Pre-Hispanic Marriage Customs.
- When any man wishes to
marry, with his friends there for encouragement, he throws a spear toward
the front of the house while invoking their ancestors and the deities,
asking them for their blessings to the marriage. This was an announcement
to the family and everyone else that he wishes to marry their daughter.
- Once the marriage is
planned, the groom’s family must offer a dowry to the bride’s family.
These can range from domestic animals like chicken, pigs, or karabaw to gold
to land. The dowry is discussed between both families until both
agree.
- A dowry (bigat kaya) given
to the bride’s family was thought as reasonable since women were
considered highly in society as they were the givers of life, took on the
roles of taking care of the money and trading affairs, had craftsmanship
skills such as sewing and looking out after the household and raising the
children. Unlike other societies, women were considered equals to men and
were involved and often consulted in their husbands affairs.
- Besides the dowry the
groom had to serve the brides parents for a certain amount of time,
ranging from a couple weeks, to months, to even a year. They had to help
in preparing food, assist in the sowing of the rice and harvest, and other
chores to prove he is capable of supporting his wife and family.
- Before the marriage
ceremony, the parents of both families don’t allow the couple to eat, see,
or talk with each other.
- The whole wedding ceremony
takes around 3 days with every member from both sides of the family
involved in the preparation.
- On the first day of the
marriage ceremony the betrothed are told by the babaylan
(priestess/priest, known as katalonan, mumbaki, bailan, etc. in other
languages) that both may marry each other on the condition that if the man
shall through immoral conduct fail to support his wife, she can leave him.
The bride won’t have to be required to return the dowry that he and his
family has given and she may have the freedom of marrying another man. If
the bride does the same and betrays her husband, he can take away the
dowry he has given and leave her, thus ending the marriage and be able to
marry another woman.
- At the end of the speech,
the babaylan takes a dish filled with clean and uncooked rice and joins
the hands of the pair and lays them over the rice. She then holds both
their hands and throws the rice over everyone present. She shouts and
everyone else shouts along with her in joy and for blessings for the
couple. Once everyone calms down they all start the feast until the second
day of the ceremony.
- On the second day, the
bride and groom complete a blood compact . The babaylan pricks both of the
couple’s chest with a thorn to draw a little bit of blood. She then asks
the couple to join hands and asks them to declare their love for each
other 3 times. Next the babaylan feeds them cooked rice from the same
plate used the previous day. She then gives them a cup for both of them to
drink from that is mixed with water and the blood the babaylan took from
the couple.
- Once that is done the
babaylan then binds their hands and necks together with a cord and
declares that they are now one. This ends the ceremony and another feast
begins.
- On the last day where
there is another feast and celebration, the bride is ceremoniously bathed
and with her wedding finery again, she is finally handed to her groom by
her family and both go to their new home and lives.
In the luxuriant homeland of the province’s seven hill tribes, a
tribal wedding is given the utmost significance because it fosters unity and
peace.
It is seen as a way to mend tribal gaps between clans having
disagreements, especially, when a man is so smitten with the woman in another
community or clan.
To mark the importance of this rich heritage, the Bukidnon provincial
government annually celebrates the month-long “Kaamulan” cultural festival from February
18 to March 10, where
local and foreign tourists flock to witness the popular street dancing and
tribal wedding.
"Kaamulan" is from the Binukid word “amul” which means
“to gather.” It is a gathering of Bukidnon tribes people for a purpose. It can
mean a “Datuship,” a ritual, a wedding ceremony, a thanksgiving festival during
harvest time, a peace pact, or all of these put together.
Russel Aquino, Chief, Bukidnon Indigenous Cultural Affairs Office
said at the beginning of the occasion there is always a solemn prayer giving
thanks to the ‘Magbabaya’ (deity) for the year’s bountiful harvest and
blessings, thus, a tribal mass wedding is usually afforded.
The prelude to nuptial rites
The courtship counts in the entire woman’s family in wedding
traditions in the Philippines. Tribal families then come together with the
“Datu” (chieftain) as the emissary and make the best of whatever is presented
to him, while everybody listens.
Marked by a highly developed sense of democracy and love for
peace, they settle disputes through unwritten treaties. If they agree, wedding
procedures begin.
The following are a short description of the traditional tribal
nuptials and wedding traditions in the Philippines during the Kaamulan
solemnized by the chieftain, accredited by the Local Civil Registrar (LCR):
The “Kagen” and “Taltag:” A pre-wedding ceremony where the man
begs for the parents’ approval. Dowry is offered and agreed upon by both
families.
The “Pamalas:” Solemnized by the “Datu”, the “Kagsalu- hu
Salungana” (union of physical and spiritual aspect), this starts with the
ritual to ward off evil spirits and cleanse the couple of their sins.
Chastity and sexual modesty were also very highly valued. Applied
primarily to women, these values were not only tied to family honor but were
held to be a religious obligation as well.
The wedding dress and costume
The bright colors of the costumes are in sharp
Courtesy of talbukscafe.blogspot.com
distinction to the green of the surroundings. The women cover
themselves with heavy jewelry and decorated headdress.
A pair of dangling pieces of jewelry is also worn behind the ears.
Bangles are also compulsory, for no self-respecting woman would be seen without
them according to tribal wedding traditions in the Philippines.
Dressed with an intricately embroidered outfit called “Pinaksoy”
and “Sinulaman,” the bride faces the groom-- in “Tangkulu “(beaded turban)--the
traditional festivity costume of the hill tribes.
The ceremony
All against the background of traditional tribal music, the couple
exchange vows and eat a hand-mold of rice with boiled pork and chicken to
symbolize life‘s sweetness and fruitfulness.
Merry making includes refreshments of spring water, eating of
boiled pork and chicken. The “Datu” and “Bai” (woman leader) lead the dances,
songs and music.
Bright festive colors surround the ‘Tulugan’ (Tribal Hall) which
functions much like a barangay hall, except that it may house a whole clan.
The Kaamulan Festival is the ideal occasion to showcase ribal
wedding traditions in the Philippines and the unique indigenous culture of
Bukidnon’s seven tribes namely, the Higaonon, Talaandig, Manobo, Matigsalug,
Tigwahanon, Bukidnon, and Umayamnon.
A Tribal wedding is just one of the much-awaited cultural
activities lined-up for the upcoming festivities.
lthough
Filipinos infuse a touch of modernity in their wedding rites, as a
predominantly Catholic country, they still generally stick to traditional
Catholic wedding rites, with a few rites from the Spanish and Americans thrown
in. One thing is for sure, though: whether done in church or elsewhere,
Filipinos are big on weddings and all its traditional trappings.
Prior to
the wedding, there is usually the traditional period of courtship (panliligaw),
followed by the engagement (kasunduan), and then the pamamanhikan. The last is
when the would-be groom, together with members of his family, meets with his
fiancée and her family, usually at the latter’s home, to formalize the marriage
proposal. After accepting the proposal, both parties discuss the wedding
arrangements and other details. It is usual for the groom’s family to shoulder
the expenses, but in these modern times, the bride often agrees to pay for part
of the cost. Afterwards, the bride’s family holds a despedida de soltera as she
bids goodbye to singlehood, while the groom may hold a bachelor’s or stag
party.
Wedding
customs and symbols
The
bride’s gown is white or a shaded variation such as ecru, while the groom
usually wears a barong tagalog over a pair of black slacks. Wedding designs
usually follow an overall color scheme, which can be seen from the invitations,
to the garments of the wedding entourage, the flowers and even the tablecloths
used during the wedding reception.
In
selecting the members of the entourage, the couple usually considers one or
several pairs of principal sponsors or godparents (ninong and ninang) to serve
as the primary witnesses of the wedding ceremony. Ideally, some of them may be
the couple’s baptismal godparents. They are people whom the couple admire and
respect and expect guidance from. There are also secondary sponsors, usually
made up of the couple’s friends or younger relatives: the best man, groomsmen,
maid/matron of honor and bridesmaids, along with veil, cord and candle
sponsors. They are followed by the coin/arrhae, ring and flower bearers, and
the occasional Bible bearer.
The
lighting of the pair of candles, one on each side of the couple, is reminiscent
of their baptism and symbolizes the presence and guidance of God in their
married life. Later, the couple may decide to light a “unity candle” using
these two candles to signify the joining of their families and of the couple’s
oneness.
Apart
from the bridal veil, which may form part of her gown, the veil is made of
sheer white material, and it is more traditional to have only one during the
ceremony. It “clothes” two persons and unifies them in marriage, as well as
signifies their commitment to protect each other. This is why it is draped and
pinned over the groom’s shoulder and over the head of the bride, to represent
his strength and protection of his soon-to-be wife.
Next to
the pinning of the veil, the cord is placed over the heads of the couple and
allowed to rest on their shoulders. It may be made of silk, or a string of
coins or flowers, or designed like a rosary. Aside from the obvious reference
to marriage binding the couple for life, the cord is also customarily looped
into a figure eight to symbolize infinite loyalty to each other, as well as
their promise to act together henceforth.
The arrhae are made up of 13 unity coins to represent
prosperity. They are placed first in the hands of the groom who then hands it
over to the bride, to symbolize how the husband will provide for the welfare of
his wife and entrust his worldly goods to her care.
The
ring’s circular shape stands for eternity. It is usually engraved with the
couple’s names and the wedding date. Sometimes, these are replaced with a short
phrase that is meaningful to them. Some couples prefer slipping their wedding
rings on the left middle finger, which is said to be connected to an artery
that leads straight to the heart. Others keep with the Roman tradition of
putting it on their right ring finger. Regardless of which hand is used, the
exchange of rings highlights the fact that marriage is a covenant between God
and the couple, and the sacrament itself is a show of everlasting commitment
between the couple.
Traditions
carry over to the wedding reception, which Filipinos seemingly cannot do
without. But then, that’s another story altogether.
Filipino Muslim
wedding
Filipino Muslims in the Mindanao region of the Philippines commonly practice pre-arranged marriages and betrothal.[13] The Tausog people's wedding include the pangalay, a celebration or
announcement performed by means of the playing of percussion instruments like
as the gabbang, thekulintang, and
the agong.
Included in the wedding ceremony that is officiated by an Imam are readings
taken from the Qur'an and the placement of the groom's fingerprint on the forehead of the bride.
http://en.wikipedia.org/wiki/Marriage_and_wedding_customs_in_the_Philippines#Filipino_Muslim_wedding
A unique form of visual arts is
the facial make-up done on brides and grooms. After creating a foundation of
white powder, the make-up artists proceed to paint dots and lines in various
patterns on the faces, creating the effect of formal and elaborate masks which
match the ornate costumes of the celebrants.
The Yakan have a rich musical
tradition, which may be broadly divided into instrumental and vocal. Yakan
musical instruments are made of bamboo, wood, and metal. Their musical
instruments also demonstrate the influence of the traditional cycle of rice
production in their lives. Several instruments are used in each stage of rice
production. The daluppak is a digging stick with a bamboo
clapper. The kopak-kopak is a bamboo clapper on a stick. The Kwintangan
Kayu is
percussion instrument consisting of wooden beams laid after the planting season,
to enhance plant growth. The wooden tuntungan is a percussion plank with jar
resonators, also played during the harvest season for thanksgiving.
The gabbang is a bamboo split into five, and arranged
like a xylophone. Small children near the fields played it in order to guard
the crops against prying animals. The kwintangan batakan is an earlier form of
gabbang which has six, seven, or nine bamboo pieces. The suling is a bamboo
mouth flute used by the men in courting women. Another bamboo instrument used
by the men in expressing love or admiration is the kulaing. The Kulintangan or kwintangan consists of several bronze
gongs arranged according to size, and used during celebrations such as weddings
and graduations. Any individual played it in the home and after work, for
self-expression and relaxation. The agong is a percussion instrument used to
announce marriage or for tolling the dead. The jabujabu (djabu-djabu) is a type
of drum that summons the people to prayer (Nicolas 1977: 100-108; Sherfan
1976:195-199).
There are three main types of
Yakan vocal music: the lugu and other melodies used in reading the Quran and
other religious books; the kalangan or songs which may be further reclassified
into Jamiluddin and Lunsey; and the katakata, nahana, yaya, lembukayu, and
sa-il, among others. The kalangan, jamiluddin, katakata, nahana, and yaya are
sung solo, while the lunsey, sa-il, meglubulebu seputangen, and lembukayu
involves singers from two groups singing solo as they answer each other. The
kalangan, jamiluddin, lunsey, and lembukayu are courting songs. The katakata,
jamiluddin, and nahana may also narrate the history of the Yakan people. The
katakata is a long traditional song narrating the lives, loves, and historical
backgrounds of people who lived during early times. The Yakan believed that
such stories originated from people who lived in another world. The katakata is
sung only at night, at a big gathering with food served by the host or hostess.
The singing, in episodes, may last for several nights. The singer lies on a
mat, the back supported by several pillows. The audience, either sit or lie
around the singer. The jamiluddin relates love stories. At present, it is also
sung when families discuss marriage engagements. Both the katakata and
jamiluddin are sung by wise men and women of the tribe.
The sa-il and lunsey are sung
during a wedding ceremony, with messages revolving around good advice regarding
married life. Another type of sa-il is sung during the magtammat or Quranic
graduation. During social gatherings, the maglebu-lebu seputangan is sung, by a
group of men answering a group of women. Each group has a soloist who sings the
kalangan, expressed in metaphors. The yaya is a lullaby. The magsambag is a
method of studying the Quran in which a Murid or student follows the Quranic singing of
the teacher. The student and teacher are not allowed to sing together.
Then there are the songs, which
the Yakan sing during daily activities. In keeping watch over rice fields, they
sing some forms of the jamiluddin and kalangan. While resting at home, they
also leisurely sing the katakata, jamiluddin, and nahana. Children at play
imitate the adults in singing the kalangan, jamiluddin, lembukayu, and lugu
(Nicolas 1977:97-100). One popular Yakan dance adopted from theTausugs Pangalay is called mangalay. The dance is
accompanied by the kunlintangan kayu and played by three people. In the Yakan
"bumblebee" mimetic dance usually performed by a male dancer, a
searcher successfully finds honey with the aid of a torch. He overeats, and the
result is a stomachache (Orosa-Goquingco 1980:175). Another example of a
mimetic dance is the tahing baila, which imitates the movement of a fish
(Tiongson 1991:236). At weddings, the tumahik or war dance is to be performed
by the groom as well as male relatives of both the groom and the bride. Dressed
in Yakan finery, the dancer uses a spear and a shield to fight an imaginary
enemy to the music of the kulintangan. - R. Matilac
the first part is already enough since your assignment is about precolonial wedding practices.
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