The Manunggul Jar

The Manunggul jar is one of the anthropomorphic potteries found by archaeologists from the National Museum and by U.S. Peace Corps volunteers Hans Kasten, Victor Decalan, et. al. in a burial site in the Tabon Cave Complex in Lipuun Point, Quezon Province in March 1964. Discovered in Chamber A of Manunggul Cave, this burial jar featured a vessel carrying two human figures in sitting position, with the one behind steering the boat and the other waiting to reach the afterlife. The Manunggul jar is classified as a secondary burial jar, which means that only the bones top cover and is painted with hematite - a type of mineral that produces red coloring once souls sailing to the afterworld in a death boat.

of the corpse are placed inside. It has an elaborate design consisting of scrolls and curves on the subjected to heat. However, the most remarkable part of the jar is its lid which features two

The figure at the rear is holding a steering paddle, although the blade of the paddle is missing. has its arms folded across its chest which was the usual position of a corpse being prepared for burial. It also seems like the figures are wearing cloth bands tied over the crowns of their heads, more evidence of indigenous burial practices in the Philippines.

The one in front is believed to be the soul of the person whose remains are inside the jar, since it

Tnalak

An exotic fabric made through a centuries-old process of tie-dye weaving by the Tboli women of Lake Sebu, South Cotabato has captured the fancy of Filipinos as well as people around the world. Called tnalak, it is made into bags of different sizes, attach case, wall decors, blankets, jackets, purse, clothing, cigarette case, belts, portfolio and others.

The tnalak occupies a special significance in the lives of the Tboli tribe. Basically used for blankets and clothing, the tnalak is considered helpful for safe delivery when used as preexchange of kemu (traditional properties) such as heirlooms, gongs, horses, work animals, ancient swords and other tribal artefacts. natal covering. Sla-i (marriage arrangements) are considered lousy without it during the

The presence of the cloth during certain feast gives it a sacred value. Tbolis consider it taboo to cut the cloth because they believe that act will make them seriously ill. Tribe members who sell the fabric often attach bells to appease the spirits said to have guided the weavers.

Superstition surrounds the making of the fabric. Tboli libon (tribeswomen) who make the clearly in their dreams have certain meanings and requirements.

elaborate weaving and design find it easy to process the cloth after a dream. Designs they see

When I dream about the gamayaw logi, a cloth design embodying the male and female the duration of the weaving, said first class weaver Ye Lo.

symbol, that means my husband and myself have to abstain from any sexual contacts for

If we do, the threads will break and the woven design wont emerge clearly, she adds. Gabriel Ungkal, an expert Tboli classifier said that out of some 2,000 Tboli weavers, only 21 are class A rated weavers. Majority of the expert weavers, refuse to follow any ordered designs unless they dream about it, he said.

Expert weavers are being encouraged by the Santa Cruz Mission of Lake Sebu, to pass on

their unique skills to their female children to ensure a next generation of women weavers. The making of the tnalak is a tedious process composed of rituals especially done during the night when the air is cool and the fibre is at the right elasticity.

The weaving of the cloth takes almost two and a half months for a piece about 20 feet long. During the weaving process, silence and an atmosphere of solemnity is observed by the mean repeating the whole process from the very beginning.

members of the household. A single mistake in the weaving pattern due to distraction would

The tnalak is a product of a unique and tedious method of tie-dye weaving, a very meticulous process of cloth designing done on a bamboo and wooden loom.

The gathering and processing of materials alone are highly complicated. Fibres selected from fruit-bearing abaca plants (Manila hemp) usually about 18 months old, are stripped by hand from the soft wet pulp of the plants stalk. This is then made flaxen and pliable by repeated combing and weeks of air drying.

After some time, the fibres are laid out on a simple wooden loom. The abaca fibres now waxed strings will not be penetrated by the dye.

stretched out on the loom are tied with other fibres rubbed in beeswax. The area covered by the

The process of tying itself is real artistry because no measuring instrument is used. Only the finger joints (length of the index fingers) are used to measure the intricate designs. Yet, patterns emerge with artistic consonance and precision.

After the painstaking tying, the fibres are then prepared for dyeing. The black dye is tree.

extracted from the leaves of the kenalum tree. The red dye is taken from the roots of the loco

In the dyeing process, two earthen pots, one on top of the other, mouth to mouth, are then used Steam pushes the dye upwards to the bundle of tied threads in the upper pot. After the dark colour has been achieved, some waxed strings are removed.

to boil the fibres repeatedly, for three weeks, for the black colour and only two days for the red.

The newly-exposed areas are then dyed red. A variety of colours (black, dark, cream and the natural flaxen colour of the fibre) can be produced by removing the remaining waxed ties. or streams. When the dyeing process is completed, the fibres are then removed and rinsed along river banks

Patterns and designs range from the tranan suwu (snake), sobo bun (frog), betek boluk others.

(flower designs), bed buyus (spear), buling longit (clouds), bangala (house) and scores of

After the rinsing process, the cloth is again air dried for a week. It then undergoes the lemubag (wood pounding) where the fibres are rendered pliant and flexible.

For the final touch, the tnalak is laid out on a bamboo fixture where it finally passes Tboli craftswomen use the saki, a big turtle-shaped sea shell for this purpose.

through the smaki (shell rubbing), a method of bringing out the lustre of the finished cloth.

The smaki (saki shell-rubbing process) brings out the waxy sheen of the cloth. Davao City residents who recently took a penchant for things native are craving to lay their hands on various tnalak designs (all designs are uniquely different). Home owners with a touch of class use tnalak for upholstery of sofa sets, dining tables and wall decors. layered jackets.

Professionals with sophisticated taste go for tnalak attach case, portfolio or handbags and

The exceptional quality of the fabric is a rich legacy of creative art handed down from

generation to generation for thousands of years. Perhaps what made the t'nalak clothe

making endure for centuries is the artistic and spiritual dedication by the T'boli women of

Lake Sebu. (The hinterland town of Lake Sebu situated two thousand feet above sea level in South Cotabato, Southern Mindanao, Philippines is populated by five other indigenous country or elsewhere). tribes speaking entirely different and distinct languages not found in other provinces of the

The cultural and spiritual significance of the t'nalak in the lives of the Mindanao

"Lumads" (People of the Earth) coupled with the loving desire of the indigenous women to teach their daughters this special skill and lifetime livelihood continue to strengthen the bond between the old and the new generations of native women.

Indeed, the tnalak which gives colour to the Tboli world stands as a proud symbol of a rich cultural heritage and a strong bond which continue to remind Filipinos of their long forgotten ancestors.

The Bul-ul
The Bul-ul or Bulol is an Ifugao anthropomorphic carving that symbolizes an Ifugao rice god or guardian spirits. It also signifies fertility and is sometimes believed to house spirits of ancestors. A Bulul has a simplified shape of a human being, whether male or female. It consists of a simplified head, a torso, and a pair of hands and legs mounted on a platform for stability. It is carved out of strong narra or ipil wood and sometimes stone. Sizes also vary, depending on its use. Bululs are usually made in pairs, a male and a female, but some are done individually. This traditional art form may seem crude, lacking in sophistication, but it has been praised as a fine example of abstract art. Although bululs are now produced and sold as a variety of souvenir items or decorative art, it is actually a fundamental part in Ifugao culture. Bulul plays an important role in the agriculture of the Ifugao people. It is involved in the ritualistic aspects of rice production, from rice planting up to the safekeeping of the harvest in rice granaries. The sculpture is made mainly as guardian of a rice granary. The process of creating a bulul includes the baki or a ritual by the mumbaki or priest to ensure its power. Careful selection of the wood is made and it is consecrated with pigs blood. A big granary may require two bululs. There is no standard size although manageability in carrying it in and out of the granary is a consideration. A wealthy kadangyan or noble may have more than one bulul in his house or granary. It is regarded with care and respect. Treating it otherwise is believed to result in hostile manifestations such as sickness and pestilence from the spirits or ancestors. When used in rituals, it is to be properly positioned in front of the rice produce. The male bulul is placed at the right and the female at the left. The bulul is touched by hands dipped in chicken or pigs blood in what is called a tunod ritual during the rice planting season. Occasionally, ornamentations may be placed on the bulul. For the male bulul, a g-string and for the female, a tapis or a waist cloth, with earrings and anklets to match.

Stocking a kitchen with great gadgets and utensils can be really fun, although daunting. There are a few ways to begin collecting the equipment, utensils and appliances you need. One is to look through a list like this one, check off what you need, then go on a shopping

Cooking tools and equipments

spree. Another is a trial and error method. As you begin cooking, you'll quickly realize what a pie crust and realize you have no rolling pin, it can put you off pie crusts forever. If you really want to save money, take some time to cruise garage and tag sales. You can find shopper. excellent cooking equipment, utensils, and even appliances for pennies if you are a savvy

utensils your kitchen is missing. Believe me, the first way is better! When you want to make

This is the basic list of equipment and utensils for cooking beginners. There may be other items you want to add. That's just fine! As long as a kitchen utensil or gadget works for you, and knives I bought 20 years ago that are still going strong. You can do the same. you use it, it's a good buy. Shop for quality over quantity, especially at first. I have several

Knives

made of high carbon stainless steel 3 or 4" paring knife a serrated knife 8 or 10" chef's knife

Measuring Cups and Spoons

Various sizes, in metal and plastic

Get at least two sets of each, so you're not continually washing them as you cook glass measuring cups with spout, for liquids

Spoons

slotted spoon

wooden spoons Soup ladle

sturdy metal spoons

Mixing Utensils

hand held electric mixer eggbeater

Wire whisks in different sizes

Spatulas

straight spatulas

angled handle spatulas rubber scraper spatulas

Sieves and Colanders

nested varying size sieves, in stainless steel (work as flour sifters too) steel or plastic colander

Pots and Pans

1, 2, 4, and 8-quart saucepans with covers 12" skillet with covers roasting pan 6 or 8" nonstick skillet two 9" round cake pans

9" square cake pan 9"x13" baking pan 9"x5" loaf pan 9" pie pan

12 cup muffin tin cooling racks two cookie sheets

Miscellaneous

swivel-bladed vegetable peeler rolling pin can opener

grater with various sized holes

kitchen timer corkscrew

kitchen shears