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Questions and Answers
What is the tuning system of the laúd in relation to its similar instrument, the bandurria?
Which of the following instruments is known for having a drone string and is played with a kabit or rattan pluck?
In which regions is the Kudlong predominantly found?
What feature is common among kudyapi instruments and other related Southeast Asian 'boat lutes'?
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What is the primary structural characteristic of the kolitong?
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What function does the gitgit serve beyond being a musical instrument?
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Which type of bamboo flute is considered the most challenging to play?
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How does the saggeypo produce sound?
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What distinguishes the lip valley notch flute from other types of flutes?
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What is the primary method of sound production for the tumpong?
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Which instrument is made from Carabao horn and was used to summon villagers?
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What is the primary material used to make the Paldong flute?
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How many fingerholes does the Paldong have?
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What are idiophones mainly made from?
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What distinguishes flat gongs from bossed gongs?
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Which group primarily uses the Agung in musical ensembles?
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What material is the Agung a Tamlang primarily made from?
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In the Patatag, how is the sound produced?
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How many players are needed to play the Patatag based on the provided description?
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What determines the pitch of the Agung a Tamlang?
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The School for Living Tradition was established by the National Commission for Culture and the Arts in 2005.
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Preserving intangible cultural heritage is essential for maintaining cultural diversity and identity.
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The primary goal of the SLT is to modernize traditional knowledge and practices.
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SLT serves as a community-managed learning center where traditional knowledge is passed down through demonstrations.
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The establishment of SLT was in response to concerns about the preservation of tangible cultural heritage.
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SLT empowers communities by fostering connections to their indigeneity and cultural identity.
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SLT focuses on the promotion of tangible cultural heritage among the younger generation.
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Community-managed learning centers operated by SLT are meant to be less accessible to local communities.
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The informality of SLT learning environments encourages participation from all community members regardless of age.
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Cultural masters and specialists are integral to SLT's methodology, providing knowledge and skills to the younger generation.
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One of SLT's objectives is to facilitate knowledge transfer from the younger generation to elders.
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SLT supports cultural practices through community empowerment and providing resources.
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The learning environment at SLT is based on traditional formal education structures.
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SLT centers aim to disconnect cultural practices from daily life.
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The Rara weaving tradition involves creating simple patterns and designs.
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The School for Living Tradition (SLT) has received international recognition for its efforts.
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The preservation of the Inati language is not considered important for cultural identity.
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Community members are not encouraged to engage in cultural heritage activities.
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SLT only focuses on cultural preservation and does not impact the economic well-being of communities.
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Inati Dance and Music program showcases the unique cultural expressions of the Inati people.
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Hands-on learning and oral traditions are emphasized in SLT for cultural preservation.
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Traditional crafts taught by SLT include modern artistic techniques such as digital art.
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Performing arts like dance and music are considered irrelevant to Indigenous cultures in SLT.
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The T’nalak weaving technique is associated with the T’boli people's cultural heritage.
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Oral traditions, such as storytelling and chants, play a crucial role in passing down cultural knowledge in SLT.
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The Hudhud chants are typically performed during community weddings.
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SLT encompasses a broad range of activities focused solely on performing arts.
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T’nalak fabric is made from cotton and is known for its simple designs.
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SLT programs aim to empower communities to sustain their cultural identities.
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The Hudhud chants contain lengthy narratives that convey historical and cultural wisdom.
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Study Notes
Laud
- It is a traditional string instrument used in Spanish and Filipino rondalla ensembles.
- It is tuned in fourths, with a range one octave lower than the bandurria.
Octavina
- A traditional Filipino instrument played in a Rondalla alongside the Bandurria, Laud, and Double Bass.
Faglung / Fuglung / Fagalung
- A two-stringed, lute-like instrument of the B’laan people.
- It has a wooden boat-shaped body with geometric designs and an airhole on the back.
- The head of the instrument is carved into the shape of a bird with horsehair ornamentation.
Kudyapi
- A two-stringed, fretted boat-lute from the Philippines.
- It is four to six feet long with nine frets made of hardened beeswax.
- The instrument is carved from solid, soft wood, such as that from the jackfruit tree.
- One string plays a constant drone while the other, an octave higher, plays the melody.
Kudlong
- A two-stringed boat-shaped lute with tightening rods and frets made of beeswax.
- One string plays a drone and the other a melody.
- The body often represents a mythical animal, such as a naga (serpent) or crocodile.
- It is found among various southern Mindanao groups including the Tiboli, Bilaan, Manobo, Ata, Bagobo, Mansaka, and Mandaya.
Kolitong
- A bamboo polychordal tube zither from Bontok, Kalinga.
- It has six strings that run parallel to the tube body.
- The body acts as the resonator, and can be either a whole tube or a half tube.
Gitgit
- A three-stringed indigenous violin of the Hanunoo-Mangyan.
- Plays during ambahan poem interludes.
- Serves as a vessel for some ambahan scripts, which are also engraved on other items like lime, betel nut, and tobacco containers, bolo sheaths.
AEROPHONES
- Philippine bamboo aerophones include various types of flutes, pan-pipes, and reed pipes.
- The most common are flutes that are end-blown, with the air stream directed into the open end of the tube.
Saggeypo
- A bamboo pipe closed on one end by a node, played with the open end held against the lower lip.
- It can be played individually or in ensembles of three or more.
Palendag
- Known as Pulalu (Manobo and Mansaka), Palandag (Bagobo), Pulala (Bukidnon), and Lumundeg (Banuwaen).
- A type of Philippine bamboo flute, the largest version is used by the Maguindanaon.
- A smaller version is known as the Hulakteb (Bukidnon).
- Considered the most difficult to play due to the specific lip position needed.
Tongali / Kaleleng
- A nose flute with a long, narrow internal diameter.
- Played with the extreme forward edge of the right or left nostril.
- Produces notes in a range of two and a half octaves.
Tulali
- A bamboo flute with three holes and a mouth opening (pagoma) similar to a panpipe.
Tumpong
- A lip-valley flute similar to the palendag.
- Sound is made by blowing through a bamboo reed placed on top of the instrument, with the air stream passing over an airhole.
Sahunay
- A bamboo flute with six holes for the fingers and a trumpet made of coconut leaf.
- It is about 50 cm long and 3 cm in diameter.
- Played by the Tausugs in Sulu.
Tambuli
- An indigenous Filipino instrument fashioned from carabao horn.
- Produces long, melodious sounds.
- Used in ancient times to summon villagers, announce meetings, and warn of dangers like fire or pirates.
Diw-Diw-As
- Five nodes of bamboo of varying length tied together with a rattan string.
- Played by blowing across the open holes.
Paldong
- An open, single end-blown flute.
- The lower end has three fingerholes.
- Made from bamboo with its upper edge cut away obliquely.
- Open at both ends, with a total of four fingerholes (three in front, one at the back).
IDIOPHONES
- Instruments that produce sound from wood or metal, struck, scraped, plucked, shaken, or rubbed.
- In the Philippines, there are metal and wooden idiophones.
- Metal idiophones are divided into flat gongs and bossed gongs.
- Flat gongs made of bronze, brass, or iron are found in northern regions like Isneg, Tingguian, Kalinga, Bontok, Ibaloi, Kankanai, Gaddang, Ifugao, and Ilonggot.
Agung
- A set of two wide-rimmed, vertically suspended gongs played by the Maguindanao, Maranao, Sama-Bajau, and Tausug people.
- Used as a supportive instrument in kulintang ensembles.
Agung a Tamlang
- A type of Philippine slit drum made of hollowed out bamboo.
- Used as a practice instrument for the real agung.
- Pitch is determined by the length and depth of the slit.
- Players use either one or two agung a tamlangs.
Patatag / Pateteg
- An Ilocano term for a bamboo xylophone.
- Also known as patteteg among the Kalinga.
- Played by striking the graduated bamboo blades with sticks.
- Has six blades played separately by six players.
Gambang / Gambang Kayu
- Properly called a gambang kayu ('wooden gambang').
- Used in Indonesian gamelan and kulintang ensembles.
- It has wooden bars (wilah) in contrast to the metal bars of metallophones.
Gandingan
- Usually described as four large, shallow-bossed, thin-rimmed gongs, vertically hung from a support or stand.
Kagul
- A type of Philippine bamboo scraper gong/slit drum of the Maguindanaon and Visayans.
- It has a jagged edge on one side and is played with two beaters, one scraping the edge and the other producing a beat.
Kubing / Subing / Ulibaw
- Made of bamboo.
- Held horizontally with the bamboo tongue in front of the opened mouth.
- The left end is hit with the thumb of the right hand, causing vibration and sound.
Kalagong
- A wind instrument that provides bass and sometimes melody for select musical pieces.
- Bamboo poles representing notes are held together by a wooden frame and played by striking the poles with paddles.
Kulintang
- A row of five to 11 brass and bronze gongs graduated in pitch.
- The number of gongs depends on the ethnic group.
- Kalanduyan plays the kulintang with eight tuned, knobbed gongs.
- Played with two sticks of soft wood.
Sarunay
- A metallophone with eight tuned, knobbed metal plates strung together and suspended over a frame.
- Often played as a practice instrument by children before moving on to the kulintang.
Tongatong
- A percussion instrument made of various lengths of bamboo found in Kalinga province.
- Played by hitting it against the earth.
- Traditionally used in healing rituals to communicate with spirits.
Kulintang A Kayo
- Literally, “wooden kulintang”.
- A Philippine xylophone of the Maguindanaon people with eight tuned slabs strung horizontally on a padded wooden rack (antangan).
Bungkaka
- Also known as the bamboo buzzer.
- A percussion instrument (idiophone) made of bamboo.
- Common among numerous indigenous tribes, including the Ifugao, Kalinga, and Ibaloi.
Gangsa
- A two-octave metallophone with ten rectangular-shaped keys (don) suspended over tuned tube resonators (tiying or bumbung).
- The keys are made of bronze (krawang).
Kalutang
- A pair of percussion bars struck against each other at specific angles to produce pitch.
- These sticks are part of an entire ensemble that produces melodies when played together.
- The instrument is cut from the kwatingan tree.
Tanggunggu
- A set of eight small iron gongs hanging on a rope rest.
- The lower right gong is played as an ostinato while the melody is played on the other gongs.
Membranophones
- Single and double-headed drums shaped like cones, cylindrical, goblets, or barrels.
- Made from animal skins and can be beaten with sticks or palms.
- Rarely used alone, often played with other instruments, especially gongs, to form ensembles.
Dabakan
- A single-headed Philippine drum primarily used in the kulintang ensemble.
- The only non-gong element in the Maguindanao ensemble.
Gambal
- Also known as the gadang.
- A war drum played to boost warrior esteem before battle.
- Made of hollowed out tree trunks with deerskin drumheads.
- Played by hands or with a wooden stick.
Tambul
- A hollow shell or cylinder with a drumhead stretched over one or both ends.
- Beaten with hands or a stick.
Libit
- A conical drum with a deer or goat skin head.
- Used by the Ifugao and played with a gong during harvest time.
Solibao
- A conical tenor drum played by the Bontoc and Ibaloi people.
- Played with the palms of both hands.
- Typically part of an ensemble including the kimbal, pinsak, kalsa, and palas.
School for Living Tradition (SLT)
- Established in 1995 by the National Commission for Culture and the Arts (NCCA) to protect and promote the cultural heritage of Indigenous Cultural Communities.
- A network of community-managed learning centers that provide informal and non-formal education settings.
- Focuses on practical demonstrations and oral traditions, led by cultural masters and specialists within the communities.
SLT Objectives
- Safeguard Traditional Cultural Knowledge and Practices: Preserve unique cultural expressions of Indigenous Cultural Communities, including crafts, rituals, performing arts, and oral traditions.
- Promote Intergenerational Transmission of Intangible Cultural Heritage: Facilitate the transfer of knowledge from elders to younger generations, ensuring these practices are preserved and actively celebrated.
- Support Community-Based Learning and Development: Empower communities with tools and resources to sustain their cultural practices, fostering a sense of ownership and responsibility.
SLT Structure and Methodology
- Community-Managed Learning Centers: Centers are established within communities for accessibility and cultural appropriateness.
- Informal, Non-Formal Education Settings: Flexible learning environment that integrates cultural practices into daily life, encouraging participation from all community members.
- Led by Cultural Masters and Specialists: Highly respected individuals with deep knowledge and expertise in traditional practices.
- Emphasis on Practical Demonstrations and Oral Traditions: Hands-on learning through demonstrations of crafts, rituals, and performing arts, alongside the preservation of storytelling, chants, and other oral traditions.
SLT Activities
- Traditional Crafts: Programs teach various traditional crafts like weaving and embroidery, which carry significant cultural meanings and stories.
- Performing Arts: Training in traditional dances and musical forms, performed during community rituals and celebrations, to keep cultural narratives alive.
- Oral Traditions and Expressions: Emphasis on storytelling, chants, and other oral traditions to preserve cultural knowledge and values.
SLT Programs (Examples)
- T’nalak Weaving in Lake Sebu: Focuses on the traditional weaving techniques of the T’boli people, known for their intricate designs and cultural significance.
- Hudhud Chants in Ifugao: Preserves and promotes the epic narrative chants traditionally sung during rice sowing and harvesting, recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity.
- Inati Dance and Music: Showcases the traditional dance and music of the Inati people, ensuring the continuity of their unique cultural expressions.
- Rara of Ati (Weaving: Supports the preservation of intricate weaving patterns and designs, unique to the Ati people's cultural heritage.
- Inati Language and History: Focuses on preserving the Inati language and documenting their history, celebrating their linguistic heritage.
SLT Impact and Achievements
- Recognition and Awards: SLT is included in UNESCO's Register of Good Safeguarding Practices (2021), highlighting its effective and innovative approaches to safeguarding intangible cultural heritage.
Community Benefits
- Empowerment of Indigenous Cultural Communities: SLT empowers communities by providing them with tools to sustain their cultural practices - fostering ownership and pride.
- Preservation of Cultural Identity and Heritage: Safeguarding traditional crafts, performing arts, and oral traditions, ensuring the cultural identity and heritage of Indigenous Cultural Communities are preserved.
SLT Challenges and Solutions
- Modernization and Cultural Devaluation: Modernization can lead to devaluation of traditional practices, risking younger generations losing interest in their cultural heritage.
- Limited Resources and Funding: Financial limitations can hinder the expansion and enhancement of SLT activities.
Solutions
- Capacity-Building and Resource Mobilization by NCCA: Initiatives to strengthen the skills and capabilities of community members involved in SLT and actively seek partnerships for funding and support.
- Community Involvement and Support: Engaging community members in managing and implementing SLT programs to ensure relevance and sustainability, fostering ownership and responsibility.
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Description
Explore the unique traditional string instruments from the Philippines, including the Laud, Octavina, Faglung, Kudyapi, and Kudlong. This quiz delves into their characteristics, construction, and cultural significance in Filipino rondalla music. Test your knowledge about these fascinating instruments!
