaya Textile Weaving


Regarded as one of the few remaining gi-pandayan (master artisan) of the Mandaya People, Samporonia is a master weaver of “Dagmay”. From harvesting the abaca, preparation, and the execution of the most challenging patterns, Samporonia’s works have been determined to be of the quality of those of former master weavers.


Holistically ingraining the essence of Dagmay weaving as a vessel of the community’s indigenous knowledge system and practices, Samporonia, who is also a Baylan, has mastered the other traditional and innovative Mandaya art, which she shares with her family and the rest of the community, further earning respect and admiration.


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What is Pinggang Pinoy?

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pinggang pinoy

What is Pinggang Pinoy?


Ma. Jovina A. Sandoval, Science Research Specialist II from DOST-FNRI explains the importance of pinggang pinoy and how it can help you eat correctly and eat the right foods.


Pinggang Pinoy simply teaches you to always prepare a plated meal for yourself and for your family following the Pinggang Pinoy food guide.


Each meal should be filled with the recommended amounts of go, grow and glow foods.


Go foods are those foods that give you energy. Go foods have fats and carbohydrates. Butter and cheese are sources of fat. Bread, rice, and pasta are sources of carbohydrates.


Grow food are those foods that help you grow tall and strong. Grow foods are rich in protein. Protein-rich foods build muscles. Protein can be found in meat, chicken, peanuts, and beans.


Glow food keeps your body well. Glow foods are rich in vitamins and minerals. These foods help you maintain good eyesight and healthy skin. They prevent many kinds of diseases. Fruits and vegetables are glow food.


Your plate that contains all the food groups in the correct amount makes a balanced diet.


A balanced diet makes you healthy and strong.


The project “MAG- PINGGANG PINOY TAYO” is a collaborative project of the Department of Science and Technology-Food and Nutrition Research Institute (DOST- FNRI), Department of Health (DOH), Department of Education (DepEd) and Ajinomoto Philippines, Corporation (APC).


“MAG- PINGGANG PINOY TAYO” program is initiated by the APC through its Ajinomoto Creating Shared Value (ASV), recognizing the Pinggang Pinoy as a helpful tool in establishing healthy eating habits and enhancing the overall health of Filipinos.


Likewise, it is APC’s commitment to helping the country solve the perennial problem of Double Burden of Malnutrition (DBM) as revealed in the latest 2015 National Nutrition Survey wherein 3 out of 10 (31.1%) Filipino adults were overweight and obese. In comparison, 2 out of 10 (21.5%) and 1 out of 3 (33.4%) children under five years old were underweight and stunted, respectively.


The project aims to empower the community to adopt a healthy lifestyle by educating the key influencers, including Barangay Health Workers (BHW), Barangay Nutrition Scholars (BNS), and mothers.


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T'nalak

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T’nalak is a traditional fabric made by the Tboli people.


This traditional cloth (image above) is hand-woven and made of Abaca fibers, which traditionally have three primary colors: red, black, and the original color of the Abaca leaves.


T’NALAK. A traditional hand-woven cloth indigenous to the Tboli from Lake Sebu, South Cotabato, Philippines.


T’nalak is a traditional hand-woven cloth indigenous to the Tboli from Lake Sebu, South Cotabato, Philippines. It is customarily used as a ceremonial blanket, women’s skirts, and men’s tailored suits, and forms part of the bride’s wealth in traditional marriage arrangements. Only a few skilled weavers are gifted with k’na or dreams by abaca spirit Fu Dalu which inspires them to create different designs.


The t’nalak is made from fine fibers derived from the stalk of an #abaca (Musa textilis). A labor-intensive process, its production requires knowledge of a range of skills learned by women from a young age. It is sturdy, and its texture reminds us of snakeskin with various anthropomorphic, zoomorphic, and geometric tie-dye patterns. It has three primary colors—red, black, and the natural color of the abaca fibers. The black and red dyes are extracted from the k’nalum (Diospyros sp.) leaves and from the leaves, fruits, and bark shavings of loko (Morinda citrifolia), respectively.


Before the 1960s, t’nalak was bartered for horses. Thus, weavers have a very important role in the Tboli community. The establishment of the Santa Cruz Mission School, Inc. (formerly Notre Dame of Lake Sebu) in 1984 created a market for the t’nalak, providing a steady income to the weavers. This also resulted in the commercialization of the cloth and the introduction of synthetic dyes and new designs.


Are you interested and excited to see a t’nalak work of Manlilikha ng Bayan Lang Dulay? Come and visit the National Museum of the Philippines of Butuan, featuring the “Panapton sa Lumad: Mga Arte ug Kailhanan” exhibition to open to the public in October 2022. See you!


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The SS Corregidor

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The SS Corregidor

Model and render: Kathryna Alejandro


Today marks the 83rd anniversary of the sinking of the SS Corregidor. In the early hours of December 17, 1941, the SS Corregidor struck a mine as it navigated its way out of Manila Bay’s minefields. The ship, overloaded with people trying to leave Manila for the provinces at the start of World War 2 in the Philippines, sank with great loss of life.


Through researching available materials, Kathryna Alejandro of Renacimiento has recreated the SS Corregidor. In commemoration of the disaster's anniversary, we are posting the 3D model here. Additionally, Kathryna Alejandro has also recreated the sinking of the SS Corregidor, which will be posted later as the second part of this special series.

Pagbibigayan: The Filipino Spirit of Gift-Giving

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Pagbibigayan: The Filipino Spirit of Gift-Giving

Christmas, considered the happiest season, has always been celebrated by Filipinos with anticipation. It is synonymous with parties, gift-giving, and similar expressions of gratitude for all the blessings received. Giving or sharing reflects on the selfless sacrifice of Jesus Christ, the central figure of Christianity, who came to the world to save humanity from sin.


Gift-giving is common across cultures. What makes it uniquely Filipino is the traditional values behind it. “𝘗𝘢𝘨𝘣𝘪𝘣𝘪𝘨𝘢𝘺𝘢𝘯” (sharing or giving) is one of the Filipino core values that is directly linked to “𝘱𝘢𝘬𝘪𝘬𝘪𝘱𝘢𝘨𝘬𝘢𝘱𝘸𝘢” (sharing of oneself or connecting oneself to others), emphasizing the importance of human connectivity in Filipino consciousness. It is a language of love among family and friends, wherein a gift symbolizes a part of oneself being given to loved ones.


This tradition is practiced during important life events such as weddings or birthdays, especially during the holiday season. At Filipino Christmas gatherings, it is customary to exchange gifts. Each gift is stacked and numbered, and guests claim the gifts based on the number they won in a “𝘱𝘢𝘭𝘢𝘣𝘶𝘯𝘶𝘵𝘢𝘯” (raffle). “Monito, Monita” is the Philippine version of Kris Kringle or Secret Santa, wherein gifts provided are based on a given theme. Weeks before Christmas, participants are individually asked to pick the person they will be gifting from the palabunutan of code names. The identity of the Monito or Monita will only be revealed during the party. “Aguinaldo,” on the other hand, is a gift being given to another person. This is a common practice—but not necessarily exclusive—between a godparent and a godchild.


Filipino generosity is evident in the gift-giving tradition, bringing satisfaction and happiness to the giver and the recipient. What’s the most significant gift you have received? Feel free to share yours in the comments section below.

Bulul

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Bulul are anthropomorphic wood carvings central to the Ifugao rice culture in Northern Luzon. Sculpted from different types of hardwood such as narra, ipil, and fig, the bulul is considered one of the most significant Ifugao art forms. Usually, it depicts a pair of male and female human figures carved in standing, squatting, or sitting positions with their arms extended, folded, or crossed. It is installed inside rice granaries to protect against pests and ensure the abundance of rice. The figures are also often positioned on a mortar-shaped pedestal, indicating they are intended for consecration.

One of the gifted bulul traces its provenance from Kiangan, and was purchased by Mr. Kuiper in Banaue in 1993. This seated male bulul is covered with a light patina from rice wine and sacrificial blood. Meanwhile, the other bulul stands at an upright position with both hands on the lap similar to other 15th to 18th-century Hingyon-style figures. Likewise, this female bulul is also lightly patinated with sacrificial pig blood.


This significant donation was made by Mr. Kuiper, a Canadian collector, former engineer for the Asian Development Bank, and former Board of Directors of the Canadian Society for Asian Arts. From 1991 to 2004, Mr. Kuiper documented and collected over 150 ethnological objects from the Philippines, including the gifted bulul.


On behalf of the Filipino people, the National Museum of the Philippines would like to extend its sincerest gratitude to Mr. Kuiper for this important gift to the Filipino people.

Rape and Massacre in Ermita

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Rape and Massacre in Ermita

The National Museum of the Philippines joins the annual 18-day campaign to end violence against women (VAW)! With this year’s sub-theme of “VAW Bigyang Wakas, Ngayon na ang Oras!”, we do our part in informing and educating the public about VAW through the objects in our galleries.


Today, we highlight Diosdado Lorenzo’s 1947 artwork ‘Rape and Massacre in Ermita’, part of the exhibition on World War II artworks at the Silvina and Juan C. Laya Hall, or Gallery VIII, of the National Museum of Fine Arts.


Supplementing our previous feature on Lenore RS Lim’s Comfort Women series, this exhibition also displays some artworks that depict the cruelty imposed by the Imperial Japanese Army against Filipinos, especially women.


This painting captures the haunting echoes of anguish and despair, its vivid colors evoking the chaos and destruction of war. Ermita became a battleground during the month-long campaign to liberate Manila, enduring relentless bombings, atrocities, and massacres as Japanese forces retreated. Countless lives—men, women, and children—were tragically lost during this devastating chapter in history.


May this painting serve as a reminder of the suffering, loss, and grief experienced by many innocent Filipinos, especially women, in this tumultuous part of our quest as a people for a free nation.

Salumayag Youth Collective for Forests

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The mission of the Salumayag Youth Collective for Forests—an Indigenous and youth-led organization in Quezon, Bukidnon, Philippines—is to revive, strengthen, and celebrate the traditional agroecology practices of the Manobo-Kulamanun people through community capacity-sharing and environmental storytelling.


The project aims to further empower Salumayag by championing nature-based, sustainable solutions rooted in Indigenous culture. Through their storytelling, the legacy of the Manobo-Kulamanun will come to life.

Saypang

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The saypang is a traditional upper garment worn by female Panay Bukidnon, intricately adorned with panubok embroidery designs. This garment is typically reserved for special occasions, such as the panuba (community fishing ceremony) or performances of the traditional dance binanog.

Paired with the saypang is the hinimbis, a three-layered version of the patadyong that symbolizes wealth and status. Its design mimics the appearance of fish scales (himbis), and historically, only women from affluent families or those of binukot lineage were permitted to wear them.


In the background is the patadyong, a traditional tubular cloth commonly wrapped around the waist and worn by both men and women in the Visayas and Sulu Archipelago. Similar to the malong or sarong, the patadyong was historically versatile and widely used in other regions, including Pampanga and Sorsogon in Luzon.


During the precolonial era, the patadyong was often paired with a barú or bayú, a simple, collarless shirt with close-fitting long sleeves. In the Spanish colonial period, the barú evolved into the kimona, a garment worn by Christianized Visayan lowlanders. The kimona consisted of a loose, translucent blouse, an undershirt, and the patadyong, creating a unique blend of indigenous and colonial fashion traditions.

Ancient Elephants of Panay Island

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ANCIENT ELEPHANTS OF PANAY ISLAND

The National Museum-Western Visayas Geology and Paleontology permanent gallery, inaugurated in January 2020, showcases fossilized teeth from two extinct elephant species: Elephas sp. and Stegodon sp. These remarkable finds were unearthed in Sitio Bitoguan, Jelicuon, Cabatuan, Iloilo.


In 1965, anthropologist F. Landa Jocano discovered a fossilized molar of Elephas sp., a member of the Family Elephantidae. This triangular-shaped specimen, weighing approximately 1.8 kilograms, features 13 lamellae and is estimated to be 750,000 years old, dating back to the Middle Pleistocene. Two years later, in 1967, the fossilized remains of a stegodont, a distant relative of modern elephants, were also uncovered. These elephants and stegodonts were the largest mammals to ever roam Panay Island.


The fossils were recovered from Pleistocene rock layers now recognized as the Cabatuan Formation. These discoveries provide critical evidence supporting the existence of land bridges that once connected the Philippines to neighboring countries, allowing large animals to migrate into the archipelago.

The Mickey Mouse Money

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The “Mickey Mouse Money,” so-called for its lack of value, is akin to play money, and was the devalued fiat currency issued during the Japanese occupation of the Philippines, causing hyperinflation and forcing Filipinos to rely on bartering.

JAPANESE – PHILIPPINE CURRENCY
After having established a fairly effective hold on the Philippines in mid-1942, the Japanese issued their first series of occupation currency for the country (Japanese-Philippine currency was derisively termed Mickey Mouse Money” by the Filipinos – an obvious reference to their contempt for the Japanese occupation).


The size and format of the smaller denominations are very similar to other occupation currencies made by the Japanese for Burma, Malaya, and the Dutch East Indies. This is also the only time such small denominations were made for the Philippines. Code letters appeared as two large letters or as three letters in fraction style (Ten Centavos). Both two and three-letter codes will be found on One, Five, and Ten Centavos notes (Shafer, 1964).

Amlig

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Amlig – care, attention, caution.

Source: Kaufmann’s 1934 Visayan-English Dictionary.

Sadsad

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Sadsad – to trip, skip, dance, step nimbly or lightly.

Source: Kaufmann’s 1934 Visayan-English Dictionary.

The Folklore that was Maragtas

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The Ilonggo’s prehistory was once based primarily on the Maragtas which some scholars consider as folk history because, through the years, it has evolved into six versions and is interlaced with events and stories quite fantastic to be true (Ponteras, 1978).

It tells of the arrival in Panay of ten Malay datus and their families from Borneo in 1250. Injustice, tyranny, and cruelty drove them to flee from their country, escaping the oppressive rule of the despotic Sultan Makatunao. According to the narrative, the Bornean Malays came into contact with the Atis, also known as Negritos, who inhabited parts of the island's shoreline at that time. They then negotiated with the latter for the “pagtaba” (barter or purchase) of the coastal areas where they intended to settle down. After the agreement, the newcomers established settlements along riverbanks and seacoasts while the Atis moved and retreated into the island’s interiors. Marikudo’s territory was exchanged for one golden “saduk” and one golden necklace for her wife, Maniwantiwan. The datus then spread out to different places of Madia-as, the name they substituted for Aninipay (Panay). To Datu Sumakwel was assigned Hamtik (Antique); Datu Bangkaya, Aklan; and Datu Paiburong, Irong-Irong (Iloilo). Datu Puti returned to Borneo and fought Datu Makatunao.


“Although previously accepted by some historians, it has become obvious that the Maragtas is only the imaginary creation of Pedro A. Monteclaro, a Visayan public official and poet in Iloilo in 1907. He based it on folk customs and legends, largely transmitted by oral tradition” (Sonia Zaide, 1987). Maragtas was finally placed in its proper perspective as a book of legends rather than a historical fact in 1968 by William Henry Scott.


Reference: Museo Iloilo

The Mother of Pearl

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The mother-of-pearl is used as a decorative piece in various Philippine textiles. An example of this is the Kalinga 𝘬𝘢𝘪𝘯—a wraparound skirt adorned with embroidery, beads, and mother-of-pearl shells.


Mother-of-pearl slivers or buttons are also among the embellishments used in Philippine textiles. The Kalinga kain is a wraparound skirt adorned with embroidery, beads, and mother-of-pearl shells. The mother-of-pearl shells are attached to the textile to move and reflect light.

Exploring Pre-Colonial Burial Rituals in Panay

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Exploring Pre-Colonial Burial Rituals in Panay

 

In the 14th and 15th centuries, pre-colonial Filipinos practiced secondary burials, a fascinating ritual in which the bones of the deceased were carefully cleaned and placed in hardwood coffins. Archaeological discoveries in caves across Western Visayas reveal that elaborate rites often preceded these burials. The presence of deformed skulls in many coffins suggests that cranial modification may have played a role in these practices.


One remarkable find was a burial containing a skeleton adorned with gold eye and nose ornaments, declared a National Cultural Treasure. Called the Oton Gold Death Mask is now displayed at the National Museum of Western Visayas, right beside Museo Iloilo. Alongside the burial, 15th-century Chinese, Siamese, and Annamese porcelain were unearthed, highlighting the region’s thriving trade connections during that era.


Also in the town of Oton, other burials revealed a wealth of artifacts, including trade ceramics, locally made pottery, iron tools, beads, and semi-precious stones. Additional discoveries included glass and shell bracelets, earthen net weights, spindle whorls, and teeth decorated with gold pegs—symbols of status and wealth. These finds provide a window into the vibrant cultural and trade networks of pre-colonial Panay.

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