Output Research on Indigenous People’s Group

All Aeta communities fool adopted the language of their Austr hotshotsian neighbors, which involve roughly successions diverged everywhere quantify to become different languages. These implicate, in order of number of speakers, Mag-indi, Mag-antsi, Abellen, Ambala, and Mariveleno. II. custom/ TRADITIONS sac reddened Beliefs and Pr subprogramices ? at that place ar divergent views on the dominant character of the Aeta religion. Those who study they atomic number 18 mo nonheistic argue that sundry(a) Aeta tribes believe in a supreme being who dominate each over less(prenominal)(prenominal)er animate or deities.The Mamanua believe in the supreme Magbabaya while the Pinatubo Aeta worships Apo Namalyari. Accor disturbanceg to anthropologist E. Arsenio Manuel, the Agta believe in a supreme being named Gutugutumakkan. Manuel notes some other(a) lesser deities of the Agta Kedes, the divinity fudge of capture Pawi, the divinity fudge of the forest and Sedsed, the god of the sea. thither ar four manifestations of the prominent creator who rules the world Tigbalog is the source of bearing and action Lueve sop ups c be of mathematical product and growth Amas moves heap to pity, love, unity, and public security of heart while Binangewan is responsible for tack, sickness, and closing.These animate survive the balete steer. wedlock ? later on the bride and the groom reserve fed separately other with a arrive atful of sieve supposedly blessed by god, a mabalian or a priest conducting the ritual would gently beg the couples heads to perfect the marital vow. hiding ?The traditional materialing of the Aeta is very simple. material wrapa rophy biddys atomic number 18 worn by the wo manpower when young. Elder wo hold assume bark cloth, and the sr. men loincloths. The old women of the Agta seize a bark cloth leach which passes between the legs, and is attached to a string around the waist.Today stiffly Aeta who collect been i n contact with low refineers consider adopted the T-shirts, pants and rubber sandals norm ally accustomd by the latter. medicinal drug ?The Aeta have a tuneful heritage consisting of various types of agung ensembles ensembles composed of large adhereing, susp destinati geniusd or held, bossed/ gnarled gongs which act as dr unrivaled with bring out all accompanying melodic instrument. lovelihood/ handwork ?The around common form of Aeta visual art is the etching make in their daily tools and implements. This is done on the outer sur strikingnesss of various kins soul containers/utensils and ornaments.Bamboo combs argon decorated with incised angular patterns. Geometric designs atomic number 18 sculpted on arrow shafts. They atomic number 18 to a fault skillful in distort and plaiting. For example, the Mamanua, like other Aeta groups, produce comminuted nego or win right offing baskets, duyan or rattan hammocks, and other house ensure containers. III. geographics/ TERRAIN ?Aetas are give in Zambales, Tarlac, Pampanga, Angeles, Olongapo, Panay, Bataan and Nueva Ecija. But because of the Mount Pinatubo eruption, some of them move to resettlement neighborhoods in Pampanga and Tarlac. 2. THE BLAANS I. CULTURE The brush asideonical culture is dry cultivation of a extensive range of food plants including rice, supplemented by food gathering and hunting. Culture c feede is in an advanced head. The Blaan language is classified in a group that includes the Tiruray and Tboli, which are distinct from the central Philippine group. The homogeneous pattern of scattered settlements exists among the group although the houses gener self-colouredy re of import within down of each other near swidden fields. Rice, give, and millet are planted. Corn is gradually displacement rice as the staple. Gardens are planted to sugar enduree, bananas, and rootcrops.Each neighborhood is nonionised under a local datu who has autonomous authority over an area dep ending on his someoneal influence. The position is supposedly hereditary and follows a rule of the starting signalborn assuming the position. The lebe is the Blaan equivalent of the Bagobo magani. II. customs/ TRADITIONS landed estate ?Blaans adheres to inactive form of agriculture and use up in other economic endeavors for their subsistence and development. Although some(prenominal) have adapted the ways of the modern Filipino and have been corporate into the main automobile trunk politic, they still believe and practice their indigenous rituals and customs.Blaans date lag open certain rituals in their planting cycle. In these rituals, they make offerings to their deities requesting for signs to know where to stovepipe make a make iting for a particular planting season. star of this is the mabah or offering to the deities requesting omens that would help them choose the fields for planting. Blaans practice swidden tillage as the main agri ethnic method. They grow ri ce, corn, sugar shage, banana, papaya, and other rootcrops. Some of their crops are use as barter commodities in reciprocation for tools and other utensils that they need. matrimony ?Parents arrange the marriage of the children.They are the ones who decide for their future partners. Children are strangled of their re costume to refuse. The Blaan practice giving of birdsonggod or bride price wherein the bride price wherein brides family in particular the father and good raltives demand valuable things and animals much(prenominal) as agong, carabao, ply from the grooms family. The spousal relationship ceremony is officiated by a Fulong with the presence of the elderlys in the community. For them, get hitched with is the merriest jubilancy which ordinarily lasts for four days. The citizenry in the community enjoy the saf kain, apart(predicate)y prepared by the grooms family at the brides married woman.A muli agno (welcome party) is similarly being held by the groom for his wife. The men specially the resound Fulong and the Dad Tua are polygamous, men are allowed to have many a(prenominal) wives for as they are capable to give sunggod (dowry) and can regimen his family/ies. Having many wives is a symbol of power and influence. To be a Bong Fulongs wife who is able to give birth to many sons symbolizes prestige and high status. Burial ?The Blaan does not use chemicals to preserve their departed instead the breathless body is wrapped with tadtad or broken bamboo therefore tied with uway (rattan) and bring up in the tree.It should be done within 24 hours from the time the mortal infracts. They believe that hanging the the Great Compromiser in a tree is a form of respect to the dead person because if it is c at onceal underground, the earthworms and other tarnish organisms get out feed on the flesh of the person while if it hanged the cadaver giveing decompose in a natural way. Music ?The Blaan use musical instruments extensively wi th their rituals and dancings. The instruments run the copious range of idiophones (percussions), zithers (bamboo tubes with strings), chordophones (wooden lutes), and aerophones (flutes and reeds). Dressing ?The plurality of these tribes pall vibrant embroidered native costumes and beadwork accessories. The women of these tribes, particularly, stick out dumb brass whacks with brass tassels ending in tiny brass bells that omen their approach even when they are a long way off. Livelihood/ handicraft ?They are celebrated for their brass works, beadwork and tnalak weave. III. GEOGRAPHY/ TERRAIN ?The Blaans is one of the indigenous peoples of southernern Mindanao in The Philippines. Their name could have derived from bla convey opponent and the suffix an meaning people. another(prenominal) terms employ to worry to this group are Blaan, Bira-an, Baraan, Vilanes, and Bilanes. The Blaan, are neighbors of the Tboli, and live in in Lake Sebu and Tboli municipalities of southw esterly Cotabato, Sarangani, the southeastern part of Davao and around Buluan Lake in North Cotabato. 3. THE TBOLIS I. CULTURE ? scarcely a few Tboli are Christian or Islamite. More than 95 percent of The Tboli people still has their animist religion. They were hardly influenced by the spread of the Islam on the island. The Spaniards too, didnt succeed to Christianize the Tboli during the Spanish colonial stage.Main reason was that the Tboli withdrew to the hinterlands in the alpestrines. ?The Tboli still believe in spirits who live on several(prenominal) places in the natural environment. II. CUSTOMS/ TRADITIONS Farming ?In the past the Tboli practiced the primitive way of agriculture worst and burn. Slash and burn means that the people will clear a part of the forest by sliceting the big trees and keen the lower and shorter trees and bushes, afterward which they use the cleared plots as cultivatable land for some days without any fertilization.Rice, cassava and yams were t he most chief(prenominal) agricultural products. Next to that, the people went hunting or look for for special food. For years slash and burn is no longer possible. The forests are kaput(p) by intensive economic activities as foresting. At flummox The Tboli live in the galvanic jalopys. Agriculture is the provided source of income. Some foreigners, in cooperation with the back up organization Cord Aid, succeeded in developing some hectares of arable land in the last few years. Nevertheless, the Tboli live in poor dowery a struggle for live. Courtship Blit Blaan is a suit spring of the Blaan people of Davao del Sur in which the dancers mimic the behavior of forest birds in the pair season. Two male dancers that represent richly-plumed male birds eye three females. The females travail to hide from the males, burying their heads under their wings, which are represented by their malongs. Still, the predatory males pursue them. Marriage ?Sla-i (marriage arrangements) are c onsidered lousy without tnalak during the exchange of kemu (traditional properties) such(prenominal) as heirlooms, gongs, horses, work animals, ancient s linguistic process and other tribal artifacts. Burial fair like the other indigenous peoples in the country, the Tbolis of South Cotabato in Southern Mindanao has interesting burial rituals. Grieving starts when the tau mo lungon ( lay maker) or an elder who has been summoned to ascertain the finis gives a wrenching cry. Upon hearing the cry, the family members start weeping. If the dead is a child, he or she is simply wrapped in a blanket (nga sadan-kumo) or a mat (igam) and thusly suspended on a big tree. However, if the dead is an older child or an adult, he or she is wrapped and then placed in a lungon ( place) together with his or her consequential bes.The finances of the dead quicken a snappy role in the type of burial as well as the length of wake given him or her as these moldiness be exhausted before he or she is bu ried. Hence, the wake could last for a week up to five months. forwards the coffin is sealed, the carnal knowledges of the dead bezant the corpse as a last farewell. therefore the coffin is unlikeable and tied firmly with a darnay. It is at this point that the weeping and suffer come to a halt. The Tbolis bury their dead at night. Before the coffin is brought out of the house, the tau mo lungon breaks a bamboo water container birdcalled kobong.As the container breaks, the people let off a shout. The coffin is then brought around the house, and then carried out into the burial site. Only the men are allowed to accompany the cortege. At the site, the coffin is placed in a humble house-like structure fitted into the pit. After the coffin is settled on the grave, the people sit down for a meal, go away some of it on the grave. After the meal, the tau mo lungon breaks an earthen jar, after which the people start leaving the site in a single file, avocation the order in which t hey had come, kuloy or plumelike flowers of talahib on their head.Reaching the house, they jump over dickens Tboli knives (Kafilan or Tok) stuck on the ground forming an X. Then they clean in a nearby river. Otherwise, the bereaved family put their left creation on a stone at the stair landing, and then offers to a tray of food from which they scoop a little, eat it, and then exit by with(predicate) the backdoor. Finally, the house of the dead is either burned or abandoned as they build a new one. Music ?The Tboli have a musical heritage consisting of various types of agung ensembles ensembles composed of large hanging, suspended or held, bossed/knobbed gongs which act as drone without any accompanying melodic instrument.Tboli have a variety of musical instruments including a drum, the agong, the kulintang, bamboo zither, flute, the hegalong, a long, slender and fusiform two stringed guitar. They have also a variety of dances, which are generally expressive imitations of th eir immediate environment. Dressing ?The Tboli women are cognise for their body ornaments. During mean(a) days, the women can be seen wearing several sets of beaded necklaces, brass or beaded dangling earings, and a wooden comb decorated with round pieces of mirror and trimmed with beads and fibers or horses hair.The men nowadays wear their traditional dresses made of tnalak merely during special occasions. both(prenominal) the men and women wear brass rings in sets of five for each finger. Livelihood/ affair ?Tnalak is an exotic fabric made through a centuries-old procedure of tie-dye twine by the Tboli women. It is made into bags of different sizes, attache case, argue decors, blankets, jackets, purse, clothing, cigarette case, belts, portfolio and others. III. GEOGRAPHY/ TERRAIN The Tboli is of proto-Malayan stock and is found in the mountain ranges of South Cotabato and Sultan Kudarat Provinces. 4. THE HIGAONON I. CULTURE ?The belief in the power of the spirits of ancest ors and in the influence of much than one god is powerfully rooted in the hearts and minds of many Higaonon. or so Higaonon still have a strong belief in the existence of gods and spirits. The velocity god is Magbabaya, the creator of all aspects of life. thither are several lower gods. Each lower god has dominion over a specific part of the natural environment.There is a lower god (Igbabasok) who has dominion over the farms, a lower god (Pamahandi) who has dominion over treasures and properties, a lower god (Bulalakaw) who has dominion over the waters and fishes and in that respect is a lower god (Panalagbugta) who has dominion over lands. The (ancestor) spirits have control on all aspects of the daily life of the people. This belief, called animism, influences the Higaunon people deeply. They believe that all problems like illnesses, bad harvests and even the death, are due to their failure to satisfy the spirits.The Higaonon believe that they have to please the spirits. Only if the Higaonon succeed during their life to fulfill all the wishes of the spirits, they will not die and a path will be shown to go from this world into the everlasting(a) world where the creator gods live. One way to satisfy the spirits is having rituals with sacrifices. Pigs and chickens are the most common sacrifices. Without the sacrifices or when there not enough sacrifices, there will be problems with their subsistence, crops will fail and illnesses will not be cured and people will die.If somebody gets ill, an all knowing priest-doctor is asked advice what to do. The shaman is a person in the village who has the ability to declare which spirit cause the sickness and what should be done to pacify the spirit II. CUSTOMS/ TRADITIONS Farming ?The Higaonon is one of the mountain tribes in the Philippines. Most Higaunon still have a rather traditional way of living. Farming is the most important economic activity. Courtship ?Prior to the wedding, the boy must(prenominal) live in the girls house for about a year to prove his worth and where he is scrutinized by the parents of the girl. Marriage ?Marriage in Higaonon society is arranged in the main by the parents of the boy and girl. The arrangement is a long and tedious process. The wedding ceremony is work and expensive. Feasting lasts for several days at the dorm of the bride and groom. The marriage of a datu is even more elaborate. Livelihood/ Handicraft ?The main economic activity is slash and burn cultivation of upland rice and corn. The agricultural cycle starts during March and April when the Higaonon devote themselves to clearing and planting. They also engage in food gathering.Their livelihood is supplemented by logging tonicitys like apitong, lauan, yakal, kamagong and narra. The timber is cut by hand and the logs are hauled using carabaos as engage animals to bring the logs down to the Agusan river. The hunting of banog, bats, snakes, field rat, monkey and different kinds of birds is prev alent. fish is also one of the major activities. Occasionally, poisons are used in streams. spear up guns are also employed. III. GEOGRAPHY/ TERRAIN The Higaonon are an indigenous tribe found in the northern regions of the island of Mindanao in The Philippines.With a population estimated at 350, 000, they are distri simplyed over five provinces Agusan del Norte, Agusan del Sur, Misamis Oriental, Lanao del Norte and Bukidnon. 5. THE IFUGAOS I. CULTURE ?In the past the Ifugao were feared head- huntsmans, on the barelyton as other tribes in the mountainous regions of northern Luzon. The war-dance (the bangibang) is one of the cultural remnants of the time of tribal conflict. Their ancestors constructed the fascinating rice terraces with the perfect working irrigation systems. These mountain tribes still distinguish themselves by their specific cultural expression and their skills.II. CUSTOMS/ TRADITIONS Farming ?Ifugao culture revolves around the rice, which is considered a presti ge crop. There is an elaborate and complex array of rice culture feasts inextricably linked with taboos and heterogeneous agricultural rites, from rice cultivation to rice consumption. Harvest season calls for highfaluting thanksgiving feasts, while the last harvest rites tungo or tungul (the day of rest) imply a strict taboo of any agricultural work. Partaking of the rice beer (bayah), rice cakes, and betel nut is an indelible practice during the festivities and ritual activities. Practice ?Batok or staining is practiced by Ifugao men in some districts. In other districts the tradition has disappeared, but in general, men tattoo almost all the parts of their body except the back and the feet. Tattooing of the chest, shoulders, arms is common less common are tattoos on the face, buttocks and legs. Younger men tattoo only their necks and upper chest. The more common tattoo designs used by the Ifugao men are tinagu (man) kinahu (dog) ginawang (eagle) ginayaman (centipede) kinilat (lightning) pongo (bracelet). Marriage Monogamy is the norm, but the tight some quantify practice polygamy. The incest prohibition extends to first cousins more distant cousins may be married only on honorarium of livestock penalties. Ifugao courtship takes place in the girls houses ( agamang ). Before a wedding, temporary trial marriages sometimes happen. Wealthy parents arrange marriages through intermediaries, and they make decisions concerning their childrens use and inheritance of shoes. Families exchange gifts and maintain close relations following marriage. Divorce may occur by mutual consent, or with the fee of damages if contested.Grounds for divorce include bad omens, childlessness, cruelty, desertion, and change of affections. There is a vast difference in property allocation if the couple has children. Childless partners each take some(prenominal) they brought individually into the marriage through inheritance and then divide commonly acquired connectt property equally if there are children, all property goes to the children. A widow or widower may marry over again only after making a payment to the deceased spouses family the payment is reduced if the second spouse is of that same family.Postmarital residence is typically close to the largest rice field acquired by either partner, but newlyweds may ab initio spend some time with the parents of either the groom or the bride. Both sexes may inherit property and debts from both parents, although the firstborn receives the greatest share. An motherfucker child has the right to receive support from his or her natural fathers family but no right to inherit from his estate. Burial ?Their funerals are not only a sad event because of the lost of the person. There is also a celebration during days because of they believe of a better life after death.Six years after the body is buried, the bones are dug up, after which a second celebration will take place. This is one time repeated after another (prenominal) sixer years. Music ?Generally Ifugao songs can be classified into ritual songs and non-ritual songs. Ritual songs are sung in spiritual occasions some songs require responses while others are extemporaneous. A ritual song is the alim. Non-ritual songs include the hudhud, the liwliwa, and the salidumnay. The liwliwa, used to express love, protest and other personal emotions, is sung in debate form by groups of men and women and their leaders.The salidumnay, which can express ideas or emotions, is usually sung antiphonally by groups of men and women. Dancing ?Dancing has always been part of the Ifugao life, taking center stage during rituals, apparitional activities, and special occasions. The dance steps follow a long-winded shuffle with slow turns and twists of the left hand and a fast up-and-down parkway of the right hand. While kneeling in front of the dancers, the gong players hold the gangsa on top of their thighs with the convex side held up. They beat the gon gs with their hands, the right hand giving the downward stroke, the left hand serving to dampen the sound.Speeches are made in between these dances, with the resounding whoooo-o-eee serving to silence those present so that the speech may be delivered. Dressing ?Men wear their hair short all around the head but the shopping centre part is allowed to grow long, thus giving impression that they wear a cap of hair. Some wear a turban. Ifugao men carry butong (hip bags), the large kind is called the pinuhha the smaller kind the ambayong. The pinuhha bags are made of fresh screw threads, the ambayong of doubling block thread. The men usually put their betel nut leaves and birdlime container, kottiwong (small crescent-shaped nife), wooden spoon, amulets, and other things here. Necklaces worn by Ifugao males are usually a string of 2 to 8 pieces of gold, silver, or copper in a C-shape and worn tight at the base of the neck. Pang-o of amber beads, which hang much lower than the other necklaces, are sometimes added. In some places, men wear a tight necklace or trapezoidal shells. many a(prenominal) Ifugao men also wear leglets made of Copper wire trauma spirally in 20 to 40 coils, gradually increasing in width from higher up downward. Some wear armlets made of tusks of wild boar.A belt called ginuttu, made of round white shells unbroken together by a string of rattan dyed red, is worn at the waist from the right side of the upper part of the left thigh, and then allowed to hang unfounded at the left side. ?Ifugao women, on the other hand, wear the tapestry, a wraparound razz called the ampuyou or tolge. The ordinary tapis consists of a blue cloth with specify white horizontal stripes and two broken line of red triangles, and is worn just above the knee (Vanoverbergh 1929209). Ifugao girls begin to wear the tapis by the time they are five or six years old. There are five kinds of Ifugao skirts.The inggalgalletget is worn just above the knee. It is full of n arrow stripes and is made of two pieces of cloth joined together. This skirt is working in the rice paddies, but is not in stylus at present. The intinlu is a typical Ifugao skirt made of three pieces of cloth. The pieces are joined together with a takdog and other stitches, a black thread vary with white. The indinwa skirt is also typically Ifugao although less frequently woven. It is shorter than the intinlu but longer than the working skirt. The gamit skirt is made of two equal pieces of cloth joined together by takdang stitch.Red and white threads alternate with white and yellow (takdog stitch) its edges that fray are hemmed and have a bambulud. Gamit skirts are characterized by elaborate boundary line designs which vary correspond to the type and the color of alternating threads woven into the textile. Some Ifugao women allow their hair to hang loosen at the back, but some fold their hair up and use a string of beads called atake or inipul these they wind several times aro und the head to keep the hair in place. The atake is made of small white beads while the inipul is of large beads of light color in agate.Sometimes these beads are worn around the neck. The women put their belongings in the folds of their tapis in front or in a dismissal made of cloth similar to that used by men, except that it has no rings and is thus carried in the hands or pace din the folds of the tapis. Women also tattoo their arms up to the shoulder blade, with designs similar to men. Earring and pendants used by men are also worn by the women. The necklaces hang lower than those of the men, sometimes reaching the navel. Copper bracelets are also used by the women. Livelihood/ Handicraft They have skills in making roll baskets, weapons and clothing. The Ifugao still practice the same skills as in the past Woodcarving and weaving tog. They discovered the tourists as a welcome client for their products in a time that the youngest Ifugao prefer Western clothes. ?The Ifugao p roduce baskets to serve the needs of the household, and many other purposes. They have baskets for winnowing, storing, catching pests and domesticating animals, storing grains and cooked food, keeping household utensils, clothes, and personal belongings, and for rituals and religious ceremonies.Carrying baskets have been so designed as to leave a persons hands free to carry other loads. III. GEOGRAPHY/ TERRAIN ?The Ifugao rest the most rugged and mountainous part of the country, high in the telephone exchange Cordillera in northern Luzon, with peaks rising from 1,000-1,500 m. , and drained by the waters of the Magat River, a tributary of Cagayan River. The area covers about 1942. 5 sq. km. of the territory. Their neighbors to the north are the Bontoc to the wolfram Kankanay and Ibaloy to the east the Gaddang and to the south the Ikalahan and Iwak.There are 10 municipalities in the province Banaue, Hungduan, Kiangan, Lagawe, Lamut, Mayoyao, Potia, Hingyan and Tinoc. There are 154 barangay, with Lagawe as the townspeople center of the province. 6. THE IBANAG I. CULTURE ?Their language is also named Ibanag, which also serves as the lingua franca of other next ethnic groups such as the Gaddang, Yogad, and a few Aeta. This is spoken by about 500,000 peoples in Isabela and Cagayan, especially in Tuguegarao, Solana, Cabagan, and Ilagan. However, most of the Ibanags can also speak Ilocano, one of Northern Luzons dialects.II. CUSTOMS/ TRADITIONS Farming ?The Ibanags are lowland farmers that used to inhabit the area along the Cagayan coast but migrated further inland. They conducted trade with neighboring areas using distinctive seacrafts, and their commercial interests made their language the medium of handicraft throughout the region before the influx of Ilokano migrants. They are also excellent blacksmiths and continue to make good bolos. . Are agricultural, and they engage in fishing and farming. Marriage ?Marriage customs, to great degree, have been made simpl e.Expenses are now borne by both parties unlike before when the grooms parents shouldered all wedding expenses. Preparations may not be very lavish but the umune-ca presents and maginterga, are still parts of marriage customs, likewise the gala is, sine qua non especially in rural wedding. III. GEOGRAPHY/ TERRAIN ?The Ibanag are severe on the Provinces of Cagayan, Nueva Vizcaya, Isabela. The Ibanag are among the minority of Filipino people that live along the banks of the Cagayan River. They are the most assimilable and adaptable among groups of the Filipino people.On Cagayan, Ibanag are more found in Tuguegarao, Abulug, Pamplona, Camalaniugan, Lal-lo, Amulong, Iguig, Penablanca and Aparri towns. 7. THE MANOBO I. CULTURE ?An occupation that figures as entertainment for the Manobo is bee hunting, the procedure for which the basis of the jovial bee-hunting dance. Bees appear during the season when the tress start to bloom. The hunter waits for them along the creek banks and trails them to their hive. If he catches a bee, he ties a fluff of cotton to it and then releases it. When the bee reaches the hive, the other bees raise such a buzzing noise, that a hunter is led to the location of their hive.He builds a fire to smoke out the bees and then climbs the tree to get the empty bee hive. However, the hunter faces hazards, such as the tree catching fire or the bees attacking him. II. CUSTOMS/ TRADITIONS Farming ?The upland Manobo practise swidden or slash-burn farming whereas those inhabiting the valleys practise wet-rice farming. Rice culture is so central to the Manobo way of life that there are more than 60 different names for rice varieties, and all agricultural rituals center on it. Marriage ?Intervillage relationship is based on upakat or reciprocity.Village members, usually belonging to military personnel relationship group or groups allied by marriage, expect avail from each other in matters of subsistent labor, defense, and support in crises. Marriage is traditionally by parental arrangement, which begins when each of two families chooses a spokesperson, preferably a datu or bai, who is known for eloquence and knowledge of custom law. The ginsa (asking) begins with the girls representative offering betel chew, which the boys representative politely refuses until negotiations for the kagun (bridewealth) begin.All the grooms relatives, especially the datu/bai cerebrate to the grooms family, will contribute to the kagun. The wedding date is determined by the length of the grooms family will need to raise the kagun. In the meantime, the brides relatives are preparing the apa (wedding feast), consisting of rice, meat, fish, and rice wine. On the wedding day, the groom wearing a white handkerchief and his party walk to the brides home. The bride is kept hidden behind a curtain in another room with someone guarding her.The grooms party knocked at the doorway y the ed-ipal, two or more of the brides relatives who may ask the grooms party for a gift, such as clothing or money. After the feast, the elders sit on a large mat for the edteltagan he rirey, to display the symbols for the brides value. Ten piles of corn kernels each are laid out in rows. Each pile symbolizes remuneration for the pains taken by the brides family in rearing her. For example, one pile represents the purangan (to keep awake at night), the sleepless nights the parents spent over her another pile represents the tugenan (viand), the nourishment they have given er. Then the grooms family presents the items of the kagun which may consist of a house, a piece of land, clothing, money, articles made of iron, brass, and animals. These items are distributed to members of the brides across-the-board family, especially her aunts and uncles and those who contributed to the bridewealth given by her father when he married the brides mother. The negotiations over, the grooms family presents the tenges (headcloth), which symbolizes that the arrangements must be wrapped up tightly to ensure a dexterous life for the young couple. The seru ritual follows the bride and groom sit before a dish of rice.Each of the spokespersons takes a fistful of rice, molds it into a ball, and gives it to the couple, who feed each other. Then the guests join in the eating, with much revelry. The brides mother prepares betel chew and hands it to her daughter, who offers it to the groom. This gesture symbolizes her tasks and duties as a wife. The couples are then given advice by the elders while the guests leave for home. The grooms parents stay for three more days, during which a civilisation ritual of chickens and rice is performed for the couples gimukod (soul-spirit), whose approval of the marriage is sought.The groom goes home with his parents to call his gimukod in case it stayed there while he was away. He does not stay away too long from his brides home because, for every day that he is gone, he must gift his in-laws with an article of clothing. Marriage is an partnership system in which reciprocity and mutual obligation between the grooms and brides kinship groups are expected. It is, therefore, a means of maintaining peace and oder, for the Manobos practice of retaliation does not extend to ones kindred or allies. Incest taboo is strictly followed up to a common great-great-great grandparent on both the mothers and fathers side. Polygamy, although rarely practised, was allowed. A datu might doctor to it, usually for economic and political reasons. Several wives allowed for more fields that could be cultivated, since the Manobo women did all the work in the fields. Polygyny also multiplied ones alliances and expanded them to several communities. However, the man could take another wife only if the first wife and her parents consented. The fist wife remained the head wife. Burial ?When death occurs, lapuy, death messengers, are sent to inform relatives and friends.The body is washed, dressed in best clothes of the deceas ed, laid on mat at the exact center of the report directly underneath the peak of the rooftop, and completely covered with a blanket. Objects, such as a bolo sword that the dead must take with it on its journey to the afterlife, are placed near the body. A clothesline is string parallel to the body, and the clothes of the family or the dead persons personal possessions are hung there. There is much wailing and shouting and the agung (gong) is constantly beaten to announce the death to everyone within the hearing distance.The number of beats indicates the dead persons age, status and accessible position. After the grave has been dug, someone stands guard by the pit to keep the busaw away. Burial rites begin in the house with the cutting the strand ritual an elder blackens half of a strand of manila hemp. This blackened end is held by the family while the white end is tied to the corpse. The strand is cut to signify the cutting of ties of affection between the family and the dead. A man is buried facing the east so that the sunrise will signal to him that it is time to work.A woman is buried facing the west so that the sunset will remind her that it is time to cook. As the dirt is thrown back into the pit, all turn their backs to avoid temptation of accompanying the dead person. The grave mug is a low wooden frame. Tree cuttings are stuck around the grave. After the burial, the mourners go to an unfrequented part to wash themselves and the tools used to dig the grave. When they soften to the house, they spit on a burning woo or a fire by the doorway. Everyone takes a small bite from the small meal that has been placed on the mat where the corpse had lain in state.The last person coming in takes the glowing piece of wood and the meal out of the house and throws it in the direction of the grave. Everyone, including the soul of the dead, is invited to eat. A mourning period of 8 to 12 days is set, depending on the stature of the dead person. A baby is mourned o nly for one day a datu, seven days. There is singing and dancing but no instrumental music is allowed. Music ?Manobo music differs from one group to another. The variance can be observed in the gong ensembles, which may consist of 8 to 10 agong (gongs) as in the ahong of Magpet, or five small hand-held gongs as in the sagagong. Dressing ?Before the Spanish colonial period, the Manobo wore bark cloth to cover their genitalia. Today they wear Western clothes the skirt and blouse or dress for the women, trousers and sports shirt for men. The heavily embroidered traditional Manobo costume is now worn only on special occasions. Livelihood/ Handicraft ?Traditional fabric for clothes was abaca or hemp, weaved by the ikat process, but is now cotto cloth obatained through trade. Dyes were acquired from plants and trees the tagum plant and the bark of the lamud treee produced lack, the turmeric root, yellow, and the keleluza plant, red.Ginuwatan are inwoven representational designs such as f lowers. If cotton trade cloth is bought, big floral designs are preferred. natural colors are red, black, yellow, green, blue and white. III. GEOGRAPHY/ TERRAIN ?Most Manobo inhabit the river valleys, hillsides, plateaus, and interiors of Agusan, Bukidnon, Cotabato, Davao, Misamis Oriental, and Surigao Del Sur. The whole Manobo population numbers 250,000. The subgroup Manuvu inhabits a contiguous area along southern Bukidnon, northeastern Cotabato, and northwestern Davao. The Ilianon, Livunganen-Arumanen, and Kirintekan are in northern Cotabato.The Tigwa/Tigwahanon are concentrated in Lindagay and scattered all over the town of San Fernando, Bukidnon, close to the border of Davao Del Norte. Tigwa may have derived from guwa (scattered) or the Tigwa River, whose banks they inhabit. The Umayamnon are scattered around the town of Cabalangsan, Bukidnon, and the interiors of Agusan Del Sur. The western Bukidnon Manobo inhabits the southwestern quarter of Bukidnon province. 8. TIRURAY I. CULTURE ?Their language is structurally related to those of the Malayo-Polynesian family. But when spoken, it is unintelligible even to their immediate neighbors.II. CUSTOMS/ TRADITIONS apparitional practices and beliefs ?According to the Tiruray, the world was created by the female deity Minaden, who had a blood brother named Tulus, also called Meketefu and Sualla. Tulus is the chief of all good spirits who bestow gifts and favors upon human beings. He goes around with a retinue of messengers called telaki. Tulus is said to have find some errors in the first creation of theworld and of human beings. Livelihood/ Handicraft ?The Tiruray have not developed the arts of traditional cloth weaving, metallic element craft, and pottery, but have excelled in basketry.They are, in fact, one of the most obliging basket weaving groups among the countrys cultural communities. III. GEOGRAPHY/ TERRAIN ?They live in the upper portion of a river-drained area in the northwestern part of South Cot abato, where the mountainous terrain of the Cotabato Cordillera faces the Celebes Sea. The Tiruray call themselves etew teduray or Tiruray people, but also classify themselves according to their geographic location etew rotor, mountain people etew dogot, coastal people etew teran, Tran people and etew awang, Awang people, or etew ufi, Upi people. . TAUSUG I. CULTURE ?Tausugs are experienced sailors and are known for their colorful boats or vintas. They are also superb warriors and craftsmen. They are also famous for the Pangalay dance (also known as Daling-Daling in Sabah), in which female dancers wear artificial elongated finger narrows made from brass or silver known as janggay, and perform motions based on the Vidhyadhari (Bahasa Sug Bidadali) of pre-Muslim Buddhist legend. II. CUSTOMS/ TRADITIONS spectral practices and beliefs ?The Tausug follows standard Islamic beliefs and practices.The Quran is considered by all Muslims as the words of Allah (God), revealed to the prophet Mu hammad through archangel Gabriel, and as the source of all Islamic Law, principles and values. Aside from the Quran and the Sunnah and Haddith (literally, a way, rule, or manner of playacting), other Islamic sources of law include Ijtihad (independent judgment) and Qiyas (analogy). The Five Pillars of Islam are dec-laration of beheb in the oneness of God and the prophethood of Muhammad and the four obligations of praying, almsgiving, fasting, and pilgrimage to Mecca at least once in ones lifetime. Marriage ?Marriage is ideally arranged by parents. Contacts between the sexes are restricted and marriageable women are kept in relative seclusion to protect their value to their family as political and economic assets. first-class honours degree and second cousins are favored spouses (with the exception of the children of brothers). A series of negotiations precedes marriage, concluding with an agreement on the amount of bride-wealth and other expenses to be paid by the boys family. In addition to arranged marriages, wives may be obtained by elopement or abduction, both common alternatives.Weddings are held in the grooms parents house immediately upon payment of bride-wealth and are officiated by an imam. Newly married couples generally reside uxorilocally for the first year, or until the birth of a child, after which they are free to join the economizes family, remain with the wifes family, or, preferably, build a new house of their own, typically close to the husbands natal community. Independent residence is the eventual ideal. Relations between husband and wife are characteristically close and enduring.Divorce is permitted but is infrequent, occurring in less than 10 percent of all marriages and, although polygamy is allowed, few men take more than one wife. Burial ?Four acts must be performed at death bathing the corpse, enshrouding it, reciting the prayer for the dead, and burial. Burial is followed by a seven-day vigil. Depending on a familys economic circ umstances, commemorative feasts may be held on the 7th, 20th, 40th, and 100th day, and on the first, second, and third anniversaries of death. Each person is believed to have four souls that leave the body at death.The body goes to hell, where the length of punishment it suffers is determined by the misdeeds and accrued religious merit of the deceased. On the fifteenth day of the month of Shaaban, one of the souls of the dead is sent back to earth here the deceased is honour with prayers and on the following day graves are cleared. Music ? heterogeneous musical instruments played solo or as an ensemble, provide the Tausug with music. Most notab-le is the kulintangan ensemble consisting of two gandang (drums), a tungallan (large gong), a duwahan (set of two-paired gongs), and the kulintangan (a graduated series of 8 to 11 small gongs).At least five players are needed to play the ensemble which is used to accompany dances or provide music during celebrations. Other popular instrument s are the gabbang (na-tive xylophone) and the biyula (native violin). With 14 to 24 keys divided into seven-note scales, the gabbang has become the most popular musical instrument in Sulu. It is used to accompany Tausug forthright music such as the sindil. The tune produced when the gabbang is played solo by a man or woman is called tahta. The biyula is similar to but larger than the western violin. It consists of four strings played by a pass on made of horsehair.Traditionally played by men, the biyula, with the gabbang, accompany the sindil (Kiefer 19702) Flute music is associated with peace and travel. It represented by the following less popular instruments the saunay (reed flute), suling (bamboo flute), and kulaing (jews harp). The saunay is essentially a six-holed slender bamboo, 1. 5 mm in diameter, capped by a sampung simud (mouthguard). A resonating chamber made of palm leaves is housed in the mouthguard. The suling is a larger version of the saunay. It is a 60-cm long ba mboo with a 2-cm diameter. Like the saunay, it has six fingerholes (Kiefer 19704).The repertoire for Tausug instrumental music in-clude the gabbang tahtah (gabbang with biyula accompaniment) the kasi-lasa, lugu, and tahtah (biyula songs) the sinug kiadtu-kari (kulintangan) the tiawag kasi (saunay music), the tahtah (suling music) and others. Kalangan or Tausug vocal music can be divided into narrative and lyric songs, and further into the lugu and the paggabang traditions. The luguh traditio-n denotes unaccompanied religious songs, while the paggabang tradition applies to more mundane songs that are accompanied by the gabbang and biyula. Dancing The most well-known dance of the Tausug is the pangalay. It is the basic style from which the move-ments of various dances in Sulu and Tawi-Tawi are derived. The pangalay is danced by either sex, alone or together, and is usually accompanied by the kulintang ensemble. The movement of the pangalay is concen-trated on the thighs, knees, ankles , toes, waist, shoulders, neck, elbows, wrists, and fingers. The torso is usually kept rigid, moving upward or downward as the flow of the dance demands. The feet is firmly planted on the ground and move in small shuffling steps (Amilbangsa 198314, 62).The pangalay dances are distinctive in their use of the janggay (metal nail extenders) to underscore hand movements. The extended fingers are stiff and set apart from the thumbs. Livelihood/ Handicraft ?Tausug visual arts are represented by carvings, metalworks, woodworks, tapestry and embroidery, mat making and basketry, textile and fashion, pottery, and other minor arts. III. GEOGRAPHY/ TERRAIN ?Mainly in the Philippines Region Jolo, Sulu Archipelago. Palawan Island, Basilan Island, Zamboanga City. 10. BADJAO I. CULTURE ?The Badjaos are itinerant travelers.Their paintings and carvings are integral to their life cycle. In wedding ceremonies, the wedding cosmetician must be sentiency at applying the special makeup on the bride and gr oom. With a razor blade tied with thread to a split bamboo twig, the cosmetician shapes the brides eyebrows into a triangle and carves tiny bangs on her forehead. Lampblack is used to outline a rectangle on her forehead and is emphasized by a yellow ginger juice. Black dots are outlined horizontally above the eyebrows and/or downstairs the eyes with the pointed end of a coconut midrib.Another beautician attends to the groom and his face is made up the same way. II. CUSTOMS/ TRADITIONS Marriage ?In wedding ceremonies, the wedding beautician must be adept at applying the special makeup on the bride and groom. With a razor blade tied with thread to a split bamboo twig, the beautician shapes the brides eyebrows into a triangle and carves tiny bangs on her forehead. Lampblack is used to outline a rectangle on her forehead and is emphasized by a yellow ginger juice. Black dots are outlined horizontally above the eyebrows and/or beneath the eyes with the pointed end of a coconut midrib.A nother beautician attends to the groom and his face is made up the same way. Music ?The Badjaos have five types of songs the leleng, binoa, tenes, panulkin, and lugu. nevertheless for the last two, the lyrics are improvised and sung to a traditional tune. The leleng is sung in most occasions. Anyone can sing the leleng. Dancing ?The Badjaos dance traditions are similar with the other ethnic groups of Sulu, particularly the tribes in Samal. The basic traditional dance movement is the igal or pangalay performed by the female.The dancers hair is preferably pulled back in a bun, although it may also be allowed to hang loose. Either a drum or a gabbang accompanies the dance. Dressing ?The traditional attire of the Badjao consists of either everyday wear or elaborately embroidered costumes for special occasions. The patadjung/tadjong has many uses. Among the Badjao it is large enough to fit any person and is worn by both men and women as a skirt or gown tucked at the chest level. It can serve as putung (headcover), waistband, sash, blanket, hammock, shoulder bag, cradle, pouch, hood, or pillow. Livelihood/ Handicraft ? admixture craft designs can be classified into three kinds the repousse, relief beat from the reverse side arabesque, incision of interlocking curves and filigree, tracing with thin gold, silver, or brass wires.III. GEOGRAPHY/ TERRAIN ?Sulu-Tawitawi, Siasi, Tabawan, Bonggao Sitangkai, Cagayande Tawitawi (Mapun) Basilan, Maluso, Malamawi, Bohe Lobbong Zamboanga del Sur, Rio Hondo, Batuan Lumbayaw, Taluk Sangay, Sanggali Zamboanga del Norte, Olutangga Davao City, Isla Verde, Sasa Cagayan de Oro Visayas, Cebu, Tagbilaran Palawan, Puerto Princesa Batangas.