The Manunggul jar is one of the anthropomorphic potteries found by archaeologists from the National Museum and by U.S. Peace Corps volunteers Hans Kasten, Victor Decalan, et. al. in a burial site in the Tabon Cave Complex in Lipuun Point, Quezon Province in March 1964. Discovered in Chamber A of Manunggul of Manunggul Cave, this burial jar featured a vessel carrying two human figures in sitting position, with the one behind steering the boat and the other waiting to reach the afterlife. The Manunggul jar is classified as a secondary burial jar, which means that only the bones of the corpse are placed inside. It has an elaborate design consisting of scrolls and curves on the top cover and is painted with hematite - a type of mineral that produces red coloring once subjected to heat. However, However, the most remarkable remarkable part of the jar is its lid which features two souls sailing to the afterworld afterworld in a death boat. boat. The figure at the rear is holding a steering paddle, although the blade of the paddle is missing. The one in front is believed to be the soul of the person whose remains are inside the jar, since it has its arms folded across its chest which was the usual position of a corpse being prepared for burial. It also seems like the figures are wearing cloth cloth bands tied over the the crowns of their heads, more evidence of indigenous burial practices in the Philippines.
An exotic fabric made through a centuries-old process of tie-dye weaving by the women of Lake Sebu, South Cotabato has captured the fancy of Filipinos as well as people around the world. Called it is made into bags of different sizes, attaché case, wall decors, blankets, jackets, purse, clothing, cigarette case, belts, portfolio and others. The occupies a special significance in the lives of the tribe. Basically used for blankets and clothing, the k is considered helpful for safe delivery when used as prenatal covering. (marriage arrangements) are considered lousy without it during the exchange of (traditional properties) such as heirlooms, gongs, horses, work animals, ancient swords and other tribal artefacts. The presence of the cloth during certain feast gives it a sacred value. consider it taboo to cut the cloth because they believe that act will make them seriously ill. Tribe members who sell the fabric often attach bells to appease the spirits said to have guided the weavers. Superstition surrounds the making of the fabric. (tribeswomen) who make the elaborate weaving and design find it easy to process the cloth after a dream. Designs they see clearly in their dreams have certain meanings and requirements. “When I dream about the , a cloth design embodying the male and female symbol, that means my husband and myself have to abstain from any sexual contacts for the duration of the weaving,” said first class weaver Ye Lo. “If we do, the threads will break and the woven design won‟t emerge clearly,” she adds. Gabriel Ungkal, an expert classifier said that out of some 2,000 weavers, only 21 are class “A” rated weavers. “Majority of the expert weavers, refuse to follow any ordered designs unless they dream about it,” he said. Expert weavers are being encouraged by the , to pass on their unique skills to their female children to ensure a next generation of women weavers. The making of the is a tedious process composed of rituals especially done during the night when the air is cool and the fibre is at the right elasticity.
The weaving of the cloth takes almost two and a half months for a piece about 20 feet long. During the weaving process, silence and an atmosphere of solemnity is observed by the members of the household. A single mistake in the weaving pattern due to distraction would mean repeating the whole process from the very beginning. The is a product of a unique and tedious method of tie-dye weaving, a very meticulous process of cloth designing done on a bamboo and wooden loom. The gathering and processing of materials alone are highly complicated. Fibres selected from fruit-bearing plants ( hemp) usually about 18 months old, are stripped by hand from the soft wet pulp of the plant‟s stalk. This is then made flaxen and pliable by repeated combing and weeks of air drying. After some time, the fibres are laid out on a simple wooden loom. The fibres now stretched out on the loom are tied with other fibres rubbed in beeswax. The area covered by the waxed strings will not be penetrated by the dye. The process of tying itself is real artistry because no measuring instrument is used. Only the finger joints (length of the index fingers) are used to measure the intricate designs. Yet, patterns emerge with artistic consonance and precision. After the painstaking tying, the fibres are then prepared for dyeing. The black dye is extracted from the leaves of the tree. The red dye is taken from the roots of the tree. In the dyeing process, two earthen pots, one on top of the other, mouth to mouth, are then used to boil the fibres repeatedly, for three weeks, for the black colour and only two days for the red. Steam pushes the dye upwards to the bundle of tied threads in the upper pot. After the dark colour has been achieved, some waxed strings are removed. The newly-exposed areas are then dyed red. A variety of colours (black, dark, cream and the natural flaxen colour of the fibre) can be produced by removing the remaining waxed ties. When the dyeing process is completed, the fibres are then removed and rinsed along river banks or streams.
Patterns and designs range from the (flower designs), (spear), others.
(snake), (clouds),
(frog), (house) and scores of
After the rinsing process, the cloth is again air dried for a week. It then undergoes the (wood pounding) where the fibres are rendered pliant and flexible. For the final touch, the is laid out on a bamboo fixture where it finally passes through the (shell rubbing), a method of bringing out the lustre of the finished cloth. craftswomen use the a big turtle-shaped sea shell for this purpose. The
(
shell-rubbing process) brings out the waxy sheen of the cloth.
Davao City residents who recently took a penchant for things „native‟ are cravin g to lay their hands on various designs (all designs are uniquely different). Home owners with „a touch of class‟ use for upholstery of sofa sets, dining tables and wall decors. Professionals with sophisticated taste go for attaché case, portfolio or handbags and layered jackets. The exceptional quality of the fabric is a rich legacy of creative art handed down from generation to generation for thousands of years. Perhaps what made the t'nalak clothe making endure for centuries is the artistic and spiritual dedication by the T'boli women of Lake Sebu. (The hinterland town of Lake Sebu situated two thousand feet above sea level in South Cotabato, Southern Mindanao, Philippines is populated by five other indigenous tribes speaking entirely different and distinct languages not found in other provinces of the country or elsewhere). The cultural and spiritual significance of the in the lives of the Mindanao " (People of the Earth) coupled with the loving desire of the indigenous women to teach their daughters this special skill and lifetime livelihood continue to strengthen the bond between the old and the new generations of native women. Indeed, the which gives colour to the world stands as a proud symbol of a rich cultural heritage and a strong bond which continue to remind Filipinos of their long forgotten ancestors.
The Bul-ul or Bulol is an Ifugao anthropomorphic carving that symbolizes an Ifugao rice god or guardian spirits. It also signifies fertility and is sometimes believed to house spirits of ancestors. A Bulul has a simplified shape of a human being, whether male or female. It consists of a simplified head, a torso, and a pair of hands and legs mounted on a platform for stability. It is carved out of strong narra or ipil wood and sometimes stone. Sizes also vary, depending on its use. Bululs are usually made in pairs, a male and a female, but some are done individually. This traditional art form may seem crude, lacking in sophistication, but it has been praised as a fine example of abstract art. Although bululs are now produced and sold as a variety of souvenir items or decorative art, it is actually a fundamental part in Ifugao culture. Bulul plays an important role in the agriculture of the Ifugao people. It is involved in the ritualistic aspects of rice production, from rice planting up to the safekeeping of the harvest in rice granaries. The sculpture is made mainly as guardian of a rice granary. The process of creating a bulul includes the baki or a ritual by the mumbaki or priest to ensure its power. Careful selection of the wood is made and it is consecrated with pig‟s blood. A big granary may require two bululs. There is no standard size although manageability in carrying it in and out of the granary is a consideration. A wealthy kadangyan or noble may have more than one bulul in his house or granary. It is regarded with care and respect. Treating it otherwise is believed to result in hostile manifestations such as sickness and pestilence from the spirits or ancestors. When used in rituals, it is to be properly positioned in front of the rice produce. The male bulul is placed at the right and the female at the left. The bulul is touched by hands dipped in chicken or pig‟s blood in what is called a tunod ritual during the rice planting season. Occasionally, ornamentations may be placed on the bulul. For the male bulul, a g-string and for the female, a tapis or a waist cloth, with earrings and anklets to match.
Cooking tools and equipments Stocking a kitchen with great gadgets and utensils can be really fun, although daunting. There are a few ways to begin collecting the equipment, utensils and appliances you need. One is to look through a list like this one, check off what you need, then go on a shopping spree. Another is a trial and error method. As you begin cooking, you'll quickly realize what utensils your kitchen is missing. Believe me, the first way is better! When you want to make a pie crust and realize you have no rolling pin, it can put you off pie crusts forever. If you really want to save money, take some time to cruise garage and tag sales. You can find excellent cooking equipment, utensils, and even appliances for pennies if you are a savvy shopper. This is the basic list of equipment and utensils for cooking beginners. There may be other items you want to add. That's just fine! As long as a kitchen utensil or gadget works for you, and you use it, it's a good buy. Shop for quality over quantity, especially at first. I have several knives I bought 20 years ago that are still going strong. You can do the same.
made of high carbon stainless steel 3 or 4" paring knife a serrated knife 8 or 10" chef's knife
Various sizes, in metal and plastic Get at least two sets of each, so you're not continually washing them as you cook glass measuring cups with spout, for liquids
slotted spoon wooden spoons sturdy metal spoons Soup ladle
hand held electric mixer Wire whisks in different sizes eggbeater
straight spatulas angled handle spatulas rubber scraper spatulas
nested varying size sieves, in stainless steel (work as flour sifters too) steel or plastic colander
1, 2, 4, and 8-quart saucepans with covers 12" skillet with covers 6 or 8" nonstick skillet roasting pan two 9" round cake pans
9" square cake pan 9"x13" baking pan 9"x5" loaf pan 9" pie pan 12 cup muffin tin cooling racks two cookie sheets
swivel-bladed vegetable peeler grater with various sized holes rolling pin can opener kitchen timer kitchen shears corkscrew
