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The B'laan people are celebrated for their vibrant cultural heritage, ethnic art, and remarkable handcrafts. Their craftsmanship includes intricately designed brass ornaments and traditional beadwork, which showcase their artistic ingenuity. B'laan women wear colorful native costumes made from abaca fabric, adorned with detailed embroidery, beads, buttons, and brass belts with numerous tiny bells. These belts create a distinctive jingling sound, announcing their presence even from a distance. A notable feature of their attire is the incorporation of takmon—sequin-like capiz shells that add unique patterns and vibrant colors. Additionally, the swat san salah, an intricately beaded wooden comb, is an essential accessory for B'laan women.
The B'laan have their own traditional weaving system using abaca fiber. Before starting the weaving process, rituals are performed according to their customs. These rituals are kept secret, known only to the weavers, and divine guidance is sought before creating any design. It is believed that the patterns and designs come from dreams, imparted by the l'nilong (fairies), who are thought to be the guardians of nature.
B'laan handicrafts and traditional attire hold deep cultural significance. These items are brought to various ceremonies, treasured as priceless possessions, and serve practical and symbolic roles. For example, they are offered as dowries during weddings, used as compensation for crimes committed against individuals or clans, and play a role in resolving disputes among warring clans.
Artist, purist: Fu Yabing, the Blaan master weaver
The B’laan people of southern Mindanao are deeply rooted in their artistic traditions, which reflect their connection to nature, spirituality, and social structure. Their crafts, textiles, and accessories are infused with intricate patterns and symbolic meanings passed down through generations. Below are some key aspects of their cultural arts and practices:
Mabal Tabih (Ikat Weaving)
Mabal Tabih (Ikat Weaving)
Practiced Areas: The art of Mabal Tabih, a traditional ikat weaving technique, thrives in Kalyong, Landan, Polomolok, South Cotabato, and in Lamlifew, Datal Tampal, Malungon, Sarangani Province.
Cultural Masters: This craft is preserved and taught by master weavers, such as Fu Yabing Masalon Dulo and Fu Gusiye Buan, who are respected cultural icons in their communities.
Weaving Rituals: Weaving is considered a spiritual activity. Rituals are performed to seek blessings and divine inspiration before creating the distinct patterns. The patterns are believed to come to the weavers in dreams, guided by l’nilong (fairies), protectors of nature.
Symbolism: The tabih cloth is more than just fabric; it represents identity, tradition, and artistry. These textiles are used in significant ceremonies and as dowries during weddings or for settling disputes.
Mat Weaving
Mat Weaving
Location: Women in Upper Lasang, Sapu Masla, Malapatan, Sarangani Province actively engage in mat weaving, showcasing their skill in crafting functional and decorative pieces.
Materials and Designs: The mats are made from locally sourced materials like pandan leaves or romblon. They are intricately woven into colorful patterns that signify the weaver's creativity and connection to their culture.
Usage: These mats are often used in traditional homes, as gifts, and during cultural ceremonies.
Embroidery and Accessories Making
Embroidery and Accessories Making
Traditional Clothing: B'laan attire features elaborate embroidery and detailed accessory work.
Mother of Pearl Discs (Albong Takmon): These sequin-like ornaments are used to embellish clothing, adding shimmer and beauty to traditional blouses and skirts.
Beaded Blouses (Albong Sanlah): These garments are adorned with vibrant beadwork and showcase the craftsmanship of the B’laan women.
Appliqué Design (Albong Knibang): Combined with embroidery, appliqué designs enhance the artistic appeal of traditional wear.
Accessories: Jewelry such as earrings, necklaces, and belts are crafted with beads, brass, and natural materials. These accessories not only serve as adornments but also carry symbolic meanings tied to status, identity, and spiritual protection.
Cultural Transmission: Skills in embroidery and accessory making are passed to younger generations to ensure the survival of these traditions.
Cultural Significance of Arts and Crafts
Dowries and Compensation: Handcrafted items like textiles and jewelry are often part of dowries, given during weddings, or used as payment for resolving disputes within and between clans.
Ceremonial Use: Traditional attire and accessories are integral to B'laan rituals, dances, and celebrations, reflecting the community's cultural pride and spirituality.
Expression of Identity: The artistry in their crafts symbolizes the B’laan's rich heritage, creativity, and connection to their ancestral traditions.
Through these art forms, the B'laan people preserve their cultural identity and pass on their legacy to future generations, ensuring that their vibrant traditions remain an enduring part of the Philippines' cultural tapestry.
Traditional B'laan Wedding
Traditional B'laan Wedding
A traditional B'laan wedding is a vibrant and highly ritualized ceremony consisting of thirteen distinct steps, each rich with cultural meaning and symbolism. It begins with the groom being brought to the gumne gu samsung or bahay kasalan, the house where the wedding will take place. Before the ceremony, the groom resides in this house. When he leaves, he rides a horse while the Fulong (tribal chieftain) and members of the tribal council hold umbrellas over his head, accompanied by the rhythmic sound of the agong. Inside the house, a mat and pillows are arranged for the couple, where they will sit during the ceremony.
The bride’s arrival follows a similar ritual. She initially waits inside her house under a mosquito net until the groom reaches the wedding venue. Once ready, she too is escorted with opened umbrellas held by the Fulong and council members, with the agong playing in the background. Upon nearing the gumne gu samsung, a tribal leader hands the fais or kris to the groom, symbolizing his role as a protector of his family and community. As the bride arrives, the groom rises to greet her, showing respect to her and the people accompanying her. The couple then sits to receive blessings.
The next step, called Amleng, signifies the couple’s transition from unmarried to married life. An unmarried woman walks behind them, symbolizing their departure from their single status. Following this, during Samtingko Ulo, the B'laan leader places his hands on the heads of the bride and groom, then gently bumps their heads together, representing unity in thought and action.
In the Sasungit Knaan ritual, two heaps of rice on banana leaves and two small glasses of water are presented by a woman and a man. The Fulong feeds the couple with these, emphasizing their shared responsibility to nourish and care for one another, especially as they build a family. This act is accompanied by pronouncements that invoke blessings from Dwata or Mele, the spiritual entities revered by the B'laan.
The couple then receives guidance in the Amngawe step, where a man and a woman offer advice on how to nurture a harmonious family life. This is followed by the Kasable, or gift-giving ritual, where gifts are exchanged in front of the newlyweds. This act symbolizes mutual support and the enduring love of their relatives, especially during difficult times.
The marriage is officially declared in the ninth step, Kasgare Di Sasato Nawa, by a provincial officer, marking the couple's lifelong commitment to one another. The Fulong then offers a closing prayer, Admasal, signifying the conclusion of the formal ceremony.
Celebrations commence with the Kaflahew Di Dad Lami Sansong, featuring traditional music and dances performed with instruments like the maral, faglung, and agong. During Almibot Dad Lami Sansong, the couple shakes hands with all the guests as a gesture of gratitude. The festivities continue into the final step, Fanles E Kaflahew, where the celebration lasts until the guests leave, signaling the official end of the wedding.
Traditional Political Practices
Traditional Political Practices
Traditional Political Practices of the Blaan
Traditional Political Practices of the Blaan
Selection of the Fulong (Leader):
The Fulong is chosen from noble families (fulung libun), often comprising former leaders or wise individuals.
Leadership can be assumed by either a man or a woman.
The choice is informal—community members start seeking help from the chosen person rather than directly announcing the selection.
To qualify, the Fulong must exhibit bravery, loyalty, trustworthiness, honesty, generosity, kindness, and hospitality.
Wealth is also a necessary trait for a leader.
Roles and Responsibilities:
The Fulong acts as the lawmaker, law enforcer, and judge for the community, with support from elders.
They resolve disputes, decide punishments, and ensure the laws are followed.
Their decisions become the foundation of the community's laws.
Privileges of the Fulong:
Respected and obeyed at all times.
Allowed to have multiple wives.
Assisted by servants to manage household needs.
During visits from guests, community members contribute food to honor the Fulong.
Law Creation and Conflict Resolution:
The Kasfala process is used to resolve disputes and establish laws.
Major offenses include murder, theft, and adultery, while minor offenses, such as acts of lasciviousness, are also penalized.
Punishments vary:
Adultery is penalized by a fine. If unpaid, the offenders may face severe punishment, such as being tied to a rock and thrown into the sea.
If the Fulong pays a fine on behalf of an offender, the offender works for the Fulong to repay the debt.
Common Causes of Conflict:
Slad yaan (adultery), stugad salek (gossip), and jealousy over prosperity are frequent issues.
Disputes are settled through mediation led by the Fulong and elders.
If amicable resolution fails, the Fulong imposes appropriate penalties.
Inter-Tribal Conflict and Pangayao:
Pangayao (vengeance) is used to resolve major offenses between tribes, such as inter-tribal adultery or murder.
Revenge is pursued until the aggrieved party feels justice is served.
Alternatively, a Dyandi (blood compact) may prevent or end conflict.
This involves rituals, such as killing a white chicken, lighting a fire, and cutting rattan, symbolizing reconciliation.
Participants pledge loyalty, and betrayal of the pact is believed to result in death.
Traditional Attire
Traditional Attire
The Blaan people are renowned for their vibrant and intricate traditional attire, which symbolizes their rich cultural heritage and artistic mastery. Their clothing is a tapestry of vibrant colors, handcrafted designs, and meaningful embellishments, reflecting not only their creativity but also their connection to their traditions and environment.
Blaan women traditionally wear garments made from abaca fiber, carefully woven and dyed through a process called mabal tabih. The patterns, often inspired by dreams or imparted by nature spirits known as l’nilong, are considered sacred and unique. These designs are brought to life after performing rituals that seek divine guidance, making each piece a spiritual and cultural artifact.
Their clothing is adorned with sequins, mother-of-pearl discs called takmon, beads, and appliqués, creating dazzling patterns that reflect light and movement. Heavy brass belts adorned with tiny bells, worn around the waist, produce a soft tinkling sound as women move, making their presence both seen and heard. Beaded wooden combs, known as swat san salah, are worn as hair accessories, completing the traditional ensemble.
Blaan men often wear simpler garments but still incorporate elements of traditional weaving and embroidery. Accessories like necklaces, bracelets, and earrings are shared by both genders and are meticulously crafted, often serving as status symbols or markers of significant life events.
Blaan attire is more than just clothing; it is a visual narrative of their identity, creativity, and spirituality. These garments are not only worn during daily life but are also central to celebrations, rituals, and even conflict resolutions. They are treasured as heirlooms and are often offered as dowries, symbols of wealth, or payments to settle disputes. Each thread, bead, and brass ornament tells a story of the Blaan people's enduring artistry and cultural pride.
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