MUSIC AND ARTS

Indonesia- the largest country in Southeast Asia, it is located off the coast of
mainland Southeast Asia in the Indian and Pacific oceans.
Panay Bukidnons- The Panay Bukidnons, also known as Sulodnon, Halawodnon, or
Panayanon Sulud, are the tumandok or native or Indigenous dwellers of the more
interior portions of Panay Island. Aside from the Panay Bukidnons of Iloilo, other
communities of Panay Bukidnons may also be found in Capiz, Aklan, and Antique.
Sugidanon- The term sugidanon may mean “epic-chanting” or “storytelling”
depending on usage. The sugidanon are long narratives reflecting the existing
customary laws, beliefs, practices, and values of the Panay Bukidnon ancestors.

Binanog- an indigenous dance from the Philippines that features the movement of an
eagle/hawk and synchronizes the pulsating movements of the feet and the hands of the lead
and follow dancers. This specific type of Binanog dance comes from the Panay-Bukidnon
Indigenous community in Panay Island (Western Visayas, Philippines) (Garcia, 2018).
Gamelan- is a kind of musical ensemble of Indonesia typically featuring a variety of
instruments such as metallophones, xylophones, drums, and gongs; bamboo flutes, bowed
and plucked strings, and vocalists may also be included.
Southeast Asia- It is one of the most culturally diverse regions of the world with
different languages and ethnicities but with overwhelming convergences and divergences in
terms of culture and tradition.

The Bamboo Instruments of the Panay Bukidnon:

Tikumbo is a percussion and chordophone made of kawayan (a bamboo plant

variety characterized by having node needles) This is played by tapping one or
two fingers on the bamboo lid. This is alternated by strumming the string, which
was etched out from the body of the bamboo. Pang-midya (dampening the
sound) is done by closing the hole on one side of the bamboo to vary low and high pitches.

Suganggang is a buzzer struck on the palm of a hand. This is made of bulo (a

bamboo plant variety relatively smaller than kawayan; this one does not have
node needles). The hole on one end is where pang-midya is done using the
thumb so as to vary low/high relative pitches.

Litgit is a two-stringed bowed instrument made of bulo. Abaca hemp

finely braided is used as strings. It is mainly a melodic instrument
although rhythmic patterns from words/phrases are also employed.

Tulali is a bamboo flute made of bagakay (one of the

smallest bamboo varieties). Air is blown through a
bamboo opening encircled by a banana leaf. It is tuned
according to a pentatonic scale played on four holes, one found below and three on top of the
bamboo tube. The gap between two holes is measured by the maker’s two fingers.

Subing is a Jaw’s harp. According to Panay Bukidnons, the

bamboo used for this instrument is well-selected. It should be
located at the topmost part of the plant and should have the
liveliest sway when the wind passes so as to prove that it is
very pliant and therefore can produce the ideal sound of the
subing. So before it is cut-off from the plant, it should be
observed for some time. A subing is an aerophone, chordophone, and idiophone at the
same time because to play it entails “inhaling and exhaling air” (aerophone). By
repeatedly moving the bamboo’s pointed percussive effect (idiophone) is produced from
the rhythm.
A. Metallophones

Saron: The saron typically consists of seven bronze bars placed

on top of a resonating frame (rancak). It is usually about 20 cm
(8 in) high, and is played on the floor by a seated performer.
The sarons are struck with a mallet (tabuh) in the right hand.
Typically, the striking mallet is angled to the right to produce a
fuller sound.
Demung and saron barung generally use a wooden mallet, while the peking mallet is made of
a water buffalo horn, which gives it a shriller sound. The left hand, meanwhile, is used to
dampen the previous note by grasping the key, in order to prevent a muddy sound. On
repeated notes, the note is usually dampened half a beat before it is struck again.

B. Cradled Gongs

Bonang: The bonang is a collection of small gongs

(sometimes called "kettles" or "pots") placed horizontally
onto strings in a wooden frame (rancak), either one or
two rows wide. All of the kettles have a central boss, but
around it the lower-pitched ones have a flattened head,
while the higher ones have an arched one. Each is tuned
to a specific pitch in the appropriate scale; thus there are
different bonang for pelog and slendro. They are typically hit with padded sticks (tabuh). Two
of the three types of bonangs in central Javanese gamelan include the bonang panerus which
plays the fastest rhythms of the bonang, and the bonang barung, one of the most important
instruments in the ensemble, as it gives many of the cues to other players in the gamelan.

C.Hanging Gongs
A kempul is a type of hanging gong used in Indonesian gamelan. It
is often placed with the gong suwukan and gong ageng hanging on
a single rack, at the back of the gamelan, and these instruments
are often played by the same player with the same mallets. There
are usually several kempul in each pélog and sléndro; however,
there are frequently some notes missing and thus they have to
share a kempul (usually at a related interval, like a fifth). The
appropriate kempul depends on the balungan, the pathet (mode),
and other considerations.The gong ageng (Kromo Javanese meaning large gong, ngoko is
gong gedhe) is the largest gong in a Javanese and
Balinese gamelan. It is used as to mark the largest phrases in the structure. In small
structures, the gong ageng is used to mark larger groups than the smaller gong suwukan. In
the larger gendhing, only the gong ageng is used. It is typically pitched to match the 6 of the
gamelan.

D. Gambang

“Gambang” are xylophone-like

instruments similar to saron but with
wooden bars instead of metal ones. The
bars of the instrument are made of a
dense wood, generally teak or ironwood
(kayu besi), and are mounted in a deep
wooden case that serves as a resonator.
Instruments typically have 17-21 keys that are easily removed and are kept in place by
having a hole through which a nail is placed. Generally, a full gamelan has two sets, one
gambang pelog and the other one gambang slendro.
 The gambang is used in a number of gamelan ensembles. It is most notable in the
Balinese gamelan Gambang. In Javanese wayang, it is used by itself to accompany the dalang
in certain chants. Within a full gamelan, it stands out somewhat because of the high speed of
playing, and contrasting timbre because of its materials and more because it has widest
melodic range which the other instruments don't have.

E. Drums (Kendhang)

Kendang (Javanese: Kendhang) is the primary drum used in

the Gamelan ensembles of Java and Bali as well as various
Kulintang ensembles in other Southeast Asian countries such
as Malaysia, Brunei and the southern Philippines. They
usually are placed on stands horizontally and hit with the
hands one either side while seated on the floor. In Gamelan
Surakarta, four sizes of kendhang are used: Kendhang
ageng, kendhang gede (krama/ngoko, similar to gong
ageng in usage), or kendhang gendhing, the largest kendhang, which usually has the
deepest tone; Kendhang ciblon, a medium-sized drum, used for the most complex or
lively rhythms. It is typically used for livelier sections within a piece; Kendhang
batangan or kendhang wayang, a medium-sized, and was traditionally used to
accompany wayang performances, and Kendhang ketipung, the smallest kendhang,
used with the kendhang ageng in kendhang kalih style. The kendang usually has the
function of keeping the tempo and changing irama and signalling some of the
transitions (paralihan) to sections and the end of the piece (suwuk). In dance or
wayang, the kendhang player must follow the movements of the dancer and
communicate them to the other players in the ensemble.

Hirinugyaw-Suguidanonay Festival- Considered as a twin festival, the Hirinugyaw festivity

started in 1989 and the Suguidanonay aspect was added in 2006. The name of the festival
came from hirinugyaw which means jubilation and suguidanonay which means storytelling.
The first part of the dance competition features the suguidanonay led by the municipality of
Calinog, Iloilo’s Panay Bukidnons which then culminates with the hirinugyaw part of the
choreography that features Calinog people’s devotion and thanksgiving to Señor Sto. Niño,
the holy child Jesus (festivalscape.com).
Ikat- A method of for coloring fabric in patterns by resist dyeing. The pattern is made to the
threads before being constructed to a fabric.
Panubok- From the word "tubok,” panubok is the traditional embroidery of the Panay
Bukidnon with patterns and designs reflecting the shapes and objects from the environment,
where the Panay Bukidnon draw their inspiration from (Marin, 2011).
Sugidanon- The term sugidanon may mean “epic-chanting” or “storytelling” depending on
usage. The sugidanon are long narratives reflecting the existing customary laws, beliefs,
practices, and values of the Panay Bukidnon ancestors (Caballero-Padernal, 2019).
Sulukan- Mood setting songs performed by a puppeteer (dalang) in Javanese wayang
performances in Indonesia.
Wayang Kulit- It means “shadows from hide.” As a form of traditional theater, wayang kulit
(Indonesia) refers not only to the shadow play but has also become synonymous with the hide
puppets used to create the shadows.

Basic patterns found in panubok embroidery

Linantay is the basic panubok (embroidery) pattern. The manugtubok

(embroiderer) can come up with different embroidery designs using the
linantay (chain stitch).
Linabog is a panubok design (bulak, meaning “flower”) patterned after the flower of the labog
plant that grows abundantly in the forest. Labog is very significant in the life of the Panay
Bukidnon. The flowering season of labog signals the start of planting season for their kaingin
and it also reminds then that it is already January.
Togi-togi is a panubok applique patched in the edges of the clothes.
Its difference from girigiti is it is not as pointed, and it is copied from
the dalipe or boulders in the mountains. Girigiti, a zigzag-shaped
applique and embroidery, commonly used as edging on their
blouses. Binalagon is a panubok design patterned after a vine
(balagon) that is used to tie bamboos to create a raft. Inagsam is
patterned after a trap-like thorny fern called agsam that is like a
trap or a nesting place for snakes. Combined together, these
designs are often found in the edges of female or male garments of
Panay Bukidnon.

Tuko-tuko is patterned after the “tuko” or “tukod” made of

“kawayan” or bamboo poles. This “tuko” also is used in making a
“karosa” which the Panay Bukidnon farmers use in transferring their
harvest from one kaingin to another. They would usually align these
bamboo poles and tie them together using a balagon or a vine in
order to make a karosa which is usually pulled by a carabao.

Matang punay is a panubok design patterned after the eyes of the

lovely/loving bird and a pet of Humadapnon, the punay.
Humadapnon is a character in the suguidanon or epics of Central
Panay. According to F. Landa Jocano in Sulod Society, Punay
(literally, dove) is also a powerful female deity of the mountains who
is involved in the rituals for the dead: "as part of the hamwat (part
of the after-death rites which takes place after the patibara, the
ritual questioning of the dead during which the corpse is asked what or who caused its death).
A platform is built in one of the corners of the house for Punay.

Ikat fabric is a dyeing technique used to create a distinct style of

textile patterns. Ikat is done by resist dyeing sections of the yarns
prior to weaving the fabric.
- is an Indonesian language word, which depending on context,
can be the nouns: cord, thread, knot and the finished ikat
fabric as well as the verbs "to tie" or "to bind".

The warp version is the easiest to create. Yarns like silk, cotton,
wool, or other cloths get wound on a tying frame, where they are
separated into bundles. Great care is taken to minimize the
workload since the binding process can be quite intense. The thread
bundles are folded, and a basic ikat motif is bound. This is then
repeated, until the threads get unfolded for weaving right after the
dyeing is finished. These bundles get folded over either a vertical or
horizontal axis. Sometimes, these bundles are drenched in wax.

The weft ikat approach utilizes resist dyeing for weft yarns. The way
the weft yarns move in the weaving process is why intentionally
established patterns are harder to achieve. To ensure the clarity of these
ikat patterns, the weft yarn needs to be adjusted after each time the
shuttle passes through the weave. It is possible for skilled craftsmen to
create precise weft ikat, however.

Creative process – taking a challenge or problem and working through various possibilities
to arrive at, or design, a solution.
Creative Work - refers to something someone has made using their imagination and
skills, such as a painting, a song, or a story.
CREATIVE PROCESS: PREPARATION & INCUBATION

PREPARATION PHASE. In the creation phase, conducting a rigorous study about experience,
knowledge, and subject are the points that should be underlined in the preparation phase,
which is the first phase of the creative process.
 Preparation (Research, gathering ideas and resources) involves becoming acquainted
with the challenge, gathering ideas, and hunting out information that may be useful.
 Human memory can create things in its way. The necessity of the sketches (preliminary
designs) and drafts for designers' inspiration for their design overlooked.
 When developing something new, working effectively with the hypothesis put forth in
this context is incredibly necessary. The designer's mind should be filled with various
elements such as themes, patterns, colors, motifs, compositions, figures, etc.
 Brainstorming is a typical type of preparation activity.
INCUBATION PHASE. Incubation is the period of pondering on the problem.
 This may involve thinking or daydreaming behavior, but it also involves active
exploration of ideas, materials, or processes.
 A student is often engaged in ‘what if’ thinking during this stage: What if I put this
movement after that one? If I stick these together, will they hold? What sound will I get if I use
this stick with that drum?
 Incubation is a free-flowing exploration of possibilities coupled with an ongoing review
of their potential.
 Incubation is a vitally important stage of an art project and is often overlooked. The
more attention given to this stage, the better the outcomes.

CREATIVE PROCESS: ILLUMINATION & VERIFICATION

Jigsaw discussion. Each group member will meet other members of other groups for
a discussion of their constructed storyboard.
ILLUMINATION PHASE. Illumination is the moment of revelation. This is when possibilities
crystallize and you see the signs of a solution that meets all your requirements.
 The idea incubated is considered to be completely formed at the illumination stage and
felt internally via strong intuition.
 This stage, which can take place in any area such as poetry, painting, design, etc., is
the moment when general points are determined, and sketches or drafts are created. The
description of the problem solution is provided for the first time, and it is the inspiration
moment when the solution is determined initially.
 The rapid and sudden emergence of ideas is the clearest indicator of illumination.

VERIFICATION PHASE. Verification is the stage when you work on the production, refining
the possibilities that emerge at the illumination stage.
 Verification results from your inquiries – the final artwork (dance, painting) – and the
solution or response to the challenge. It is the resolution.