I’m capping off this series on the Bangsamoro by presenting this side of their cultural/artistic heritage that’s not very well known, I should say. Except for the sarimanok (pictured above), which has become an icon, thanks to its constant appearance on TV during the 90’s (it being the inspiration for this major TV network’s logo, in fact), most of the photos you’d be seeing here are pretty rare. I myself was pleasantly surprised to have found out about these.
We live in a world full of stereotypes and this couldn’t be more true in the case of the Bangsamoro people. The situation was only further exacerbated by the events of 9/11. After almost two decades, we are still reeling from the fallout of that event. Look only at what Marawi has become just recently – total devastation.
This series hopes to shatter some of the misconceptions and help us get a better understanding of our brothers and sisters in the South.
You can check previous articles of this series below:
Bangsamoro Art – Faith, Tradition & Place
Bangsamoro – Keeping the Faith
I saved these photos for last because I think these are the, sort of, “crown jewel” to their cultural and artistic heritage. If there’s anything worthy of shattering stereotypes, these would be it. I mean, who would have thought, for example, that the Bangsamoro peoples had something similar to a Pegasus they call burraq or borak – a hybrid animal of Islamic mythology that has a winged human head on a horse’s body.
According to the museum’s informational guide, the burraq/borak is “one of the common artistic elements that conveys a sense of flight. It is considered sacred in the Islamic world, as it was through flying the burraq that Prophet Muhammad journeyed and ascended to heaven, as told in the Isra’wal Mi’raj“.
Another iteration of the burraq 
It is interesting to note however, that while the concept of rising is part of the Islamic faith, focusing on spiritual lightness and the upward orientation towards unity with the Divine heavenly being, it is also a notion corresponding to the pre-Islamic indigenous concept of floating and flying as a means of connecting humans to the spiritual realm. Based on a study conducted by Abraham Sakili, this concept is widely-known throughout the Philippines and Southeast Asia.
Islam in the Philippines has been described as remarkably syncretic – a fusion of different influences both foreign and local. As mentioned in the previous article, some indigenous practices persisted. You would see many elements of the same in the different parts of the region. You’d be surprised how the iconic sarimanok has counterparts in other Southeast Asian countries and how the concept of birds as spiritual messengers are a common belief in these places too – the iban of Borneo and the garuda of Indonesia, for example. Learning about this fact makes me realize how, despite the seeming “differences”, there are a lot we share in common. Also, it’s interesting how something we don’t usually put much focus on suddenly had this new meaning upon second look. I mean, I’ve heard about the garuda from Garuda Indonesia, which is the flag carrier of Indonesia, but I have never really given much thought as to its symbolism and its connection to everything else. It’s just amazing like that, isn’t it?
This chicken-like figure with a fish on its beak, the sarimanok, is a significant artistic element that conveys flying. According to the museum’s informational guide: “The Maranao considers the sarimanok to have evolved from its totem bird called itotoro. It is invoked in many rituals and included in their myths and epics.They are depicted as messengers of legendary heroes and royalty in the Maranao epic Darangen. The sarimanok is also considered as a medium to the spirit realm through its unseen twin spirit bird called inikadowa. Like the naga, the sarimanok appears in highly stylized forms in artistic works to adhere to Islamic beliefs. Other stylized bird-like figures are also used as designs,such as the manukmanuk of Sulu“.
Another element of floating or flying is the naga. It is “a Sanskrit term referring to a mythical dragon or serpent noted for its wisdom, agility, power and bravery”. The informational guide adds: “While the representation of nature – plants and animals – in art is counter to Islamic beliefs, the naga persisted in highly stylized forms that include the S-shaped and rope-like designs”. This design could be found in the panolong.
“Flags also convey the idea of flying. The Maranao display ceremonial flags during special events such as weddings, coronations, and fluvial parades, among others. The display of flags was traditionally associated only with the ruling class, now these are used during various communal celebrations and events”, per the museum’s informational guide. Below is an example of a flag called Panji or Pandi.
Are you ready to get your mind blown?
Presenting, the kokora 🙂
At first glance, this would’ve looked like some gigantic bug or winged lizard from the Jurassic period. One would have thought ‘what could our forebears have use for this?’
Well, the answer is actually more mundane and utilitarian than one could have possibly thought.
So, here’s the kicker. Notice the elongated tongue that kind of looked like an antenna above his head?
Yes. It’s used to grate coconut. It couldn’t be more tropical and Filipino than that! 😀
The Bangsamoro culture is also replete with legends, the most famous of which is the Maranao Legend of Indarapatra.
Spectacular performances, displays of resplendent art, and lavish feasts thrive as they give visual expressions to the Islamic notion of the sacred power of sultans.
Feasts are an integral part of the Bangsamoro culture. According to the museum’s informational guide: “Immersing in activities that sharpen senses and experiences, such as tasting special dishes and joining in performances with heightened theatrical and dramatic elements, lead to captivating the festival participants’ attention. It is through these that feasts provide spaces for encounters markedly distinct from their ordinary and daily lives. Singing, dancing, music and recitation of oral literature are among the most common types of performances, providing entertainment and infusing amplified auditory and visual engagements to participants”.
Nothing could be more striking in this musical ensemble than the kulintang – “an ancient instrumental form of music composed on a row of small, horizontally laid gongs that function melodically, accompanied by larger, suspended gongs and drums” (wikipedia)
They even have a bad-a** kulintang on display at the museum. The design is so intricate and lavish it could pass for a throne fit for royalty.
I cannot stress enough how important a role museums play in educating people. Especially in this time and age where information can easily be accessed with the touch of a button (or a swipe of a finger), people easily get caught up with the use of technology. We use it for practically anything nowadays, even for social connections. However, despite technology’s myriads of practical uses, this should not take away the joy of learning things the traditional way.
It was a pleasant revelation to me, for example, to learn about the Bangsamoro culture and heritage – something I think I wouldn’t have realized or appreciated as much, had I not experienced from this perspective.
It’s funny because I’m sure this subject has been discussed in school in one form or another; in history books, wholly or partially – some maybe in passing, others probably having volumes dedicated to it. But having seen the actual pieces and the materials up close, and learning the story behind each and every piece, gave the learning experience a whole new dimension. I definitely walked away bringing with me a newfound appreciation for these things. And that’s something no amount of technology can ever really replace.
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