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I WAS
mildly amused, in a rather tragic-comic way, to note
that as the drama of Cess Drilon unfolded in Jolo,
another drama unfolded at the Yuchengco Museum on Ayala
Avenue in Makati City. While the Drilon saga most
unfortunately portrayed a part of the Philippines as
seemingly peopled by thugs, a place where law and order
does not seem to exist, the Yuchengco Museum narrative
projected a golden era of the nearly forgotten sultanate
of Sulu, a place peopled by proud warriors whose
collective pride and perseverance established one of the
strongest premodern states in maritime Southeast Asia,
one that enjoyed prosperous trade relations with China
and other kingdoms of the region. Alas, our history
books often begin with Magellan and, alas, our
apparently biased dominant Christian discourse seems to
disable us from recognizing the great achievements of
Muslim Filipinos, particularly the Tausug—the setting up
of state organizations beyond the level of the barangay
and the maintenance of military might with the
well-tested capability to resist the West.
This
exhibit is most appropriately titled Beyond the
Currents: The Culture and Power of Sulu. The title
reveals a play of words as “sea current” is sug in
several Southern Philippine languages, and the Tausug,
“the people of the currents,” are the main actors in
this narrative of power, culture and place. Although
unvoiced in its annotation, the exhibit aims to fill out
a historical vacuum in our general perception of
Philippine history and, perhaps, borrowing from the late
scholar Cesar Adib Majul, to emphasize a most important
point: that “the history of a conquered people who
ultimately revolted has now merged with that of another
who had remained unconquered.” If shared history is one
of several elements that make us a people, then knowing
the history of the sultanate of Sulu should be part of
our process of national completion.
In a
heady combination of maps, photos, prints, military
artifacts and other objects, the exhibit illustrates the
beginnings of the sultanate and its rise as a regional
power effectively balancing the forces of the Dutch,
British, Spanish and, much later, the United States of
America in an area of robust maritime trade that James
Warren calls “the Sulu Zone.” Other peoples play their
part in cultural production, trade and power-brokering
in this multi-ethnic world that was and still is
politically dominated by the Tausug. Guarding old lands
and the shrines of early Islamic missionaries are the
Sama Dileya (land-dwelling Sama people, a.k.a. Samal in
the Tausug language). Many artisans in the metal craft
of olden days come from this group of people employed by
the Tausug to forge their weaponry. Knowledgeable in
shipbuilding and in the ways of the sea, the Sama Dilaut
(sea-dwelling Sama, a.k.a. Bajau, Badjao or Badjaw in
Tausug and Indonesian languages) proved to be
indispensable to Tausug naval might. They also served as
the “zone’s” best fishermen, pearl divers, bat (sea
cucumber) gatherers and mat weavers. Supplying the
sultanate’s reserve of olipon, or slaves, were the
much-feared Sama of the islands of Balangingi (a.k.a.
Sama Balangingi), who conducted raiding expeditions in
Borneo, Sulawesi and as far north as Bicol. Warren
characterized this arrangement as “...a segmentary state
patterned in a mosaic principle of ethnic segmentation
and economic interdependence....”
So much
for history and ethnography...what can be seen? As this
is an exhibit about power and culture, most impressive
indeed is the presentation of the material artifacts of
war. For those enamored by samurai katana swords and
ninja outfits, look no further for Sulu could offer an
equally notable assemblage of military objects. No,
no...not that we are proponents of war. The aesthetics
of the objects themselves provide much food for thought.
Lantaka cannons impress both in terms of scale and
ornamentation. Budjak spears proudly stand as tall as
five feet in height. I was quite excited in seeing these
spears for real. The last time I saw images of its kind
was in the recently recovered movie Zamboanga, featuring
Fernando Poe Sr. The film was apparently filmed in Jolo
in the late ’20s. The exhibit’s section on the kalis
blade was quite comprehensive. This Southern Philippine
articulation of the kris or keris comes in
several versions, including one called kalis talo
seko (literally, kalis with three waves). In
the Malay world, magical qualities are attributed to
such weapons and some are even made of materials
combined with metals from meteorites. Other weapons
featured are the barung, a pointed long blade
with one sharp side, and the kampilan, a
double-edged weapon. The silhouette of armors, called
taming, is reminiscent of Chinese models albeit made of
linked plates of turtle shell or carabao horn!
The
exhibit also presents numerous objects of nonmilitary
nature. I would like to draw attention to some that are
known for the high level of technique used in their
production. Saruk nituan, or hats made of nito,
are well-admired by Japanese masters of basketry for the
intricate weaving techniques found in their interior.
Luhul (Tausug) or kulambu (Sama) are appliquéd
ceiling textile pieces that define a sleeping area much
like a palanquin cover. Particularly prized is the very
intricate and, therefore, very labor-intensive “tree of
life” design. This motif is also found among many
cultural communities in Sabah and Sarawak.
Sambulayang are decorative flags hoisted from boats
during festive occasions. They are made using appliqué
and quilting techniques usually associated with the
Sama Dilaut. Pis siyabit or pis saputungan
headcloths are made of either cotton or silk employing a
very rare tapestry technique found only among the Tausug
and the Yakan. Habul tiyahian are embroidered
lengths of cloth usually used as tadjung (or
patadjung, tubular lower garment) or siyag
(shoulder sash). Their traditional designs reveal
Chinese influences in motif and color combination. These
objects are increasingly becoming very rare and are
considered heirloom pieces by many Tausug women who
display them during weddings and other festive
occasions. Even rarer and most exquisite are the betel
boxes made of silver, brass and brass with silver inlay.
Their beaten motifs of lotus blossoms are most similar
to that of Thai and Khmer pieces. Perhaps this
similarity belies more extensive connections in the
Southeast Asian past.
Finally,
two images should not be missed. These are the
photographs of two of the Sultanate’s most influential
women, Princess Tarhata Kiram and Dayang Dayang Hadji
Piandao. I have heard from old-timers of Jolo that the
two vied to have their husbands installed as sultan of
Sulu. One represented the House of Kiram and the other,
the House of Amilbangsa. Apparently, two coronations
followed two Rumah Bicara (parliaments or literally,
“house of discussion”)...and the rest is history.
There
are two types of exhibits that privilege people, places
and artifacts. On the one hand, there is the type that
surveys a whole gamut of images and things; and on the
other, there is the type that draws attention to a
particular artifact or artistic expression. Beyond the
Currents clearly belongs to the former. It satisfies our
thirst for knowledge about the sultanate of Sulu well
beyond usual expectations. I look forward to future
exhibits of the latter type under the curatorial
leadership of Dr. Abraham Sakili and Ramon Villegas.
***The
exhibit is ongoing until September 24 at the Cone and
Dragon Gallery of the Yuchengco Museum. For inquiries:
889-1234, info@yuchengcomuseum.org. |
