AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM
Chapter 1
The Background and Its Problem
Introduction
Philippines have an enormous number of indigenous ethnic groups, such
as the Tagalogs, Visayas and Moros embraced the ways of the Western world
through years of trade and colonization. Spaniards governed the country in the
16th and 17th century from Spain and Mexico, so you will also find Spanish and
Hispanic influences. Thus, the Philippine culture is a mixture of different ethnic
groups, who brought with them a rich treasured myths and legends.
However, some of the indigenous ethnic groups especially in the
Cordillera Administrative region, that was densely influenced by foreign countries
and manages to keep their traditions, customs and in some cases their writing
system intact. As of today, there are approximately 70 remaining indigenous
groups that are recognized in the Philippines. Each group has their own
language and practice their own custom and tradition. The Philippine culture
combines all these custom, art, style of music and language. It is an island with
different culture around the world.
The way of life of the people in Cordillera Administrative region existed
way back to ancient Filipinos before the Spanish colonization. One of them are
the Ifugaos, a group of people living in Ifugao province located in the central
Cordillera mountains of northern Luzon (Llamzon, 1978 p.55). The term is
composed of

the prefix i meaning people of and pugaw meaning the

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM
cosmic earth. The word Ifugao could also have been derived from the term
ipugo which means from the hill. Ifugao mythology, however, says that ipugo
is a type of rice grain given to the people by the god of grains, Matungulan
(Dumia, 1978 p.1-4).
The group is famous for its very complex indigenous religion marked by a
cosmology that includes hundreds of deities. There are elaborate rituals that
accompany personal and social events, participated in by choirs of ritual
practitioners. Among the many celebrations is that of the elevation of a couple to
the rank ofkadangyanthe most prestigious rank in the society which involves
the carving of a prestige benchthehagabi. The Ifugao are famous, too, for their
prodigious oral epic literature like the hudhod and the alim.( Peralta, n.d.).
The Filipinos have a whole cathedral of mythological Gods and most of
these stories are handed down orally, and some tribes have different names for
the same deity. So, there is a lot of confusion about the names of Gods, and the
myths associated with them. Because of the Christian and Islamic influence,
most Filipinos believe in a single Supreme Being, but follow the ancient
traditions. Some people also believe in their native Gods, practicing a blend of
animism and Islam or Christianity. Some of the remote tribes and rural populace
worship Diwatas and are generally more superstitious.
Although modernization is impacting the culture, the beliefs in these
legends are strong, especially in the rural parts of the country. Comic books like
Trese, Skyworld and The Mythology Class, based on the Filipino mythology, are

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM
very popular with the youth. TV shows like Marina, and video games often
feature creatures and stories from mythology. There is also a group called
questers, who travel to remote locales, researching the fantastic legends and
myths. We Filipinos have its great story telling tradition. However, these stories in
the youth of todays tradition are losing its appeal. We live in the present time full
of stories with zombies, Greeks myths and foreign heroes. (Khara, 2013). We
Filipinos have its great story telling tradition. However, these stories in the youth
of todays tradition are losing its appeal. We live in the present time full of stories
with Greeks myths and foreign heroes.
The research intends to study and propose an autochthonous ifugao
culture and mythological interface museum for a government institution focusing
on cultural heritage and tradition especially on Ifugao indigenous myths.
As an institution, the Museum conducts a small scale basic research
programs in anthropology and archaeology, botany, geology, and zoology. It will
maintain reference collections on these disciplines and promotes scientific
development in the Philippines. These would be an organization that provides
scientific and technical knowledge in more understandable and practical forms
through diorama exhibitions, publications for students and the general public,
interaction and experience. As a cultural center, the Museum would take its lead
in the study and preservation of the nation's rich artistic, historical and cultural
heritage in the reconstruction and rebuilding of our nation's past and adoration of
the great pioneers who helped in building our nation.

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM

Background of the study

Philippine mythology is derived from Philippine folk literature which is the

traditional oral literature of the Filipino people. This refers to the wide range of
material due to the ethnic mix of the Philippines. The Philippines is a culturally
diverse country with an estimated 14-17 million Indigenous Peoples each unique
ethnic group has its own stories and myths to tell.
Filipino literature is rich with myths, folklores, legends of the Philippines
and the origins of the many things that can be seen, heard, felt, smelled, and
tasted. There are also tales of heroism, love, compassion and promises that
were fulfilled even after life.

Saving and insuring our heritage and culture in the near future.
Religion is an essential part of the Ifugao culture and is significant in every phase
of life. Their religion provides a means by with the unknown can be approached
and understood. Ifugao religion is a very complex structure based on ancestor
worship, animism, and magical power. According to Fowler "The Ifugao pantheon
consists of innumerable spiritual entities that represent natural elements, forces
and phenomena in addition to ancestral and metaphysical beings. The trust and
confidence that the Ifugao have in these beings allow them to face what is often

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM
a complex and frightening world with a great deal of confidence and
understanding. They believe that the gods and other beings are approachable
and can be influenced by the proper rites and behavior to intercede on behalf of
an individual or the entire community. Generally the gods are viewed as
generous and benign beings who enjoy feasting, drinking wine and chewing betel
nut, as do the Ifugao themselves. However, the gods are quick to anger and if
ignored or treated badly can quickly become ill-tempered, demanding tyrants
capable of causing misfortune and injury." (UK essays, n.d.).
Threats: The conversion of the Ifugao to Catholicism weakened their
traditional culture. The hudhud was linked to the manual harvesting of rice which
is now mechanized. It has been replaced at funeral wakes by television and
radio. Although the rice terraces are inscribed on the World Heritage List, the
number of cultivators continues to decrease. The few people who know all the
poems are very old, and young people are not interested in this tradition.
Action plan: The rights of indigenous peoples are protected by Philippine
law, including their intellectual property. Publication of historical and ethnological
iconography is planned. The government also proposes festivals and indigenous
ceremonies. The National Library and National Museum are responsible for a
complete archive of the hudhud. A project teaching the tradition to young people
is foreseen. (UNESCO, May 18, 2001)
Numerous issues and concerns of indigenous peoples have witnessed
significant breakthroughs both locally and internationally in recent decades.

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM
Various means of struggle both within and without the formal legal system have
been employed. Defending ancestral lands and their resources remains the
major issue. Implicit in this battle to protect land and resources is the struggle to
preserve indigenous culture and traditions that are so often inextricably linked to
the land itself.
The Philippine Constitution, in recognition of this diversity and under the
framework of national unity and development, mandates state recognition,
protection, promotion, and fulfillment of the rights of Indigenous Peoples. Further,
Republic Act 8371, also known as the Indigenous Peoples Rights Act (1997,
IPRA), recognized the right of IPs to manage their ancestral domains and has
become the cornerstone of current national policy on IPs. (Molintas, n.d.).
Yet, despite these guarantees, the fact is that wherever IPs live, they
remain among the poorest and most disadvantaged peoples. The first-ever
Report on the State of the World of Indigenous Peoples, issued by the United
Nations Permanent Forum on Indigenous Issues in January 2010, revealed that
IPs

make

up

fully

one-third

of

the

worlds

poorest

peoples,

suffer

disproportionately in areas like health, education, and human rights, and

regularly face systemic discrimination and exclusion.
In the Philippines, IPs has been subject to historical discrimination and
marginalization from political processes and economic benefit. They often face
exclusion, loss of ancestral lands, displacement, pressures to and destruction of
traditional ways of life and practices, and loss of identity and culture. From

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM
economic development to environmental protection to justice, human rights, and
good governance, the protections and participation promised to IPs needs to be
mainstreamed through all relevant decision-making bodies and stakeholder
organizations. (United Nations Development Programme, UNDP) (Maentz, n.d.).
Indigenous tribe communities can be found in the islands of Luzon,
Mindanao, and some islands of Visayas. They either left to the hinterlands in the
face of western colonization or they stood their ground successfully and have
maintained a close link to their ancestral past. These communities are consisting
of a vast different collection of approximately 40 ethno-linguistic groups and each
of them has a distinct language, culture and myths.
Accepting silently the invasion of western culture and loosing
heritage and cultural identity. Ancient cultures often used myths to explain how
the world worked. They also used them to convey moral lessons by giving their
listeners a blueprint for how to act and behave. We Filipinos have its great story
telling tradition. However, these stories in the youth of todays tradition are losing
its appeal. We live in the present time full of stories with zombies, Greeks myths
and foreign heroes.

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM

Fig. Highest grossing film in the Philippine (visual media influence of society)

Fig. Digital games (visual media influence to the society)

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM

Fig. Favorite online games (visual media influence to the society)

Filipinos has the duty and obligation to himself, to his fellow countrymen,
to this country, and to future generations to come, to be the change and change
agents for each other. She also added that Sadly, apathy has become such a
chronic social disease of this country. (Niguidala 2012).
The ifugao ethno-linguistic group is one of the most well known and oldest
indigenous groups in the Philippines. Their culture and tradition has a significant
value to our nations history. The fate and the conservation of the group is up to
us Filipinos whom in the future we would pass to the succeeding generation.

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM

Fig. Distribution of Revenue and Cost for Arts, Entertainment and Recreation
Establishments for all employment sizes by Industry Group (National Statistics Office, 2010)

The annual 2010 national statistics survey in Philippine Businesses and

Industry, gambling and betting activities garnered 42 billion pesos that placed
number one holds in highest revenue making facility. Second on the list are the
amusement and recreation activities with 9.6 million pesos. However, the
museum was left in the last spot earning only 8 million pesos per year. This
statistics only indicates that people tend to choose places that satisfy only their
social needs, excitement, entertainment and pleasure rather than learning from
an institution.

Statement of the problem

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM
Major problem: How can the structure serve as a landmark that can not
only be represent modern /contemporary Filipino architecture but showcases and
exhibit the distinct characteristics of different myths and culture of Ifugaos?
Sub-problem:
1. What are the design guidelines that shall be used as a pattern in
designing an effective Museum?
2. What are the architectural techniques and technologies available that will
help the structure to be energy efficient?
3. How can the structure be suitable for interaction and experiential learning?
4. How can we unify environment to the architectural design of the structure?

Research objectives:
Major objective: To design a structure serve as a landmark that can not
only be represent modern /contemporary Filipino architecture but showcases and
exhibit the distinct characteristics of different myths and culture of Ifugaos
Sub-objectives:
1. To design a building that will satisfy the existing measure and guidelines of
museum.
2. To design a building that will integrate architectural techniques and new
technologies to help boost the efficiency of the structure

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM
3. To develop and design structure be suitable for interaction and experiential
learning
4. . To help gain economic growth and tourism of the site.

Conceptual Framework

Physical Aspects

Natural Aspects

Implementation of fungus chambers to

protect
the
artifacts
from
fungus
contamination

Using deception as a design approach

to convey an ambiance of a natural
indigenous setting for better
understanding and experiential learning

Incorporating
interactive
3Dpaintings,
customized
dioramas
simulating
different
experiential effects on humidity, charge particles
on air, temperature etc.

The use of louvers, blinds and

polarized glass filters to control the
natural light from occurring chemical
change on artifacts

Seasonal plants, trees and landscape

that blooms differently every seasons
for esthetics and distinct experiential
profile in each indigenous groups

Autochthonous Ifugao
culture and mythological
chronology interface
museum

Experiential
museum
building and landmark
recognition
design
solution

Adaptability to different distinct

culture in harmony that
recreate the perception of the
building as a whole

Recognized and effective

institution in preserving
and effectively imparting
knowledge in the nations
Myths , indigenous
culture and traditions.

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM

Adequate storage space considering strict

security plan, well insulated walls to protect the
artifacts from fungi due to extreme temperature
change and dampness

Rain collection

Flexible structure that

would start a trend in
Philippine contemporary
design structure

Wind scoop
Uneven variations of floor levels to mimic a natural ground

Proper building orientation considering the sun

path, and prevailing winds

Instantly recognizable shape, unique character,

culture oriented design can be recognize as a
landmark building

Guiding principle and references:

How to create a landmark building

10 measures of sustainable design (AIA)
Guideline for museums

Architectural Philosophy
I design Filipino, nothing else. Architect Francisco Bobby Maosa
The practice of architecture today is much more than determining the
relationship of spaces - how human requirements, such as working, eating,
sleeping, playing, travelling or worshipping, are creatively handled to meet
different needs. Architecture is no longer the sole practice of creating buildings.
Today, the design service profession, specifically an architectural practice, will
have to look beyond its traditional boundaries to provide a service that is holistic
and inclusive of a multitude of disciplines that affect everyday life.

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM
New Filipino architecture must be, in a way, a return to the old. Its forms,
materials, uses and applications must stem from it beginnings, from the age-old
customs and traditions of the people and the lessons of the past.
Copying other Architecture must be stop; copying other culture must be
stop. Developing our own is a must. An architecture that belongs to a people is a
repository of profound meanings and beauty; it can aid people in confronting the
fact of their mortality with courage and serenity, for they participate in all arts, in
the truest and perhaps the only kind of immortality.

Significance of the study

A myth is a sacred narrative about the origins of the world and the things in the
world, and therefore an integral part of a culture. A myth is believed to be true by
the people (culture) from which it came because religious or spiritual significance
is attached to it. Myths justify a culture's activities. They define a specific culture's
wealth in terms of collective mind possibilities every society has its own form of
myths, and interestingly, often these different myths are re-tellings of central
archetypal stories that are changed slightly to fit different cultures and
experiences.
One, one aspect of myths that cannot be denied is that they are ubiquitous
across all countries and The popularity of myths and the way that they are still

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM
read and studied just as much today suggests very strongly that myths are much
more than just stories, and that they have an important purpose in today's world,
just as they were important in ancient civilizations. Myths can be described as
sacred tales that help man understand the world and his place in it. Myths often
try to respond to eternal questions, such as the origin of the existence of evil, and
also, through the archetypes that they provide, seem to give guidance to every
generation.
Story telling tradition has always been a part of the Filipino culture. However, in
our new generations context, these stories are losing its demand. We live in the
present time full of stories with foreign myths and heroes and these threatens not
only our culture but also its identity. This myths and stories are part of which we
are, these stories have its part on us, on our identity and we should value it as
much as we value our culture. In the Philippines, indigenous groups have been
exposed to historical discrimination and marginalization from political processes
and economic benefit. They often face exclusion, loss of ancestral lands,
displacement, pressures to and destruction of traditional ways of life and
practices, and loss of identity and culture. (Maentz, n.d.).
The research intends to propose an autochthonous ifugao culture and
mythological interface museum for a private institution focusing on cultural
heritage and tradition especially on Ifugao indigenous myths. Students,
researcher, educational institutions , museum enthusiast and the general public
would be the primary users that would mainly benefit the museum project. The
project would not only be an educational institution dedicated in providing

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM
experiential learning and imparting knowledge about the myths, culture and
tradition of the ifugaos, but would also help boost nationalism among Filipinos. In
addition, the museum would help shape and uplifts the public's lifestyle and
views about museums and the ethno-linguistic groups in the country.

Scope and Delimitations

To satisfy the objectives above, the researcher covers the parameters that
will help the museum to fulfill its function as an effective institution in preserving
the nations rich historical, artistic and cultural heritage and providing scientific
and technical knowledge in more understandable and practical forms through
diorama exhibitions, and, interaction and experience. In addition, the study would
also focus on some of the primary concern of the project such as: function, site,
strengths, weaknesses, opportunity, threats, trends, architectural theories and
principles, architectural programming, building technologies and utilities, legal
constraints, operational aspect, socio-cultural, environmental, economic impacts
of the project, architectural treatments and advancement that would contribute to
the efficiency and success of the museum.

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM
However, this study is limited on the entire content of myths and rituals of
the Ifugaos, operation of machine equipment to be used in the operation of the
building, technical and detailed building structure and technologies, cost of
services, budget estimates, policies and implementation, and future scenarios
and vulnerability. In addition, the project is also limited to detailed computation of
the return of investment, cost and other related service.

DEFINITION OF TERMS
Autochthonous - (Of an inhabitant of a place) indigenous rather than
descended from migrants or colonists.
Diorama a lifesize display representing a scene from nature, a historical event,
or the like, using stuffed wildlife, wax figures, real objects, etc. in front of a
painted or photographed background.
Ethnos- is a socially-defined category of people who identify with each
other based on common ancestral, social, cultural, or national experience.

AUTOCHTHONOUS IFUGAO CULTURE AND MYTHOLOGICAL INTERFACE

MUSEUM
Implicit- understood though not clearly or directly stated
Inferiority complex - is a lack of self-worth, a doubt and uncertainty, and
feelings of not measuring up to standards. It is often subconscious, and is
thought to drive afflicted individuals to overcompensate, resulting either in
spectacular achievement or extreme asocial behavior.
Interaction -

is a dynamic, changing sequence of actions between things,

individuals (or groups) who modify their actions and reactions due to the actions
by their interaction partner(s).
Interface - in the work environment, a point of interaction between systems or
work groups.
Museum - is an institution that cares for (conserves) a collection of artifacts and
other objects of scientific, artistic, cultural, or historical importance and makes
them available for public viewing through exhibits that may be permanent or
temporary.
Philippine mythology - is derived from Philippine folk literature which is the
traditional oral literature of the Filipino people. This refers to the wide range of
material due to the ethnic mix of the Philippines. Each unique ethnic group has
its own stories and myths to tell.