Okir or okkil – refers to a geometric and flowing designs based on leaf and vine patterns.

This pattern is
the distinguishing marks of the Maranao arts and Muslim-influenced artworks in southern Philippines and
even other southeast Asia.

Ikat spirit Baipandi, who taught the weavers the tie dyeing technique (ikat) and the designs woven into
fabric.

T'nalak -is a traditional cloth of Tboli people. This traditional cloth is hand-woven made of Abaca fibers
which traditionally has three primary colors, red, black and the original color of the Abaca leaves.

Tubaw – for men’s headdress or wrap

Mosque a Muslim place of worship

Tubas

Torogan - the ancestral home of the highest titleholder in a Maranao village. It is a symbol of power and
prestige usually adorned during festivities. Its prominent part is the panolong.

Panalong - carved beam that protrudes in the front of the house and styled with okir motif.

Sarimanok a chicken-like figure that carries a fish in its beak.

is a legendary bird of the Maranao people who originate from Mindanao, a major island in the
Philippines. It comes from the words "sari" and "manok." "Sari" means cloth or garment, which is
generally of assorted colors. Manòk is a Philippine word for chicken.

Balangay (formerly synonymous with Butuan boat) is a plank boat adjoined by a carved-out plank edged
through pins and dowels. ... The Balanghai Festival is also a celebration in Butuan, Agusan del Norte to
commemorate the coming of the early migrants that settled the Philippines, on board the Balangay boats.

Gold Sash –made by weaving thin threads of gold and worn by a powerful chieftain.

Agusan Tara – was found in the Agusan river, it is made of gold, it is considered one of the important
collection in the Chicago field museum

Malong is a traditional "tube skirt" made of handwoven or machine-made multi-colored cotton cloth,
bearing a variety of geometric or okir designs. The malong is akin to the sarong worn by peoples in
Malaysia, Brunei and Indonesia. This tubular garment is among the higly prized clothing materials of the
Maranaos.

Maranao-referring to the southern tribe who are now the people of the lake called Ranao, in the Iranon
language, meaning "People of the Lake," referring to the indigenous people who inhabited the lands
around Lake Lanao whose principal town is Marawi City. The Maranaos are part of the wider Moro
ethnic group.

Mindanao is named after the Maguindanaons who constituted the largest Sultanate historically, and
evidence from maps made during the 17th and 18th centuries suggests that the name was used to refer to
the island by the powerful natives at the time.

Onit Tebed

Rabul

Angkul
Golden Face Cover and Headband – from Butuan have inscriptions of niaga or waves, snake or dragon
motifs to represent the sea which is mastered by the ancients. Using crude stylus or inscribing instrument
they are able to express their appreciation of the environment of which they are part.

Music of Mindanao

 Kulintang - Is a modern term for 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.
 Gandingan - A set of four large hanging gongs which is played as part of the Kulintang-Ensemble

 Palendag - A lip valley flute that is very common in Maguindanao

 Kagul - Maguindanao bamboo scraper/slit drum

 Jew Harp - Considered one of the oldest musical instruments existed.It consists of
flexible metal or bamboo tongue or reed attached to a frame

 Gabbang - is an instrument of Mindanao that also known as bamboo xylophone and it is made of
bamboo.
 Kudyapi - It is a two-stringed, fretted boat-lute. It is four six feet long with nine frets made of
hardened beeswax. The instrument is carved out of solid soft wood such as that from the jackfruit
tree.
 Kubing - Is a type of jew harp from bamboo found among the Maguindanaon.
 Traditionally considered an intimate instrument, usually used as communication between family
or a loved one in close quarters.
 Suling - It is the smallest bamboo flute of the Maguindanaon and the only one classified as a ring-
flute.
 Agung - Is a set of two wide-rimmed, vertically suspended gongs used by the Maguindanao,
Maranao, Sama-Bajao and Tausug people as a supportive instrument in kulintang ensemble.
 Dabakan – is a single-headed Philippine drum, primarily used as supportive instrument in the
kulintang ensemble. Looks like a goblet.

Kissa – Tausug songs about the love of datus and princesses.

Parang Sibil – Tausug heroic songs
Kandidiagao – Maranao song for the dead with melodious lament
Kaselanding/Deer - Aside from the literal meaning the cultural interpretation is: the maiden player warns
her first suitor ("deer") to give up courting her, as a new and accepted suitor will replace him. Also the
message suggests that the new suitor will become her partner in playing the kolintang.
Kateboban / Tabon eggs - Historically, famines have occurred in the Lanao area and have driven people
far and wide in search of food, including the eggs of the bird tabon, along the sea coastal towns. "My
tears" reflects a sad recollection of the famine which brought hardships including the demeaning
occupation of searching for tabon eggs.
Kanditagawnan / Chums - A joke between two friends, a young woman and a young man, exaggerates the
short time of planting, harvesting, cooking, and eating camote. The woman suggests raising camote for
service to their people.
Kapmotantang / Revenge - This song depicts the Maranao matarabat (pride), which demands that he
avenges any wrong done him and requires the restoration by his enemy of his respectable public image.
Kandagoong / Rain sounds - represents a young man's declared intention to ask for a maiden's hand in
marriage even if he cannot meet the required royal family's ("mountains") dowry.
Kapematatar / Compensation - A maiden's rationalization that losing her virginity is compensated for by
the fact that the disgracer is her royal equal in the community is rooted in the Maranao value of equality
in social status for marriage and sex partnership.
Kandayo-dayo / Frienship - The fear of a maiden to bathe in the river is assuaged by her friend who
insists they will be protected by the Holy Quran, serving as amulet in her brother's possession. As a holy
man, the brother goes early every morning to the water for his abedas (ablutions) before he enters the
mosque. His holiness is a protection against evil.

FIVE MAJOR TYPE OF SONGS FOR MARANAO

1. Kambaiok - is the free rhythmic rendering of the baiok, which is improvised poetry.
2. Kandarangen - is accompanied by a gong or other similar instruments.
3. Kadikir - sung by singers in slow, free rhythm and speaks of verses from the Qur’an and
Maranao compositions with topics on Islam, morals, life, and death.
4. Kandomana - is a combination of styles of Kandarangen and Kadikir.
5. Kapranon - is a song of private sentimentality sung softly.

Joey Ayala - popularized indigenous music instruments, (especially the hegalong of the T'boli), all deftly
used by the members of his band Bagong Lumad (new or alterered native).

Popong Landero - was first a musical so journer before he finally took root in Davao.In the 70s to 80s he
jammed with the indigenous pop/rock band Asin. The pioneering reggae-rock band Lolita & Sulabama,
and Prisoners of the Worldbank. He is the legendary "Kaliweteng Gitarista" (Lefty Guitarist) and Davao's
Father of Reggae.

Grace Nono - she produced several albums of contemporary world music inspired from these oral
traditions, including Tao Music, Diwa, Isang Buhay, Opo, Hulagpos, and Dalit.

Bayang Barrios - she won the Grand Prize at the prestigious 2003 Metro Manila Pop Music Festival for
her song Malayo Man, Malapit Din. She has already produced two albumsBayang
Makulay and Harinawa, and the popular single Bagong Umaga.

Waway Saway - churned out seven music albums: Dilig, Punla, Lupa, Dilay, Lendeng, Kulahi hu
Bugta and Punla: Pangarap, Pantasya, Panaginip, producing, as well, music albums for his Talaandig
co-musicians flutist Sultan and percussionist Balugto.

Langan Bata Bata- Lullabye of Tausug.

Tarasul- Tausug song of advice to wedded couple.
Dekir- death song of Maranao.
Dekil- Maguindanao dirge in vigil.

Religious Chants
Salathul Juma- Friday prayer chant
Tarawe- chant during the Ramadan

Folk Epic
Rajah Indarapatra- Maguindanao
Darangen- Maranao

Bua - Lullabye of Subanon.

Uyug- Uyug – Lullabye of Mansaka.
Yadadang- Lullabye of Bilaan
Manambay- Chant on circumscision ritual of Subanon
Kambong- love incantation of Manobo
Sinda-ay- Weddingchant sung before inviting the groom’s party to enter the bride’s house.
Balow– song for a dead husband of Matigsalug.
Iring Iring- Manobo song sung on wakes
Ulag Ing- lament song of Manobo

Occupational Song
Gago Napu- song for either hunting or fishing of Subanon
Balatuking– Manobo harvest song
Ritual Song
Diwata- for curing ceremony of Subanon
Pamasag- for victory celebration of Manobo
Pangan Do- for thanksgiving of Manobo

Mental Health

Mental health refers to the cognitive ability and skills to improve one’s quality of life. It is the ability to
reason out, analyze, evaluate, create, and make rational decisions.

Arnis

Arnis, Kali and Escrima are all used to refer to the Filipino martial arts.

Kali is the mother art of Arnis and Escrima.

Arnis focuses on the knife, including dagger, sword, and any other form of bladed weapon.

Escrima is based on the baston or stick. It has also become very popular in the sport aspect of full
contact stick fighting.

Remy Presas founder of the modern arnis; Filipino martial arts

Ernesto Presas brother of Remy called his system Kombatan

President Gloria Macapagal-Arroyo signed Republic Act 9850, an act declaring arnis as the
National Martial Arts and Sports of the Philippines, last December 11, 2009.

arnis as “an indigenous Filipino martial art and sport characterized by the use of swinging and
twirling movements, accompanied by striking, thrusting and parrying techniques for defense and
offense” which is done by using either one or 2 sticks.

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.

two types of arnis sports,

the anyo or form - athletes would perform sequences of movements using 2 batons

and the laban, or full combat competitions - players are required to strike their opponents’
different body parts with one baton

Competition Area -The playing area is a square measuring 8.0 meters by 8.0 meters with a two
(2) meters minimum free zone around it, and a clear space without any obstruction up to a
height of not less than 5 meters from the playing surface.

Lines of the Playing Area - All lines of the playing surface are 5.08 cm. (2inches) and must be
of different color from that of the floor and other lines previously drawn for other purposes.

Boundary Lines - Four lines mark the boundary of the playing area. The free zone distance
measuring 2.0 meters are drawn outside of the playing area.
Referee Line - A straight line of 1.0 meter long is drawn 2.5meters from the farthest boundary
line parallel to the official’s table.

Warning Lines - A broken straight line is drawn one (1) meter before each boundary line to
serve as a marker before the outside zone.

Neutral Corner - The corner of the playing area farthest to the official’s table and in between
the two (2) judges within the free zone shall be designated as the neutral corner. This shall be the
consultation area for the referee and judges.

Kind of Stances
Ready Stance - Stand with your feet apart parallel to the shoulder with both toes pointing
forward. The knees should be straight, the waist and the body facing forward. Hands are on
waist level and the hands should hold the sticks on both sides. The ready stance is commonly
used when standing at ease during training or tournaments.

Attention Stance -
Stand with your feet forming a 45 degrees angle. Heels should be close to each other, knees
should be straight, the waist and body facing forward. Shoulders are dropped to the side and
both hands are at waist level. The Attention Stance is commonly used in preparation for
courtesy or “bowing” at commencement of sparring.

Right Foot Foward Stance - Starting with the ready stance, move one foot forward until the
knee and the toe are in line to each other. Both toes are pointing in front, the waist and the body
is facing forward. Forward Stance are commonly used with frontal striking or blocking
techniques.

Right Foot Oblique Stance - Starting with the ready stance, move one foot forward 45 degrees
away from the body until the knee and the toe are in line to each other. Move on the same
direction as the lead foot (e.g. for right foot lead, move 45 degrees forward to the right). Both
toes are pointing in front, the waist and the body is facing forward.

Straddle Stance - Starting with the ready stance, move one foot about two feet (2’) to the left or
the right direction until both lower legs are almost perpendicular to the ground. Straddle stances
are commonly used for blocking the strikes to the side of the body

Left Side Stance - Starting with the ready stance, move one foot about two feet (2’) to the left or
right direction. Moving foot will be perpendicular to the ground while the other leg is extended
thereby creating a position like that of a side kick. Both toes are pointing in front, the waist and
the body is facing forward.

Right Foot Back Stance - Starting with the ready stance, move one foot backward 45 degrees
away from the body. The heels of the foot should form an imaginary “L” shape while the legs are
in a straddle position. The body should not be too low or extended otherwise it will be hard to
maneuver. Distribute the weight or center of gravity to both legs.
 Strike to the Crown or Center of
Strike to the Right Knee (Left the Head (Left Forward Stance) Thrust to the Left Eye (Right
Forward Stance Forward Stance)

Strike to Left Temple ( Right Forward

Strike to the Right Temple (Left Stance
Forward Stance
Thrust to the Left Chest (Right
Forward Stance)

Strike to the Left Elbow (Right

Strike to the Left Elbow (Steady
Forward Stance
Left Forward Stance

Thrust to the Left Chest (Right Thrust to the Navel (Steady Right
Forward Stance Forward Stance)

Strike to the Left Knee (Steady Strike to the Right Knee (Left
Right Forward Stance Forward Stance