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QR CODE TO CITATIONS USED IN THE CREATION OF THE PADLET

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QR CODE TO CITATIONS USED IN THE CREATION OF THE PADLET

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This QR code will guide you to all sources I have used in the making of this virtual museum.

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"Manny Pacquiao on childhood without shoes, home, dad" 

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"Manny Pacquiao on childhood without shoes, home, dad" 

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This audio file includes Manny Pacquiao discussing his own childhood and what it was like living in poor conditions as a youth. This is because Manny Pacquiao talks about his childhood lifestyle and how that has impacted him as a person after having a successful boxing career.

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Manny Pacquiao on childhood without shoes, home, dad

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https://www.britannica.com/biography/Manny-Pacquiao

This article is good for introducing the life of Manny Pacquiao since it includes information about his early life, his boxing origins, notable fights as a boxer, and significant achievements in his boxing career.

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Manny Pacquiao, in full Emmanuel Dapidran Pacquiao, byname Pac-Man, (born December 17, 1978, Kibawe, Bukidnon province, Mindanao, Philippines), professional boxer, media celebrity, and politician who became world-famous for winning boxing titles in more weight classes than any other boxer in history. His rise from abject poverty to the pinnacle of his sport was made even more remarkable by his life outside the ring. The charismatic "Pac-Man" was an idol and a unifying force in the Philippines, where his unprecedented popularity led to commercial endorsements, movies, television shows, CDs, and his image on a postage stamp.

Pacquiao left home as a teenager and stowed away on a ship bound for Manila, where he became a boxer. He made his professional debut as a junior flyweight on January 22, 1995, at the age of 16. Many of his early bouts were televised on a program called Blow by Blow, where his all-action style and boyish smile quickly made him a favourite with Filipino boxing fans. He won his first major title on December 4, 1998, knocking out Thailand's Chatchai Sasakul to capture the World Boxing Council (WBC) flyweight title. After failing to make weight, however, he lost the title to Medgoen Singsurat of Thailand in September 1999. Pacquiao moved up in weight class, and on June 23, 2001, in his first fight in the United States, he scored a sixth-round knockout of Lehlo Ledwaba to win the International Boxing Federation (IBF) junior featherweight title. Following four successful defenses, he knocked out Mexico's Marco Antonio Barrera on November 15, 2003, to become The Ring magazine featherweight champion.

Over the next several years, Pacquiao engaged in a series of high-profile fights, winning the World Boxing Association (WBA) and IBF featherweight titles, the WBC and The Ring's junior lightweight titles, and the WBC lightweight title. His rise was aided by American trainer Freddie Roach, who gradually transformed the left-handed slugger into a multifaceted boxer without detracting from his natural aggression or punching power. He was the Boxing Writers Association of America and The Ring 's Fighter of the Year in 2006 and 2008.

On December 6, 2008, Pacquiao faced and thrashed American boxing star Oscar De La Hoya in a celebrated nontitle welterweight bout in Las Vegas. By then Pacquiao had become a complete fighter, combining excellent footwork, blazing speed, and a vastly improved defense, and he was widely considered, pound for pound, the world's finest boxer. In addition, Pacquiao's popularity as a pay-per-view (PPV) boxing attraction had increased steadily since 2002, but the match with De La Hoya was his breakthrough as a global phenomenon. The fight sold approximately 1.25 million buys, generating roughly $70 million in PPV revenue, one of the largest PPV grosses in history for a nonheavyweight bout.

On May 2, 2009, Pacquiao won The Ring's junior welterweight championship (his sixth weight class as a champion and his ninth as a professional boxer) with a spectacular one-punch second-round knockout of England's Ricky Hatton. On November 14 he added another championship belt-in a record seventh weight class-when he defeated Miguel Cotto of Puerto Rico in 12 rounds to take the World Boxing Organization (WBO) welterweight title. Pacquiao defended that title on March 13, 2010, in Arlington, Texas, by defeating Ghanaian boxer Joshua Clottey in 12 rounds. He increased his weight-class titles record to eight when, on November 13, 2010, he soundly defeated WBC super welterweight champion Antonio Margarito, who outweighed Pacquiao by 17 pounds at the time of the fight.

Pacquiao had a 15-bout winning streak that came to an abrupt end in June 2012 when he lost his WBO welterweight title to Timothy Bradley in a controversial split decision. In December 2012 he lost a non-title bout to Juan Manuel Márquez-against whom Pacquiao had previously won two fights and drawn another-when he was knocked out in the sixth round. It was the first time Pacquiao had been knocked out since Singsurat did so in 1999. He regained the WBO welterweight belt in April 2014 by beating Bradley in a unanimous decision. Pacquiao's next major bout was against the undefeated Floyd Mayweather in May 2015, a much-anticipated contest that the two fighters' camps had been negotiating on and off for more than six years. In that event, Pacquiao was unable to mount an effective offense against Mayweather, who was arguably the greatest defensive fighter of his generation, and he lost by unanimous decision.

After having won a decision over Bradley on April 9, 2016, Pacquiao retired from boxing for four months before announcing another fight. On July 2, 2017, he lost a decision and the WBO welterweight title to Australia's Jeff Horn. Pacquiao bounced back to capture the WBA welterweight title in a victory over Lucas Matthysse on July 15, 2018. On July 20, 2019, he won a split decision over the previously undefeated Keith Thurman to take the WBA super welterweight belt and become, at 40 years old, the oldest welterweight champion in boxing history. However, due to inactivity, in 2021 Pacquaio was stripped of the belt, which was then given to Yordenis Ugás of Cuba. Later that year he fought Ugás and lost by unanimous decision. Pacquiao subsequently announced his retirement from boxing with a career record of 62 wins, 8 losses, and 2 draws.

In 2003 Pacquiao was voted Person of the Year in the Philippines over Gloria Macapagal Arroyo, who was then two years into her term as president of the country. Four years later, in 2007, he unsuccessfully ran for a seat in the national legislature. He then returned to boxing full-time, but a few days after his November 2009 bout he formed a new "local" political party, the Peoples' Champ Movement, back in the Philippines. He again declared his candidacy for a legislative seat, for a district in Mindanao, and, on May 10, 2010, won by an overwhelming margin. He was reelected to the post in 2013. On May 9, 2016, Pacquiao was one of 12 new senators elected to the Philippine Senate. In 2021 he announced his candidacy in the presidential election, which was scheduled for the following year.

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Manny Pacquiao | Biography, Facts, & Notable Fights

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Manny Pacquiao, professional boxer, media celebrity, and politician who gained fame for winning boxing titles in eight weight classes, the most in the history of the sport. Learn more about Pacquiao's life, boxing career, and political accomplishments in this article.

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https://www.youtube.com/watch?v=DpCCHbWEDz4

This video provides a preview for the movie "Manila in the Claws of Light" by Lino Brocka as it is short, and includes English captions broadening the range of people who can understand the video.

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MAYNILA, SA MGA KUKO NG LIWANAG (MANILA IN THE CLAWS OF LIGHT) [1975] Restored Version - Trailer

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"Lino Brocka: The Philippines’ Greatest Director"

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"Lino Brocka: The Philippines’ Greatest Director"

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https://theculturetrip.com/asia/philippines/articles/lino-brocka-the-philippines-greatest-director/

This article explains the life of Lino Brocka since it details Brocka's childhood along with how his passion for film-making developed. The article also includes the significant works of Lino Brocka.

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Lino Brocka was a radical filmmaker whose socially conscious films explored the plight of the marginalized and ignored sectors of Filipino society. Maria Soriano explores his trailblazing life and career, and looks at his films, which are unfortunately unattainable outside of The Philippines.

Catalino Ortiz Brocka, more famously known as Lino Brocka, was one of the Philippines' greatest auteurs. He was born in Pilar, Sorsogon in 1939. His father Regino, who was a huge influence on Brocka, teaching him Maths and English as well as the Arts, was killed in a political murder when Brocka was still young. Brocka, along with his mother and brother, had to flee to live with his mother's sister. But a good life was far from reach as he and his family suffered physical and verbal abuse from his relatives and were forced to do hard labour, an experience he would carry with him throughout his career as a director.

Brocka developed a strong interest in films during his youth, particularly American films, and despite his poor upbringing he managed to flourish academically and won a college scholarship in the country's leading academic institute, the University of The Philippines. Initially majoring in pre-law, he dropped the course to study literature instead. While studying at the University, he joined the Dramatic Club but was criticized for his provincial accent and demeanour, a treatment that disgusted him. Brocka took it upon himself to watch his beloved American movies to practice his English further and improve his accent, a move that eventually gained him acceptance in the club, but only as a stage hand. After dropping out of college, he converted to Mormonism and devoted himself to missionary work, travelling to a leper colony in Hawaii. He then travelled to America and worked menial jobs in San Francisco for a brief period of time before turning down a chance for American citizenship, opting instead to return to the Philippines to revive his interest in filmmaking.

He joined the Philippine Educational Theatre Association where he met its founder Cecille Guidote, which led to the making of his first film, 1970's Wanted: Perfect Mother, a box-office hit based on The Sound of Music, the only film he has made that was not heavy on social injustice and drama. From then on, Brocka's films became more personal, his filmography depicting the plights and suffering of the Filipino people. Some of his best works are Insiang (1978), a revenge tale of a girl's rape by her mother's lover, which became the first entry by a Filipino filmmaker at the Cannes Festival, earning him the prestigious Palm d'Or. Manila: In The Claws of Darkness (1976), Jaguar (1980), and Bayan Ko (My Country, 1984) were also nominated for the award, further cementing his reputation as one of the greatest directors to come out of South East Asia.

Brocka's films are very character driven, magnifying the oppression and neglect of the common citizen, the poor everyman barely scrapping by while fighting off abuse from the system. He often cast unknown actors to focus more on the story and not on the celebrity. Actors such as Bembol Roco, Hilda Koronel and Laurice Guillen are amongst the unknown actors that worked with him repeatedly for years, eventually becoming stars in their own right. Alongside his socially conscious films Brocka also discussed themes of sexuality, which filmmakers during his time tended to avoid. Despite his Mormon faith, Brocka was openly gay and homosexual themes were often a big part of the narratives of his films, as was showing sexually confident and strong-spirited women. Brocka's films highlight the marginalised and ignored sectors of society- the slum dwellers, prostitutes, street hustlers, as well as those who were discriminated against simply because of gender or sexuality - subjects that no other director dared to touch, especially while under the Marcos dictatorship.

Manila: In The Claws of Darkness explores the prostitution of provincial girls and their hand-to-mouth existence in the city, while Jaguar, which many see as a companion piece to Manila: In The Claws of Darkness, is about a kind hearted country boy named Poldo who works in the city as a security guard and is drawn into the seedy underbelly of city life. Brocka manifests himself and his upbringing in his films by using naïve country folk, just as he once was, trying their luck in the city and finding out the hard way that the promise of a good life is nothing but an illusion. The gritty violence and voracious lack of morals in his films can be overwhelming, but it elicits a certain moral response from the audience that makes them very aware of the depressing state of affairs in society.

Under the Marcos regime, strict censorship was enforced in the media and Brocka was forced to smuggle his films out of the country for screenings to avoid heavy cuts. In 1984, he flew to Cannes to support another nomination for Bayan Ko (My Country). In his fight for freedom of speech, he declared that the Marcos dictatorship had taken control of the Philippine media for its enforcement of censorship, which resulted in his arrest and imprisonment along with other journalists and filmmakers upon his return to the Philippines.

He was released from jail after the fall of Marcos and was invited by Corazon Aquino, Marcos' successor, to be part of a committee to draft the 1986 constitution but left soon after as he felt that many of the policies worked against the Filipino people. He protested against the new government by making radical films such as Ora Pro Nobis (1989) and Gumapang Ka Sa Lusak (1990), with Ora earning him yet another Palm d'Or nomination.

Lino Brocka died in a car accident on May 21, 1991. His untimely death did not stop his long and hard fight for social justice as he was posthumously awarded the National Artist Award and is considered, to this day, the greatest social realist, and the greatest director, the Philippines has produced.

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Lino Brocka: The Philippines' Greatest Director

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Lino Brocka was a radical filmmaker whose socially conscious films explored the plight of the marginalized and ignored sectors of Filipino society. Maria Soriano explores his trailblazing life and career, and looks at his films, which are unfortunately unattainable outside of The Philippines.

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https://www.youtube.com/watch?v=RwpgjSkJRh0

This video file provides insight on Lino Brocka's methods of filmmaking since it includes Lino Brocka talking about how he chooses people to be a part of certain scenes in his movies.

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Lino Brocka on MANILA IN THE CLAWS OF LIGHT

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https://bit.ly/33HUOeL

This biographical article will introduce Jose Reyes and his accomplishments. The article is informative because it details his education, and how his basket weaving became famous.

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First posted in PositivelyFilipino.com (as ' Love Baskets for Betty ')

Remember the old Patti Page standard, Old Cape Cod, which sang of "sand dunes and salty air, quaint little villages here and there"? If you do, then you'll get the right coastal New England setting of this story. Or if you are an "Antiques Roadshow" aficionado and happened to catch this episode http://www.pbs.org/wgbh/roadshow/archive/201002A26.html, then you would have seen the moment when appraiser Leigh Keno identified the "Jose P. Reyes Friendship Baskets" halfway through it. Two questions then immediately spring to mind:

1. Where is Nantucket?

2. Who was this Jose F. Reyes of Nantucket-basket fame?

Answer to question 1: Nantucket is an island off Massachusetts in the Atlantic; southeast of Boston and due south of the extended arm of the Cape Cod peninsula. It is east of Martha's Vineyard (setting of "Jaws." See map.) Nantucket used to be an old whaling community. While it never became as prosperous as New Bedford up the coast or Hartford to the south, it became famous for its treacherous shoals (the Nantucket Sound).

Being the island farthest east, Nantucket also became third choice, after Cape Cod and Martha's Vineyard, as the summer watering hole of prominent Bostonians and New Englanders. But there is also a year-round community of locals on Nantucket who are not quite as socially placed as the summer habitués - and that is where our cast of characters eventually settled.

For question 2, that is one Jose F. Reyes from the faraway Philippines, who despite earning a master's degree on scholarship (!) from Harvard University in the early 1930s, found his true calling - making woven baskets half a world away in quaint, old Nantucket. The name "Jose F. Reyes" rattles many a pocketbook in basket-collecting circles with his unique baskets, which fetch a few thousand dollars in today's market.

Basket weaving was not an entirely new craft to Nantucket. As early as the 1700s, the Wampanog Indians, the original inhabitants of the island, were known to weave their own baskets. When the island became part of the colony and Commonwealth of Massachusetts, white settlers, whalers and sailors took up the craft of basket weaving to while away the long days on whaling sorties - and especially when they were on duty on the lightships (more on that later). However, those baskets were free-form and bore little resemblance to the baskets Nantucket is known for today.
Genuine Ilocano
Our story actually begins in the small provincial town of Santa Maria, Ilocos Sur, where Jose Reyes was born to parents of modest means, Eugenio and Maria Reyes, in September 1902. The oldest of ten children, Jose then bore the burden of setting a good example to his younger siblings by getting the best education that their meager circumstances would allow. A young Jose got exposed to the rudimentary basics of basket-making in arts & crafts classes at the local elementary school, but little did the lad know that this cottage-industry knowhow would lead him to an altogether different direction later in life.

At around 14, Jose already was on his own. Somehow, he ended up going to Washington High School in Portland, Oregon. This was followed by a scholarship to the local Reed College, established 1911, where Jose earned his bachelor's degree in education, becoming the first Asian graduate of the school. This was in the mid-1920s, into the third decade of American rule in the Philippines, so visa matters weren't a problem at all. It was at Reed where Jose met one Mary Elizabeth ("Betty") Ham. Jose and Elizabeth knew there was something special about their relationship even though it was too early to make any permanent commitments.

Jose's first undergraduate scholarship at Reed was followed by a post-grad one at Harvard University, that most vaunted of U.S. educational institutions. It seemed serendipitous that Jose ended up in Harvard - then very much the purview of America's elite white classes - for Betty was originally from Cambridge. They met up in the Boston area again and continued their relationship.

But while Jose pursued his master's in education at Harvard at the height of the Great Depression of 1929 no less, Betty was forced to go to St. Louis to finish her nursing degree at Deaconess College of Nursing. On completing their respective degrees, Jose and Betty married on Valentine's Day 1933, against great objections from Betty's family.
Disapproval and the Depression
Further ignoring the senior Mrs. Ham's disapproval, and with the Depression ending, the newlyweds made plans to start a new life and a family in the young Commonwealth of the Philippines. Reestablished in Manila, Jose first taught art and English at the University of the Philippines in Padre Faura. But having always wanted to teach social studies, Jose got a better offer from the Philippine Military Academy (PMA) and moved to Baguio. At the PMA, he was made head of the Department of Languages and Social Arts. The following years were uneventful save for the expansion of the family with three children.

In early 1941, with the threat of war with Japan imminent, Jose joined the U.S. Army and was appointed Secretary to the General Staff. In December 1941, the inevitable happened - Japan attacked both Pearl Harbor and the Philippines. With the dismal turn of events, the PMA was disbanded and the Reyeses were forced to move; first to Mandaluyong and then later in the war, to Malolos, Bulacan.

The young family was severely tested during the Japanese Occupation especially because Jose was an enlisted U.S. Army man and Betty was an obvious American lady. But they kept a low profile, and Betty was passed off as a Spanish mestiza since the Japanese occupiers did not really bother Manila's Spanish community very much. Most of the known civilian American and allied community were already incarcerated at the University of Santo Tomas. In the meantime, the kids were growing up fast.

When the islands were liberated in May 1945, the Reyeses faced another pivotal turning point in their lives. Having survived the war for the most part unscathed, Jose and Betty elected to return to the U.S. even before Japan's formal surrender in August that year. The family was on the first civilian ship out, which was ferrying sick and wounded American soldiers back to the States. Betty, of course, was able to apply some of her nursing skills on the wounded soldiers on the trip.
Not exactly heaven
The big question seemed to be why? With the promise of a new country and both husband and wife having the credentials to help build a new republic, why did Jose and Elizabeth choose to leave great self-fulfilling potential behind and face uncertainty and possible discrimination back in New England? Did Elizabeth miss her New England roots that much to put her family through that? That was part of the answer. The young couple did not have enough faith in the promising new country and preferred to raise their children in the "safe" setting of the U.S. They would cast their lot with the Commonwealth of Massachusetts rather than the old one of the Philippines.

Meanwhile, Reyes was formally discharged from the U.S. Army with the rank of captain and automatically received U.S. citizenship in 1947. That summer, the couple's relations with Betty's mother started to thaw such that they were invited to rest and recuperate at her Nantucket property. Like many who had vacationed on the island, Reyes and his family fell in love with the place and knew they had found their new home. They never left Nantucket, although Jose had to return to the new Philippine Republic sometime in 1947 for some family business.

When he returned to the States, things still weren't easy for the mixed-race couple in their new home. Reyes had a master's degree from Harvard and real-life experiences from halfway around the world, so one would think that he could easily find a teaching position. No such luck. Even in so-called "liberal" New England, discrimination reared its ugly head in oh-so subtle ways. Jose was unable to find even a halfway decent teaching job, so he had to settle on working blue-collar ones, painting houses and repairing cane-and-rush chairs during the warm-weather months, while Betty took odd nursing jobs to feed their growing family.

In the winter months, Jose started basket weaving with one or two of the remaining practitioners of the craft on the island. His early basket weaving training as a boy in the Philippines came in handy and helped him and his growing family survive. With that, Reyes finally found his calling.

When the business started to take off, Reyes needed a marketing hook to differentiate his land-made-baskets-with-a-lid from the island's other baskets. In 1948, a picture in Life magazine showed a basket with a cloth top. Jose appropriated that idea as his own; and he called his hybrid creation, the Jose Reyes "Friendship" baskets.

A reputation and legend started to build around his handicraft. A well-known vignette tells of one American woman in Paris sporting her Reyes basket while walking down a fashionable street. Across the way, she sees another woman with a similar basket. So she hollers across the street, "Nantucket!" and raises her basket, hoping to catch the other woman's eye. Indeed she does, and the other woman acknowledges her as well. The two women, strangers to each other at the time, become friends over a cup of coffee - brought together by the shared pride of owning a Jose Reyes Nantucket basket.

Anyway, the legend was not discouraged, and thus the "FriendSHIP" basket was born. It was as good a marketing hook as any-maintaining a "maritime" connection with the sea but still not misrepresenting true origins vs. the other baskets made on the island.

The "Jose P. Reyes Friendship" basket was not a patented name or look, and eventually other Nantucket basket makers adopted the style and, in so doing, paid homage to Reyes who some credit with almost single-handedly reviving a dying craft with the simple innovation of adding a lid. (The scrimshaw carvings on the basket lids were a later personalized addition by other artists.) Many Nantucket historians today demarcate the history of basket making on the island as "pre-" and "post-Jose Reyes" periods.
Legend
So popular had Reyes' Friendship baskets become, that he built up a backlog of several months to two years for new orders. He became so busy at times that he had to post a sign on his counter saying: "No Repairs Until Next Year." Thus in 1952, when the colony of expatriate British ladies living in Nantucket wanted a special gift for a very special occasion in London in June 1953, they had to put in their order the fall before. The special order was just for one signature basket, a Jose Reyes Friendship basket, as the island's gift to the young Elizabeth Windsor-Mountbatten, who was being crowned queen of the United Kingdom in June 1953. How many other basket weavers could make that royal claim? Not too many.

Today, Reyes-made-and-signed baskets sell anywhere from a regular $2,500 to one basket that changed hands at a private sale for just under $20,000. One basket similar to the one pictured at the top of this article, sold for $4,950 on eBay on March 14, 2014. By the time Reyes retired in 1978, it was estimated that about 5,000 baskets had passed through his own hands (and he signed most of them), and he still had a four-year waiting list to fulfill. His son and granddaughter helped fulfill some of the backlog.

In his retirement years, Reyes threw himself into the social life of the year-round Nantucket community - the local Rotary Club chapter, the Masons, the Men's Club, the PTA, the Boy Scouts and the Congregational Church Choir.

On Christmas Eve 1980, Reyes died at home in his beloved Nantucket. Thus ended the bittersweet tale of Jose Formoso Reyes, originally from the Philippines but whose latter-day fame was tied to another island half a world away. He was a self-made youth who came from tropical, faraway, rural Ilocandia, who faced the trials and tribulations of true love and discrimination in his adopted homeland. Yet he made his mark in the cold, alien, blustery world of a remote North Atlantic island. And that's the story of perhaps the most highly educated master basket maker the world has ever known.

Lightship vs. Friendship

Strictly speaking, the earlier generation of baskets made in Nantucket were "lightship" baskets, i.e., made onboard the lightships, which sat on the treacherous Nantucket shoals. "Lightships" were essentially floating lighthouses but provided more than just service at night. They were anchored over the most dangerous stretches of the regular shipping and whaling ship lanes. They not only provided light guidance at night, but also cautioned mariners unfamiliar with the Sound to stay away from particular areas as the underwater terrain is shallow and hazardous to the vessels.

Crews normally served on 30-days stretches on the lightships. Thus, to while away the time on board, since they didn't embroider, crochet, play crossword or video games, they resorted to handicrafts such as carving scrimshaw or weaving baskets-the next best thing to macrame. Where did the wicker (known as rattan in the Philippines), not indigenous to the area, come from? Whaling ships brought back most of the wicker from their sorties in the Caribbean and other exotic ports.
Myles Garcia is a retired, San Francisco Bay Area-based author and writer. His proudest work to date is "Secrets of the Olympic Ceremonies." In between writing (currently finishing a play), he is learning how to play the piano - late in life, to complement his cabaret singing skills. Better late than never.
For more stories on the Filipino diaspora, go to PositivelyFilipino.com

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The Filipino who made a prized, world-famous basket

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First posted in PositivelyFilipino.com (as 'Love Baskets for Betty') Remember the old Patti Page standard, Old Cape Cod, which sang of "sand dunes and salty air, quaint little villages here and there"? If you do, then you'll get the right coastal New England setting of this story.

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https://www.youtube.com/watch?v=amsrcgW_KVY

This is an educational video which is good for teaching how basket weaving is used to make items. This is because the video shows a person creating a plate from coconut twigs with English captions.

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How To Make  Kalalaw, (Native Coco Plates) Filipino Art Using Coconut Twigs

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https://www.our7107islands.com/digging-deeper-philippine-indigenous-arts-and-crafts/

This article will introduce the three main forms of traditional crafts in the Philippines and will be good for introducing the crafts because it provides information about materials used, and purposes of the crafts.

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Art was embedded in our culture since the beginning of time up to the present. It is one thing that can never be lost in a culture no matter what it goes through. The Philippines, having a rich culture, also has its own share of art that is discovered and practiced, and applied in the day to day living.
CLOTH WEAVING
This is one living tradition that is kept and preserved until the present. Existed since the pre-colonial times, this art done by the Cordillera tribes from the North is still being done even though a threat of more practical and convenient mass production of cloth is already discovered. To make this, a back strap loom is being used by the natives in order to create a very well-done product purely made of their hands. One example is the Pinya Cloth of Antique, a fragile and superb hand woven cloth made of fibers that can be extracted from the leaves of a pineapple plant. The Philippine national costume for men, Barong Tagalog, is a famous product out of Pineapple cloth.
BASKET WEAVING
Mainly used in the daily lives of the people in Cordillera, baskets are used for their occupation where they keep and store their foods as they go to the mountain terraces to cultivate lands. Baskets for them give a lot of uses: they use it for carrying grains, while fishing in the streams, or during animal hunting. Fish traps come in baskets made of bamboo where the shape and size of the baskets depend on the kind of fish they want to catch.
JEWELRY MAKING
Discovered and existed since the 16th century, jewelry making has been a common skill of the early Filipinos since it was adopted from the Asian neighbors. A common source of livelihood in the past, this is typically a home-based industry that includes the production of precious metal jewelries which are made of gold and silver, and the production of nonmetal jewelries such as pearls and precious stones.

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Digging Deeper: Philippine Indigenous Arts and Crafts - Our 7107 Islands

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Art was embedded in our culture since the beginning of time up to the present. It is one thing that can never be lost in a culture no matter what it goes through. The Philippines, having a rich culture, also has its own share of art that is discovered and practiced, and applied in the day to day living.

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Slideshow displaying the works of Jose Rizal.

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This slideshow helps in introducing the most famous works of Jose Rizal, the slideshow lists the title of each work and describes what each piece reflects and the context they were written in.

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This audio file helps you listen to and experience the Filipino language. This is because the audio file includes a person reciting a poem written by Jose Rizal in Tagalog which helps convey to the listener what the Filipino language may sound like when spoken.

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Kundiman ni Dr.Jose P. Rizal - Cabahug_2BSA1

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https://www.thoughtco.com/jose-rizal-hero-of-the-philippines-195677

This biographical article of Jose Rizal will help inform viewers about his life because it includes facts such as parentage, education, and quotes. This article also includes sections covering all significant events that have occurred in the life of Jose Rizal making it good for informing others about his life.

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https://theculturetrip.com/asia/philippines/articles/the-aeta-the-first-philippine-people/

This article will raise awareness about the Agta people as it includes written accounts of their history and the challenges they face in today's world.

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This audio file helps preserve the language of the Agta people because it includes a conversation between two or three people in the endangered language.

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https://newsinfo.inquirer.net/1155014/saving-ph-diverse-languages-from-extinction#:~:text=Other%20moribund%20or%20%E2%80%9Cnearly%20extinct,and%20Sorsogon%20Ayta%20(15)

This article helps spread awareness about the concept of dying languages because it explores potential causes and also includes an account from someone trying to reverse their declines.

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MANILA, Philippnes - The Itawis, who reside in Cagayan Valley, speak to one another in the Ilocano-influenced cadences of Itawit. But when it comes time to pray, the group shifts to Ibanag, the language of a neighboring tribe.

"Itawit as used for religious matters has disappeared," said Nestor Castro, a cultural anthropologist and a professor of the University of the Philippines (UP) Department of Anthropology.

Castro noted that the death of a language is a slow, serial slaughter of its various parts, with religious terms often the first casualty.

The words that give flesh to a people's arts and culture typically go next, followed by the vital speech that a group has used, sometimes for centuries, to catalog its environment. Conversational language, Castro said, is the final remnant.
183 languages
According to the Summer Institute of Linguistics (SIL), the Philippines has 183 living languages-almost 96 percent of which are indigenous. The SIL lists 11 of these as "dying," while 28 are "in trouble."

Two Aeta languages, Dicamay Agta and Villa Viciosa Agta, are already extinct.

But the actual number of threatened languages remains a mystery, as no detailed and systematic census has been administered to test the SIL's research in these communities, said Jesus Federico Hernandez, a professor at the UP Department of Linguistics.

Such "vitality testing" is a costly undertaking that would require the government's funding and priority, he added. That would be an essential first step toward determining which languages are most on the brink of irreversible collapse.

"There should be a government champion," Castro said, adding that this could be the Komisyon sa Wikang Filipino. But as an agency with no local chapters, it needs to build a strong network of grassroots partners.

That agency could then identify "which languages are threatened, in what aspects they are threatened, and why this is happening," Castro said. "If we're able to map that out, for each possible threat, there should be a plan to address it."

Saving the languages would require an interagency and intergenerational push of a scale much larger than can be observed in current initiatives, said Rynj Gonzales, a language assessment specialist at SIL Philippines.

"It could already be too late for some of these languages," she said.
Tagalog as Filipino basis
The Philippines has had a complicated history with its diverse array of languages. The adoption of Tagalog as the basis for Filipino in 1937, to the chagrin of non-Tagalog ethnic groups that comprise a majority of the population, opened up fault lines that still exist today.

Hernandez said he first encountered the study of endangered languages in 1993, when pioneering Filipino linguist Ernesto Constantino tried to highlight the issue. The government, however, in the name of fostering "national unity," was uninterested.

Yet each native tongue holds an intrinsic value, he said. Anthropologists, wrote Gareth Cook for the Boston Globe in 2000, saw each language as "a soaring cathedral: a thing of beauty, the product of immense creative effort, filled with rich tapestries of knowledge."

"Language is the soul of a culture," Castro said.

It is also a massive repository of knowledge culled from generations of interaction between a people and their environment. The loss of these words, which could be clues to discussing everything from disease to food security, would deal a crippling blow to scientific discovery.

Languages in the Bicol region, for example, have a term for eruption that, unlike "pagsabog," refers specifically to the explosion of a volcano- "tuga"-a result of their proximity to Mount Mayon.

This is essentially the way language is constructed, allowing it to be a network of experiences and beliefs that, together, provide humans with a lens for looking at the world.

"The loss of one language would be a loss to the overall body of knowledge," Hernandez said. "These are centuries of information we have yet to decipher."

Experts said any meaningful effort to revert the disappearance of a language must go beyond its documentation and confront the factors undermining this language-including government policies that may disenfranchise minority groups.

Urbanization, which can chase indigenous groups out of their ancestral lands or fundamentally alter the character of their surroundings, is one of the biggest accelerants of a language's endangerment, Gonzales said.
Tool for survival
Hernandez pointed out that militarization, infrastructure projects and the intrusion of mining and logging in indigenous lands also lead to the breakup of linguistic communities.

But the biggest stressor remains poverty-and the bleak economic prospects that have become prevalent after decades of governmental failure to develop the regions where these tribes live. Under such conditions, learning a more dominant language becomes a tool for survival.

"It changes into a vehicle for upward social mobility," Hernandez said.

This is precisely why the various Negrito ethnolinguistic groups, historically the most economically and politically marginalized, also find their languages to be most endangered. The language of the Alabat Island Agta Negrito group, for example, only has 10 speakers left.
Generational displacement
To categorize it, the SIL analyzes the generational displacement of each language. "Threatened" languages are those that have stopped being taught to children of a certain community. Worse still are "moribund" languages, or those only spoken by the grandparents in a group.

Other moribund or "nearly extinct" languages include Isarog Agta (five documented speakers), Ata (three), Arta (11) and Sorsogon Ayta (15).

Gonzales said reversing the decline in many of these languages felt like a battle against gravity itself-with the amalgam of economic, political and social forces weighing down these languages' fight for survival.

There are bright spots, she said, like the Mother Tongue-Based Multilingual Education being implemented by the Department of Education. Several local governments have also passed their own local language codes.

But the most successful efforts, she added, are those headed by the ethnolinguistic group itself, something the government should encourage.

"The community needs to have ownership over the revitalization efforts," Gonzales said. "They need to be able to choose what happens to their language."

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Saving PH diverse languages from extinction

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MANILA, Philippnes - The Itawis, who reside in Cagayan Valley, speak to one another in the Ilocano-influenced cadences of Itawit. But when it comes time to pray, the group shifts to Ibanag, the language of a neighboring tribe. "Itawit as used for religious matters has disappeared," said Nestor Castro, a cultural anthropologist and a professor [...]

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https://www.youtube.com/watch?v=V6j9rvYhFpw

This video is helpful in teaching how puto bumbong, a traditional Filipino dish, can be made with accessible materials since the video teaches how puto bumbong can be made without a bamboo steamer.

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"Detailed Guide to Local Cuisine of the Philippines"

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"Detailed Guide to Local Cuisine of the Philippines"

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https://guidetothephilippines.ph/articles/history-culture/philippines-food-guide

The article provides the reader with background information and a general understanding of Filipino foods as the article contains an explanation for the influences of Filipino food and its origin.

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Origins of Philippine Cuisine and Food Culture

Some would like to call Filipino food, "one of the world's earliest fusion cuisines," and while that may be true up to a certain point, it may also be an oversimplification.

Most Filipino dishes and delicacies began with their creators making use of whatever ingredients they could find (usually within a 1-2 mile radius) and creating a dish from those ingredients.

With the Philippines being one of the world's largest archipelagos, Filipino cuisine and Philippine traditional food is highly local and regional.

This not only means that there are hundreds (if not thousands) of individually different dishes but also there are some Filipino dishes served throughout the country, but often have different preparations and even names.

Influences of Filipino Food

Philippine cuisine and food culture have several foreign influences that have successfully melded with local, indigenous cuisine.

Indigenous Filipino food is heavily influenced by Chinese cuisine, brought along by the various traders and later on, Chinese immigrants mainly from Fujian region of China and the Cantonese.

Filipino food is also heavily influenced by the cuisine of its different colonizers like the Spanish, who ruled the Philippines for 300 years, the Americans, who ruled the Philippines for a number of decades, the Japanese, who ruled a few years during World War II, and the British for a couple of years (bringing along Indian workers with them).

There are also Mexican influences as workers and traders from the galleon trades brought ingredients and dishes to Philippine shores. Plus, there are native food from the country's Islamic regions, which were influenced by the neighboring Southeast Asian countries.

By virtue of it being local, regional, seasonal, and being influenced by a number of different foreign cuisines, cataloging Filipino dishes is a little bit of a challenge, especially for foreigners.

This also means that it is difficult to truly define Filipino food in just a few sentences but there are some basics to give you a clearer picture.

Basics of Food from the Philippines: What is Filipino Food?

1. Most Filipino dishes and some of the most famous food in the Philippines are named for cooking techniques and not specific ingredients or dishes. For example, the Philippine traditional food and iconic dish "adobo" refers to the technique of stewing in vinegar with peppercorns and bay leaf.

This means saying adobo could mean a host of different dishes. When ordering, it's better to be more specific like chicken adobo, pork adobo, or adobong pusit (squid adobo).

2. Unlike the rest of Southeast Asia, Filipino food is rarely spicy. Instead, most Filipino dishes are a combination of salty, sour, sweet and bitter. Most of the spicy dishes are found in just 2 main regions, the province of Bicol and in the Muslim areas of Mindanao

3. Among the flavors, sourness is the most prevalent in native food in the Philippines. Filipinos draw sour flavors from 3 main sources, fruits, leaves, and fermentation.

4. The Philippines has one of the most varied selections of vinegar in the world. Varieties include coconut sap, pineapple, sugar cane, palm, and banana among others.

5. The best food in the Philippines like adobo, sinigang, and kare-kare are best enjoyed with rice. Filipinos enjoy each meal with one form of rice or another, even snacks and breakfast.

6. Before you plan your food trip in the Philippines, take note that Filipinos could eat as much as 5-7 times a day. Early breakfast, breakfast, morning snack, lunch, afternoon snack, dinner, and (small bites while drinking beer or hard liquor).

7. Filipino cuisine encourages the use of sawsawan or dipping sauces. This is usually a combination of calamansi (Philippine lime), soy sauce, vinegar, fish sauce, onions, garlic and chilies.

8. Traditionally, Filipino food is best enjoyed using hands in place of utensils. This practice is called kamayan. It's an unforgettable experience that you should try in culinary tourism destinations in the Philippines.

9. Filipino cuisine employs some unique condiments, including banana catsup, bagoong or guinamos and buro. Banana catsup was developed in light of the unavailability of tomatoes and is used to enhance a lot of fried dishes.

Bagoong is fermented shrimp or fish paste and its strong pungent flavors are used to complement some of the milder tasting dishes like grilled squid or Kare Kare (ox tail peanut stew).

Buro, meanwhile, is rice fermented with shrimp or fish and is a great complement to fried fish or raw greens like mustard leaves.

10. Eating is such a big part of Filipino food culture that you are usually greeted with, "Kumain ka na ba?" (Have you eaten?) and regardless of your answer, the host will usually still bring you food, especially if you visit someone's home.

An Introduction to Philippine Regional Cuisine

Filipino cuisine, as explained above, is both regional and local. What this means is there are literally thousands of Filipino dishes to try which, even with accomplished gourmands, is a tall order. This is why food tours in the Philippines are popular for travelers, especially first-time visitors.

Here are a few from each of the 3 major Philippine geography regions to get you started. Take note that a lot of these dishes are now available beyond the regions or provinces they are known for.

Luzon Food

Luzon dishes vary based on the regions but they all are easily identified by the ingredients that are local to each destination. One of the most popular culinary tourist destinations in Luzon is Pampanga or the Culinary Capital of the Philippines that serves a mix of savory dishes.

Another notable region for Luzon cuisine and delicacies is the Bicol region, known for spicy foods that infuse coconut milk aside from ATV in Albay with a view of Mayon Volcano. Here are some of the most famous food in Luzon that you can try in this part of the country.

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Detailed Guide to Local Cuisine of the Philippines: Traditional Filipino Food & Delicacies | Guide to the Philippines

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Learn about the best local food in the Philippines and their history with this complete guide to Filipino cuisine.

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https://www.youtube.com/watch?v=NItfxWdweBQ

This video informs viewers about the rituals and procedures taken in the festival because it shows video footage of the main events of this festival.

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"Crucifixion in Pampanga: Everything You Need To Know"

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"Crucifixion in Pampanga: Everything You Need To Know"

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https://www.traveloka.com/en-ph/explore/tips/crucifixion-pampanga-everything-need-know/63767

This article introduces the San Pedro Cutud Lenten Rites festival well as it explains how the festival is celebrated as a way for devout Catholics to express their faith in the most extreme way.

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Crucifixion in Pampanga: Everything You Need To Know

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Crucifixion in Pampanga: Everything You Need To Know

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https://www.youtube.com/watch?v=2Hj8CRJXkgA

This video demonstrates what the game of Patintero looks like when played and can be useful in teaching how the game is played. This is because the video includes every aspect of the game such as being tagged, guards staying on the line, etc.

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Filipino Games - Patintero (Life Expressions Fellowship)

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https://wsimag.com/entertainment/15508-bringing-back-filipino-games

The article is beneficial to the preservation of traditional Filipino games because it raises awareness about why traditional games are dying out while introducing multiple games along with the rules and mechanics of it. This article also incudes materials needed to play the traditional games.

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This slideshow helps inform the viewer about traditional Filipino games since it explains the rules and how the games are played.

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https://cnnphilippines.com/life/culture/2017/10/10/indigenous-artists-national-living-treasures.html

This article from CNN helps inform viewers about notable cultural figures in the Philippines because it not only includes the description of the early life of traditional musicians, but it also includes introductions of people from fields other than music.

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Manila (CNN Philippines Life) - It's one thing to be recognized as a living legend of the arts in the Philippines, and it's a whole other thing completely to be acknowledged as an artist who has kept a rare form of traditional Filipino creativity and ingenuity alive.

In 1992, the National Commission on Culture and the Arts (NCCA) began selecting and honoring recipients of the National Living Treasures Award, also known as Gawad sa Manlilikha ng Bayan (GAMABA), through Republic Act No. 7355. It continues to be awarded today, and is handed out in the form of a medal. The lives and work of these Filipinos exhibit a dedication to craftsmanship and excellence that are unparalleled. Through their passion, abilities, and tenacity in passing down their heritage to the youth, many cultural practices of indigenous communities were preserved.

The National Museum, in partnership with the NCCA and the office of Sen. Loren Legarda, launched an exhibit featuring the National Living Treasures in 2016. Now a permanent hall in the National Museum of Anthropology, the exhibit is a tribute not only to these one-of-a-kind creators, but also to their styles, tools, and crafts. It also highlights their efforts to keep the country's unique and diverse intangible cultural heritage alive, through continued practice and education.

To be deemed a National Living Treasure, one must possess technical and creative skills, creating work with fine artistic quality, and ties to community and folk art traditions. More than that, they must show a strong character and unfaltering integrity, leading them to earn the respect and admiration of their people.
Uwang Ahadas, musician
Yakan musical instruments aren't the easiest or most affordable to maintain, but Uwang Ahadas of Lamitan, Basilan made it his life's work to master them. From an early age, he and his siblings were encouraged to play these instruments, and he developed a passion for them, training himself by observing older members of the community.

At age 20, he broke tradition by reaching excellence in playing the kwintangan, an instrument typically played by a woman. The instrument, made up of logs arranged beneath a tree near a rice field, is used to call for abundant grains and rice growth. He is also dedicated to sharing his knowledge to younger folk; his teaching style is hands-on and supportive, giving his students his full attention. He was awarded in 2000.
Magdalena Gamayo, textile weaver
Based in Pinili, Ilocos Norte, Magdalena Gamayo took up weaving when she was 16, guided by her aunt's patterns. She received her first loom from her father three years later, which she would end up using for 30 years. She taught herself traditional patterns, such as kusikus (whirlwind), marurup (Milky Way), and sinan paddak ti pusa (cat's pawprint), building on the more common inuritan (geometric design) and sinan-sabong (flowers).

Gamayo's skill and instinct are none more apparent than they are in her ability to replicate designs she's only seen once. Her binakol, or woven cloth, continues to draw praise and awe for its above-average thread count and uniform weave. To keep Ilocos' abel weaving tradition alive, she teaches her practice to her cousin's daughter-in-law and sister-in-law. She was awarded in 2012.
Eduardo Mutuc, metalsmith and artist
Having finished up to elementary school, Eduardo Mutuc, a farmer at the time, became an apprentice to furniture carvers to earn additional income. He had no prior knowledge of the work he was getting into, but this didn't stop him from expanding his experience and becoming one of the most respected creators of religious and secular art today. He uses wood, silver, and bronze to create exquisitely detailed and lifelike pieces of varying sizes: altars, mirrors, retablos, and even carosas. Mutuc is based in Apalit, Pampanga. He was awarded in 2004.
Lang Dulay, textile weaver
In Lang Dulay's family, the weaving of the t'nalak (a fine abaca cloth) took place before or after farm work, when the weather was cool and the conditions were better for the product. Dulay, who grew up in Lake Sebu, South Cotabato, was taught to weave by her mother when she was 12.

As demand grew for new designs, she persisted and kept working with traditional patterns, even though they were harder to complete - she knew around a hundred, including bulinglangit (clouds), kabangi (butterfly), crocodiles, and flowers. She valued purity, so much so that she never washed her t'nalak with soap. She was awarded in 1998, and passed away in 2015
Samaon Sulaiman, musician
Musician Samaon Sulaiman was a master of the kutyapi, a two-stringed lute that requires highly technical skill to play. The Maganoy, Maguindanao native learned from his uncle, Pinagunay, at age 13, developing and learning different forms and styles of playing the instrument. The sound is melodic and rhythmic, its effect meditative and captivating.

He was also proficient in playing instruments such as the kulintang, agong (a suspended gong with a wide rim), gandingan (a gong with a narrow rim), and tambul. Sulaiman's fascination for his craft led him to become an influential teacher. He was awarded in 1993, and passed away in 2011.
Haja Amina Appi, pandan mat weaver
Weaving pandan mats is a long and difficult process that is handed down from woman to woman across generations: Pandan leaves are harvested and made into narrow, long strips, sun-dried, pressed, and dyed before finally becoming suitable for weaving. The resulting mats are used for sleeping and saying prayers, or given as gifts to newlyweds.

Haja Amina Appi of Ungos Matata, Tandubas, Tawi-Tawi created intricate mats that boast beautiful geometric designs, vibrant colors, and fine symmetry. She was awarded National Living Treasure in 2004. She experimented with her work and developed her own tints to create the hues she had in mind. Appi passed away in 2013, but her art lives on through her children and other young women in her community.
Federico Caballero, chanter and educator
Epic chanter Federico Caballero of Calinog, Iloilo was best known for his expertise in the Sugidanon, a Central Panay epic traditionally chanted while lying on a hammock, and his work in the preservation of oral literature, documenting 10 Panay-Bukidnon epics in an extinct language with close ties to Kinaray-a.

His love of folklore began when he was young, hearing tales of grand adventures as bedtime stories, and his mother taught him to recite epics in lieu of doing household chores. In his spare time, he also works with the Department of Education's Bureau of Non-Formal Education, teaching elders to read and write. He was awarded in 2000.
Ginaw Bilog, poet
The Mangyan script is one of the four remaining syllabic scripts in the country, and Ginaw Bilog's work has been crucial to its preservation. Based in Mansalay, Oriental Mindoro, the poet was known for writing ambahan (a metaphoric poem comprising seven-syllable lines), first in a notebook, then on traditionally used bamboo tubes.

The poems, often recited with music at social gatherings and used to convey messages among the Hanunuo Mangyan, had topics like advising the young, bidding a friend goodbye, and asking for a place to stay. Bilog, who was awarded in 1993, passed away in 2003.
Salinta Monon, textile weaver
Salinta Monon was 12 when she began learning to weave the inabal, a traditional Bagobo textile. In her home in Bansalan, Davao del Sur, Monon would isolate herself from family to be able to concentrate on creating her cloths and skirts, which took three to four months and a month to finish, respectively.

Her favorite pattern, despite or because of its difficulty, was the binuwaya (crocodile), and she continued weaving until her death in 2009. For her, not only was it a source of income, it was a source of pride as well. She and her younger sister were the only Bagobo weavers left in their community, and she dreamt of having a structure built for teaching new would-be weavers. She was awarded in 1998.
Masino Intaray, chanter and musician
A member of the Pala'wan tribe, musician and epic chanter Masino Intaray was a master of the basal, a gong music ensemble played during rice cooking (tambilaw) and sharing (tinapay) rituals, which gather the community as they serve offerings to Pala'wan rice god Ampo't Paray.

Intaray also performed the kulilal, a lyrical poem expressing love, accompanied by two-stringed lute and bamboo zither, and the bagit, an instrumental piece about nature. His memory and determination guided him in chanting through many successive nights, reciting epics, stories, myths of origin, and the teachings of ancestors. Intaray, who was awarded in 1993, passed away in 2013.
Darhata Sawabi, textile weaver
Darhata Sawabi's mission was to lead young women towards making a living out of her craft. The Parang, Sulu-based textile weaver's primary creation was the headpiece pis siyabit - pis stands for the pattern, which is said to be derived from India's mandala, depicting spirituality through geometric forms, and siyabit refers to the hook and technique. She gained recognition for the precision of her work and her passion for preserving traditional designs, as well as teaching the youth and was awarded in 2004. She passed away in 2005.
Teofilo Garcia, gourd hatmaker
In San Quintin, Abra, Teofilo Garcia would often walk around town wearing his gourd casques. Through word of mouth and his participation in the annual local harvest festival, Garcia was able to introduce the tabungaw plant as a good and sturdy material for functional, elegant, and protective hats. He produces everything he needs - planting and harvesting the gourds, splitting and refining rattan for the lining, and weaving nito and bamboo for accents himself - and usually takes seven days to finish a hat. Awarded in 2012, he continues to experiment and work on new designs.
Alonzo Saclag, traditional dancer and musician
It was through observation, time, and experience - rather than education or training or any kind - that Alonzo Saclag of Lubuagan, Kalinga mastered local musical instruments, along with dance patterns associated with rituals. Some of these are rarely performed, but done so with special purposes, whether it's preparing for retaliation, a victorious vindication for the community, or forging successful peace pacts.

Saclag understands the importance of his practice and is a strong advocate of passing on his knowledge and continuing the use of traditional dress and adornments. His efforts have included formal education, reaching radio stations, and the formation of the Kalinga Budong Dance Troupe. He was awarded in 2000.

***
For more information on our National Living Treasures, visit NCCA's website or the Manlilikha ng Bayan exhibition at the National Museum of Anthropology.

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13 indigenous artists who have kept Filipino creativity alive

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Manila (CNN Philippines Life) - It's one thing to be recognized as a living legend of the arts in the Philippines, and it's a whole other thing completely to be acknowledged as an artist who has kept a rare form of traditional Filipino creativity and ingenuity alive.

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"10 Traditional Filipino Musical Instruments"

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"10 Traditional Filipino Musical Instruments"

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https://topten.ph/2016/04/27/10-traditional-filipino-musical-instruments/

This article provides brief introductions of instruments that are at risk of disappearing in the Philippines because it includes images and descriptions of every instrument.

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We Filipinos are known as music lovers. Whether it's on an international stage or at the karaoke down the street, we perform and sing with passion. Although a majority if the Original Pinoy Music, or OPM, today is heavily influenced by American pop music, some musical artist still use the traditional instruments that our pre-Hispanic ancestors used to make music.

Below are 10 traditional Filipino musical instruments.
Kubing
This is a jaw harp made with bamboo and is one of the more well known traditional musical instruments. Found all throughout the Philippines, the design and name of the instrument changes from region to region. Meranao and other groups in Southern Mindanao call it the Kubing, while the Tagalogs call it Barmbaw. It's the Kuláing for the Kapampangans, and Kinaban for the Hanunoo Mangyans. The Ibaloi and Kalinga calls it Koding, while it's known as the Aroding in Palawan. This instrument is known to be used as a way for our ancestors to communicate through song, especially during courtship. The Kubing is played by placing the instrument between the lips and the end is plucked to create different notes and sound, depending on the tempo and rhythm of the plucking.
Kulintang
Another well-known Filipino instrument, the natives of Meranao, Tausug, and Maguindanao take a lot of pride and joy with these. The Kulintang is a set of 5 to 9 pieces of gongs that vary in size and sound. They're aligned horizontally next to each other, usually on a rack, and are arranged in order of their pitch. The gong with the lowest pitch is placed on the players left side and two wooden sticks are used to hit the gongs to make sounds. They were traditionally made with bronze, but since the Second World War, most of the gongs are made with brass. The frame or rack that the gongs are placed in are often made with wood or bamboo and are decorated with intricate designs and rich color. The Kulintang is usually played for entertainment during festivals, weddings, and healing ceremonies.
Kudyapi
Also known as the Kutiyapi, this is a stringed wooden lute that's about 4-6 ft long. The lumads of Meranao, Maguindanao, T'boli, and Manobo often play this instrument, but versions of it is seen throughout the Philippines. Traditionally, the instrument is played by men, mainly when singing love songs. A female equivalent of the Kutiyapi is called a Korlong, which is a zither-like instrument made with bamboo and is played with both hands like a harp. The strings are traditionally made with abaca fibers or horse hair, but modern versions of the Kutiyapi use wires like a guitar.
Tongali
This noseflute is called by many names and is found all over the Philippines, especially in the northern areas. According to historians, the Tongali is played to mimic a mournful human voice. The flute has three or four holes where the fingers are placed over. One hole is found in the back where air is forced through from the right or left nostril. Another hole is found about midway on the flute's bottom where the thumb is placed to change the tone and pitch of the flute. Although it gives off a low, mournful, sound, the Tongali often played during celebrations, special meals, festivals, the planting season, and in courtship.
Gambal
There are many different drums played by different local groups in the Philippines. Among the lumads in the Visayas area, war drums called Gambal or Gadang were used to boost their warrior's esteem and get them ready for battle. The drums were made with hollowed out tree trunks and deer skin for drumheads. Usually, drums are not played alone. They're accompanied by other instruments, especially gongs. Drums are played by hand or by striking a wooden stick on the drumhead.
Dabakan
Another traditional drum, the Dabakan is often played along with a Kulintang ensemble. It's also the only non-gong element in the group. It has an hour-glass, conical, tubular, or goblet in shape and is usually less than 2 feet tall and a feet wide. The body is made from coconut or jackfruit wood that's hollowed out. The body is also intricately designed with fine carved details. The drumhead is made from deer hide, carabao skin, or goat skin. However, many traditional Dabakan users say that the best drumheads are made with lizard or bayawak skin.
Luntang
This is a xylophone instrument that is used by the Maguindanaon people. It's strung vertically, containing five horizontal logs that hang in an ascending order and arranged by pitch. A similar instrument is also used by the Yakan called the Kwintangan Kayo. To make a sound, the logs are beaten. The instrument is played either by a single person or two people sitting on either side. It's often used for self-entertainment, keeping farmers awake while scaring birds off the fields. It was also used as a form of long distance communication. The Yakan use it in ceremonies, especially in courtship rituals.
Buktot
Originating from the Visayas area, the Buktot is a small, four-stringed guitar-like instrument that's made from a coconut husk. It likely got its name from its shape. In Bisaya, the word Boktot means hunchbacked, which perfectly describes the instrument's arched back. The Boktot is used for personal entertainment. It makes sounds similar to a ukulele and is played alone or with other instruments.
Kulintang A Tiniok
The Kulintang A Tiniok is a metallophone that contains eight tuned knobbed metal plates that are placed on top of a wooden rack. This instrument is used by the Maguindanaon people. The name means "kulintang with string" but they're also called Kulintang A Putao or "kulintang of metal." The Maranao people call this instrument Sarunay, which has become a popular instrument in the United States. Traditionally, the metal pieces of the instrument are made with brass however modern ones are even made with tin cans.
Babandil
This single, narrowed rimmed gong is often used as the "timekeeper" in the Kulintang ensemble. It has a diameter of about a foot, which makes it bigger than the Kulintang gongs. However, it has a sunken boos which means that it has to be struck on the rim or flange to make a sharp, distinctive metallic clang. Sticks that are made from bamboo or rattan is used. This instrument is often considered as a "false gong" and are traditionally made with bronze. However, since this metal is scarce in Mindanao, they're now made with iron, brass, and even tin-cans.

Although not a lot of people know how to use these traditional instruments, a number of musicians still continue the tradition and learn the proper way of playing them. Do you know any traditional Filipino musical instruments that's not on the list? Comment them bellow. Don't forget to share this article to educate others about our traditional musical instruments.

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10 Traditional Filipino Musical Instruments - Pinoy Top Tens

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We Filipinos are known as music lovers. Whether it's on an international stage or at the karaoke down the street, we perform and sing with passion. Although a majority if the Original Pinoy Music,...

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Link to Video File: https://www.youtube.com/watch?v=wjVD-cKu0Fg

This video/audio preserves the musical culture of the Philippines because it depicts two instruments which are facing the danger of becoming less and less prevalent in today's world, the kutiyapi (stringed instrument) and the gambal (traditional drum).

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Philippine Music, traditional Instruments  - tboli tribe( Lemuhen)

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http://whichmartialarts.com/eskrima-arnis-kali/

This article increases the viewer's understanding of Eskrima, a form of martial arts in the Philippines because it talks about what the weapons used to practice Eskrima.

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Eskrima also known as Escrima/Arnis/Kali is a Filipino martial art, which is mostly weapons based and mostly uses sticks, as well as various bladed weapons. The name Eskrima derives from the Spanish word for fencing and Arnis from the Spanish word armour, while Kali is a western term with numerous suggestions of it's origin.

The stick system came about when the Spanish stopped the use of the sword in the Philippines, although the actual fighting system was developed much before this, all be it with a very unclear history.

The fighting system was introduced to the non Filipino community in the 1960's, although American service men did pick up some training during World War 2 and as with many other martial arts, the system has been modified for practical modern application.

Only as recently as 2010 was Eskrima recognised as a National Martial Art and Sport of the Philippines. The oldest organisation in the sport of Eskrima is the WEKAF (World Eskrima Kali Arnis Federation).

Eskrima Training

A practitioner of Eskrima is known as an 'Eskrimador', Arnis as an 'Arnisador' and Kali is a 'Kalista or Mangangali'.

A lot of the training revolves around joint locks, control and disarming of the attacker and attacking moves. Trainees start with weapons training and may well go on to apply the same techniques with empty hand fighting, that can include kicks, punching, throwing and grappling. Generally the trainee will train with wooden sticks and a wooden knife that are seen as extensions of the arms to practise a series of moves, with focus on moving each arm independently of each other.

Further aspects of the training include, controlling the range with triangular footwork patterns, learning how to defend yourself from angled attacks and practising set drills of flowing defence and counter attacks. The drills will teach the practitioner hand-eye co-ordination, body position, target perception, rhythm, fluidity, timing and muscle memory.

The term 'live hand' is used in Eskrima, where the practitioner is armed with a single weapon, however the empty hand is used for locking, trapping, supporting weapon blocks, checking, disarming, striking and controlling the opponent.

Eskrima Equipment/Gear Used

There are various dress codes depending on the school.
The use of gloves, forearm pads, elbow pads and body protection are generally all optional again depending on the school.

Weapons used in Eskrima

Sticks - The sticks used in Eskrima are called a 'yantok' and commonly known as rattan sticks, as they are made from the rattan palm. They are very strong and lightweight. Other materials are also used and can include various hardwoods, metals and high-impact plastics.

The length of the sticks vary greatly.

Knife/dagger - Knifes are also used and can be of any size/shape.

Celebrity Eskrima Practitioners

Dan Inosanto
Jeff Imada

Movies featuring Eskrima

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Eskrima also known as Escrima/Arnis/Kali is a Filipino martial art, which is mostly weapons based and mostly uses sticks, as well as various bladed weapons. The name Eskrima derives from the Spanish word for fencing and Arnis from the Spanish word armour, while Kali is a western term with numerous suggestions of it's origin.

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https://www.youtube.com/watch?v=WYsYJDpm-ks

This video demonstrates what the sport of Eskrima looks like in a competitive setting because it shows the world championship of this combat sport being held in the Philippines.

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ESKRIMA (STICK FIGHTING) WORLD CHAMPIONSHIP, CEBU, PHILIPPINES

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Slideshow displaying traditional sports in the Philippines. 

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This slideshow displays traditional sports and activities that are held in the Philippines, and describes what each sport revolves around as it includes what training can consist of in the sports, and also explains the rules of them.

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Photo gallery displaying traditional Filipino dishes. 

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This photo gallery can help inform viewers about what traditional Filipino foods are like because the slideshow consists of images of Filipino dishes along with captions that provide descriptions of the dish.

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https://www.barnebys.com/blog/philippines-most-expensive-artist-fernando-zobel-at-auction

The article highlights Fernando Zobel's achievements in a detailed-manner because it lists the artists that Zobel has impacted career-wise and the awards Zobel received from both the Philippines and Spain.

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In 1946, he left for Harvard to study history and literature, still continuing to paint. Zóbel returned to the Philippines where he made a significant impact on Filipino modern art. He made friends with several Filipino modernist artists and began collecting their work, curating exhibitions of their art in order to bring Filipino modern art to the mainstream.

Fernando Zóbel Image via Juntacofradiascuenca.es

In 1953, Zóbel held his first one-man exhibition at the Philippine Art Gallery. The following year, he had an exhibition at Boston's Swetzoff and had enrolled at the Rhode Island School of Design. At the school, he saw a show of Mark Rothko's work, which inspired Zóbel to paint in an abstract form. He later returned to the Philippines where he studied Japanese and Chinese art and calligraphy.

One of the artist's most recognised works is his Saetas series, for which he famously used a a surgical syringe to eject fine lines of paint onto his works.

As well as the legacy he felt in the Philippines, Zóbel founded the Museo de Arte Abstracto Español in Cuenca, Spain in 1963. In 1980, Zóbel donated the collection to the Fundación Juan March in order to combine both of the museum's collections.

Zóbel helped the careers of Spanish modernist painters such as Antonio Lorenzo, Eusebio Sempere, Martín Chirino López, Antonio Saura. For his contributions to Spanish art, in 1983, King Juan Carlos of Spain bestowed upon Zóbel the Medalla de Oro al Mérito en las Bellas Artes.

In 2003, a retrospective of Zóbel's work was shown in Spain, whilst in 2006 he was awarded the Presidential Medal of Merit by the Philippine President Gloria Macapagal-Arroyo for his contributions to the arts. In May of 2008, his piece entitled Noche Clara sold in Hong Kong at Christie's for PHP 6 000 000, setting the record for the most expensive Philippine artwork. This record has been broken since, when in 2013, a work of his sold at Sotheby's for 8 200 000 HKD ($1 060 000.)

Check out more realized prices for Zóbel on Barnebys here.

Fernando Zóbel,Hot sun, cool fire, 1972

On the March 16 and 17, Spanish auction house Spanish Duran's sale will feature Hot sun, cool fire by Zóbel. The piece is signed and dated May 1972, as well as having an inscription which reads: "To Roberto in his new study." The piece has a starting price of €27 500. Search the full catalog on Barnebys here.

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Philippine's most expensive artist Fernando Zóbel at auction | Barnebys Magazine

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In 1946, he left for Harvard to study history and literature, still continuing to paint. Zóbel returned to the Philippines where he made a significant impact on Filipino modern art. He made friends with several Filipino modernist artists and began collecting their work, curating exhibitions of their art in order to bring Filipino modern art to the mainstream.

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https://www.youtube.com/watch?v=DsgeTRySPjA

This is a video biography of Fernando Zobel de Ayala, the video will help offer insight into the early life and career of the artist since the video mentions how Zobel got into artmaking and ways he was inspired to try different styles.

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Fernando Zóbel de Ayala y Montojo, Philippine Artist

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Photo gallery displaying notable works by Filipino artists. 

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Most Famous Paintings in the Philippines

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Most Famous Paintings in the Philippines

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This slideshow is a photo gallery displaying the most influential pieces of art from the Philippines. The photo gallery is good for the preservation of these pieces of art as the name of the artist is listed under each image which'll hopefully spark interest in the viewer to view other works of the artists.

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Photo gallery introducing Filipino festivals. 

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This slideshow displays Filipino festivals and provides descriptions of activities that are held within because the slideshow includes images and captions of the festival being introduced.

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Traditional handicrafts in the Philippines are at risk of disappearing because of the discovery of more practical and convenient mass production of cloth.

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In Filipino literature, a notable figure would be Jose Rizal, who is considered to be a national hero in the Philippines but is not as well-known outside the country and this can be attributed to cultural imperialism reducing the cultural influence of the nation globally.

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Despite there being many influential films that have shaped Philippines cinema, they command less coverage and "respect" as the Philippines is not a dominant world culture.

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Traditional sports in the Philippines are facing risk of disappearing because of how other countries are influencing the main sports that are played in the country which are now volleyball, basketball, billiards, etc.

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Indigenous Filipino languages are dying out in the Philippines because the primary languages used in the Philippines are English and Tagalog.

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Traditional Filipino games are played less and less often in today's world because of the emergence of online entertainment which includes video games.

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Traditional Filipino dishes are slowly disappearing because of competition from fast-food joints from other countries such as the United States.

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National paintings from the Philippines are not receiving as much coverage making it not as well-known outside the country due to cultural imperialism.

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Music produced by traditional Filipino instruments are becoming less and less common in today's world. This can be attributed to music produced by mainstream artists from dominant world cultures influencing other countries.

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I am part of the “Kaleidoscope Museum Project” which aims to preserve the minority culture of the Republic of the Philippines. This project is preserving the traditional culture of countries that lack political and economic power. There are four main cultural periods in the history of the Philippines, the Spanish rule (1521-1898), the American rule (1898-1946), the Japanese occupation (1941-1946), and the self rule of the Philippines (1946-present). The Philippines being an archipelago plays a role in the development of its traditional culture. For example, many of the national festivals in the Philippines are named after water currents. The project is motivated by the negative effects of globalization in creating a shared world culture that overpowers respective national cultures. Globalization is accelerating all over the world and cultural imperialism is more prominent than ever, preserving and protecting minority culture is now an urgent matter as they are in danger of being superseded by majority cultures. The culture of the Philippines will be preserved through a padlet, a website on the internet which can house all the posts that I want to share on the minority culture of the Philippines. This padlet will be shared to the online community in an effort to inform and educate others about the minority culture of the Philippines. I will be the only person with editing rights to the padlet and everyone else will only be able to view and not edit. The posts I share will be part of a virtual museum, hopefully this will encourage others to do the same and preserve the culture of other countries in the same way. It would be ideal if this can lead to the development of an online community which preserves and protects the minority culture of other countries.

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Traditional Filipino festivals are disappearing because of discouragement from the general public while some are being kept alive by tourism from around the world.