INTRODUCTION

Hello, my name is … we would like to welcome you to our exhibit in celebration of the
National Indigenous Peoples Month (NIPM) and the 2022 Museum and Galleries Month
(MGM) we are pleased to present, "PagtIPig: An Exhibit of Indigenous Culture and
Local Artifacts."
This is one of our activities on the dual celebration of MGM (Presidential Proclamation
No. 798, s. 1991) and the National Indigenous Peoples (IPs) Month (Presidential
Proclamation No. 1906, s. 2009).

Section 1 (IPs) Introduction

With this, the forum is entitled "PagtIPig: An Exhibit of Indigenous Culture and Local
Artifacts” highlighting the concept/word “Pagtipig”, a Hiligaynon for “preserving, keeping,
and to guard well”. The activity hopes to primarily discuss the roles and contributions of
the indigenous cultural communities in Mindanao. Most importantly, conversations on IP
history, culture and heritage, issues, challenges and interventions, will be emphasized
to recognize the need for promotion, preservation, and protection of their welfare and
rights.

Section 2 (HST142) Introduction

Bearing the concept (title) “PagtIPig” (Pagtipig), a Hiligaynon for “preserving, keeping,
and to guard well”, this week-long exhibit features the idea of displaying local artifacts,
traditional craftsmanship, and artworks reflecting Mindanao's continuity of identities,
heritage, and cultural uniqueness which evokes preservation, protection, and promotion.
Inspired by this, the exhibit also conveys the importance of creative platforms to foster
cultural awareness and culture sensitivity.

PAINTINGS 1 (Entrance)
(Just introduce them to the paintings…)

MATERIAL CULTURE (BY HAND AND BY MEN)

 Material culture refers to the physical aspects of a society, the objects made or
modified by a human.
 Material culture is the aspect of social reality grounded in the objects and
architecture that surround people. It includes the usage, consumption, creation,
 and trade of objects as well as the behaviors, norms, and rituals that the objects
create or take part in.
 Material culture are tools, weapons, utensils, machines, ornaments, art,
buildings, monuments, written records, religious images, clothing, and any other
ponderable objects produced or used by humans.

SECTION 1 (IPS) NARRATIVE

The first section of the exhibit showcases the various clothes, tools, and instrument
used by Indigenous People in Mindanao. Namely, the Higaonon from Iligan, the T’boli
from the coastal province of South Cotabato, the Umayamnon Manobo within the
headwaters of Pulangi River in Bukidnon Province and Umayam River in Agusan del
Sur, the Pulangihon from the village of Butong, Municipality of Quezon, Bukidnon and
Tigwahanon Manobo from Lawatan, Municipality of San Fernando, Bukidnon.

The Province of Bukidnon is home to seven tribes, namely: Talaandig, Higa-onon,

Bukidnon, Umayamnon, Matigsalug, Manobo and Tigwahanon. 

Higaonon
[HISTORY] They are a nomadic tribe, traveling from one mountain to another, looking
for fertile soil for a fruitful harvest. The name Higaonon is derived from the words higa
meaning living, the word goan, which means mountains and the word onon meaning
people. All togethe these words form the description of the tribe as "people of the living
mountains." This tribe, also named "people of the wilderness”, is one of the least known
ethnic groups that inhabit the hinterlands of North-Central Mindanao. They are scattered
over five provinces, Bukidnon. Agusan del Sur, Agusan del Norte, Lanao del Norte and
Misamis Oriental. Ever since "the Times of Creation " the Higaonon have lived and
continues to live in their ancesteral forest homes, undisturbed, managing the forest in a
natural way.
 Worn by female Higaunons of Bukidnon and Iligan City.
 Panika, the headdress of the Higaonon women, symbolises a sacred
responsibility to champion their cultural heritage. Not any Higaonon woman can
wear the panika. She has to make the commitment, and be recognized as a
conduit of continuing the Higaonon traditions. Pusaka pertains to precious
resources, both tangible and intangible, that remains in the Higaonon’s ancestral
territories.
 The wearing of beads and Higaonon costume symbolizes pride and identity of
the tribe.
  One most common symbol from the literary pieces is the wearing of the
Higaonon costume which stands for pride and identity of their tribe.

INDIGENOUS HANDICRAFT 1

Manobo, Tigwahanon
[HISTORY] The Manobo are a big group of ethnic Mindanao people divided into several
sub-tribes. Anthropologists have given varied groupings, including the Tigwahanon. The
Tigwahanon inhabit the Bukidnon and Davao del Norte border, specifically in the
municipality of San Fernando Watersheds in Agusan del Norte, Bukidnon, Agusan Sur
and Misamis Occidental.
 A Manobo subgroup residing in San Fernando, Bukidnon.
 The Tigwahanon Manobo are found along the watershed of Tigwa River in the
place where the municipality of San Fernando is located namely in the following
places, Tugop, Little Bagiou, Kumawas, Halapitan, Iglusad, Bunacao, Katipunan,
Kiboncog, Namnam, Matimbus, Sabangan, Lumbayao, and Don Cesar plain;
Kalagutay, Palacpacan, Dao, Tag-alas-as and Abehid.
 The term Tigwahanon may have been derived from the Tigwa River where the
Tigwahanon inhabits its banks and watersheds
 Among the Tigwahanon, the women wear the pakabu, a blouse with flared
sleeves.
 It is embroidered on all the seams, i.e., the cuffs, shoulders, sides, neckline, the
hemline, which is at the waist level. Typical decorative colors are red, yellow,
white, and blue. Binain or decorative patterns are geometric., such as diamonds,
rectangles, squares, and triangles; horizontal lines and zigzags; and
representational figures such as a dancing man, stars, leaves, and crocodiles.
Patchwork consists of red, white, and black cloth; embroidery colors are red,
white, black, yellow, blue, and green. Based on the type of decoration used,
western Bukidnon women's blouses are called linebian (zigzag) kinulingtan
( striped patchwork), tinedtezan (geometrical patchwork patterns).
 The Tigwahanon also have the ampit, a barrel skirt shorter than the malong, with
an inwoven checkered design.
 Tigwahanon women sometimes tie teir bangs back and wear the lambong,
strings of beads, in place of their bangs.

INDIGENOUS HANDICRAFT 2
Manobo, Umayamnon
[HISTORY] These Indigenous peoples dwell along the watersheds of Pulangi River in
Bukidnon Province and Umayam River in the Mountains of Pantaron in the Eastern side
of the province of Bukidnon which is in Agusan del Sur. They are fair in complexion five
feet or above in height. Their eyes are set closed enough to each other with an average
height of nose bridge. They are proud and reserved people. The Umayamnon is
synonymous to fierceness for their group is regarded as warlike and forest experts. But
according to Opena (1982), these people are just suspicious and wary of strangers for
whenever there are crimes committed in places that are easily reached by law enforcing
agencies, the criminals often flee to the Umayam region hence criminals are often
hunted in Umayam and almost always these hunts are futile.
 A male Umayamnon costume of Cabangsalan, Bukidnon. The Umayamnon are a
Manobo subgroup.
 The Umayamnon Manobo wear royal blue, and the Matigsalug, navy blue, with
red and white as the favorite embroidery or patch work colors.
INDIGENOUS HANDICRAFT 3

Manobo, Pulangihon
 Worn by female Pulangihons of Central Bukidnon. This group is usually living
along or near the Pulangi river.

T’Boli
[HISTORY] In the Philippines, there is a curious ethnic group – the Tboli people. They
have beautiful traditional costumes, decorated with embroidery, beading, woven
patterns, and extraordinary jewelry pieces. Let’s have a look at their folk outfits and also
find out how some items of their clothes are made. Another interesting part of this article
is an interview with Tboli craftswomen who will talk about their cultural peculiarities, the
tnalak fabric – historically made on the island, and the craft of weaving in the
Philippines.
The Tboli tribes are indigenous peoples of the Philippines. They traditionally live in
Southern Mindanao. Let’s have a look at the national clothing of the Tboli people from
Lake Sebu, Mindanao, the Philippines.
 The T’boli, the indigenous people of Lake Sebu in the highlands of South
Cotabato, Mindanao, design the abaca tie-dyed t’nalak textile. The t’nalak are
woven dreams. Its tie-dye patterns are handed from mother to daughter, or
bestowed on the weaver in dreams by Fu Dalu, the female spirit of the abaca.
Like the t’nalak, the artist tries to preserve the original nature of the material as
 much as possible, as shown by the undyed threads and the feel of the finished
product.
 This devotion to the natural world is a reminder of the sacredness that it
possesses. This is true to many other art forms of the Philippines, being able to
distinguish where all created art is derived from is the continuous honoring of the
gifts of life.
 A female T’boli costume from South Cotabato.
 These are Tboli women wearing the traditional dress called “Kegal T'boli”. The
traditional female blouse is called “kegal bentilas” and the skirt is “lewek
tedeyung”. The headdress – “sewat”. The necklace is called “bekelew”. The
women are also wearing beautiful beaded belts – “hilet lemimet”.

PAINTINGS 2 (Side)
(Again, introduce them to the paintings, and don’t forget the transitional stage of the IPs
to the HST142 Local Artifacts which is the Sketch provided by Micah Jarales)

SECTION 2 (HST142) NARRATIVE

From the rich culture of the selected Indigenous People in Mindanao to Local Artifacts in
HST142, Museum and Archival Management course. In the second section of the
exbibit showcases the literary items, sketch, cameras, photos, telephone, jewelries, and
tools that dates back from 1960’s up to early 2000’s.

Sketch, October 1992

Model: Dolorito Enerio Jarales
Artist: Ignacio Celesio
Materials: Charcoal Pencil and Illustration Board
Uncle Dolorito's looks and attractiveness impressed to the artist, who used them as
inspiration for creating his portrait. For the sketch, he takes a 2x2 image as a reference.
Ignacio Celesio, the artist, was my uncle’s coworker at NPC and a former bodyguard.

Philippine Music Horizons, 1914

This book was used to lay down the foundation for appreciating and performing music
for elementary students. As part of music education during American colonial rule,
songs conveying the message of patriotism are highlighted. In addition, the collection of
original musical compositions from various provinces (folksongs) and abroad is also
presented to develop a musical appreciation for the younger learners.
Vidal Tan
Applied Arithmetic for Philippine High Schools, 1934

Conrado Benitez, et. Al

Philippine Social Life and Progress, 1937
Published during the American colonial rule (Philippine Commonwealth period), these
books were used in Philippine schools.

Robin Hood, 1923

One of the oldest books from the collection, this badly damaged antique book has
withstood total deterioration since it was encased in a plastic cover inside a steel
cabinet. The patriarch of the family values the importance of reading as manifested in
their collection of books.

CAT Certificate, 1984

This CAT certificate was in 1984. My mother was an officer: captain as well as a platoon
leader.

Costume
It was my brother's costume when he joined a contest way back 1994 when he was in
kindergarten. He won the contest because of the design of the said costume. My mother
kept it until now as a remembrance. It went through Sendong as well.
Nikon RF10, 1992
The Nikon RF10 is a camera from Nikon. It is a simple camera for snapshots. It was
introduced in 1992 and was only offered in some markets by the Japanese
manufacturer. The model was also marketed as Nikon Smiletaker / Smile-Taker. There
is no Quartz Date model, like so many Nikon compact cameras from the 90s.
The 35mm camera comes with a fixed lens. The focal length of the lens is specified with
quite unusual 34 mm. The maximum aperture is f/4.5. The lens is focused by autofocus.
The point and shoot camera has a built-in light meter. The exposure settings are
automatically adjusted by it. The camera comes with a built-in flash.

Konica Pop Camera, 1982

The Konica Pop (marketed as C35 EFJ in Japan) was a popular 35mm compact
camera by Konica, made from 1982. It had fixed focus, one shutter speed, and manual
film advance and rewind. There is an 'ISO selector' which is basically an aperture
selector. Was bought by Joy Balungcas around 1900’s to capture every moments and
sending it to her family with a caption that can be read at the back of the photos.

Canon PowerShot A400, 2004

The PowerShot A400, which replaces the entry-level PowerShot A310 released in
March 2004, incorporates a high-resolution 1/3.2″ 3.2-megapixel CCD sensor and, in
response to user demands, a 2.2x optical zoom lens (equivalent to 45-100 mm in the 35
mm format), enabling a broader range of shooting possibilities.
Though an entry-level model, the A400 offers users plenty of advanced shooting
features, including a selection of eight Special Scene modes, and Canon’s Print/Share
button* for enhanced photo-printing and file-transfer convenience. The camera also
offers exceptional styling, adorned with a brush-finish aluminum front panel and
available in four body-color variations: Silver, Blue, Green, and Orange.

Yashica MF-2 SUPER with Photo Album, 1994

Made by Yashica in 1980, and was bought by the Varquez family in 1994. Heavily used
during occasions and events in early 2000s. Photos of the photo album was taken by
the camera itself.

Stamp Collection, 1960s – 1970s

A collection of old Philippine stamps that showcases not just the historical events of the
country but as well as its culture through the immortalization of its image in the form of
artistic design in these stamps.

Konica S III with Tripod, 1963

A 1963 Camera.

Garlet Family Bracelet Heirloom, around 1890's

This bracelet was initially given by my paternal grandparents to their daughter,
Valeriana Garlet (my grandmother) and then to her son, Peter (my father) the only child
my grandmother trusted to keep the bracelet. There is an incident about a flood in
Negros that nearly cost the bracelet's existence. Good thing that it was retrieved despite
the fact that it was covered in mud and washed-out overnight by the flood.
Japan Pearls, 1997
A set of Japanese Pearls composed of a necklace and a pair of earrings. This was
given by Almelinda Iwao (my mother's niece who lives in Japan) to Purie Deguit (my
mother) as a gift. One pearl was originally given, but as the years passed by, it grew
slightly bigger and lately reproduced another pearl.

Philippine Coins, 1980-1990

Philippine copper coins minted in the 1980s and 1990s. These aren't just old coins;
they're part of an age-old ritual meant to bring good fortune to the whole family.

Old Philippine Bank Notes

 Bills during the Philippine Commonwealth
 During the Japanese Occupation
 1944 Mindanao Emergency Currency Board Bills
 Post-war Philippine Bills
 Old Philippine Coins

Petromax, 1980’s
This petromax was made in the 1980's and it has been around with the Diangco family
for a long time. It has been utilized for livelihood and is mainly used for fishing.

Key Holder, 1977

Scotland
Owner: Florie Licayan
This souvenir belonged to my godmother's first cousin. She was the first member of her
family to travel outside of the country; she was an exchange student from MSU Marawi
to Scotland. She purchased this key holder as a memento before returning home and
gifted it to Florie, my godmother. At the time, my godmother was still a freshman in high
school. She recently gave me this key holder after knowing that I enjoy collecting
vintage items.

Antique Flat Iron, 1900’s

 It was sometime in the 1900s when the charcoal flatiron from Europe found its way
to the Philippines. One of the companies that manufactured them was Philimco, short
for Philippine Iron Manufacturing Corporation. This type of clothespress is the reason
why we call these things “iron” and also use the phrase “to iron clothes.” Filipinos began
calling the new charcoal-fired iron prensa de corona or crown press because of the
design on the lid which looks like a crown.

Leather Wallet, 1990

Alex Marikina made; pure leather wallet bought in 1990 during the owner's (Jensen
Palubon) teenage years. It has witnessed more than half of the owner's life and
finances. Bringing it along with him on gang fights during the day here in Iligan City. The
wallet even survived Typhoon Sendong in 2011, being the only material item that was
saved by his family. Today, the wallet was now in his son's possession.

FINALE
Give some concluding words that connects IPs and HST142. (Subjective, it depends on
every curator or guide during that day)
Any questions?
Encourage them to scan the QR code so that they can evaluate our exhibit.
Parting words…