Kutiyapi

Kutiyapi is covered here in 6 connected parts: Kutiyapi, History of bayok maranao song, Culture and traditions of bayok maranao song, bayok maranao song: key facts and timeline, Music of India, Maguindanao people.

Kutiyapi

The kutiyapi, or kudyapi, is a Philippine two-stringed, fretted boat-lute. It is four to six feet long with nine frets made of hardened beeswax. The instrument is carved out of solid soft wood such as that from the jackfruit tree.^[1]

Regional names

In various Philippine languages, the instrument is also called: kutyapi, kutiapi (Maguindanaon), kotyapi (Maranao), kotapi (Subanon), fegereng (Tiruray), faglong, fuglung (B'laan), kudyapi (Bukidnon and Tagbanwa), hegelong (T’boli), kuglong, kadlong, kudlong or kudlung (Manobo, Mansaka, Mandaya, Bagobo and Central Mindanao), and kusyapi (Palawan).^[1]

In Palawan

For the Palawano, it is possible to arrange the beeswax frets into different patterns resulting in two different scales for the instrument. These are the binalig, a higher pitched scale similar to the pelog and accompanying style used to imitate that of the kulintang, and the dinaladay, a lower pentatonic scale used for teaching pieces of an abstract mature.^[1]

Maranao

Among the Maranao, pieces played by using bagu and andung scales (equivalents of the binalig and dinaladay scales used by the Maguindanao), and in contrast to Maguindanao pieces, the kutiyapi is also used as an accompanying instrument to bayoka or epic chants. Examples of older andung pieces include Kangganatan and Mamayog Akun.^[1]

Dayunday performances

Among both the Maguindanao and Maranao, a much more recent informal styles are also used. Dayunday is a performed in front of an audience using an improvisational vocal style based on both sangel sa wata (traditional lullaby) and bayok (epic chant sung in a cappella) genres, played in either binalig or dinaladay scales, that is used during weddings, election campaigns, religious celebrations such as Eid or other large gatherings. The dayunday generally sets well known musicians from both genders against each other in verbal jest and competition.^[1]

Among Lumad groups

Among the T'Boli, Manobo and other Lumad groups, the instrument (known as hegelung, kudyapi or fedlung) is tuned to a major pentatonic scale. Among groups like the Bagobo, the kutiyapi (kudlung) is also used as a bowed instrument and is generally played to accompany improvised songs.^[1]

In the Visayas

The kudyapi has been found among groups such as the Bisayans whose prevalence just like the kubing and other musical instruments are or were found in other parts of the Philippines.^[1]

Tagalog kutyapi

While kutyapi was already a forgotten instrument among Tagalogs, with traces only remaining in folk songs like Sa Libis ng Nayon, a stringed instrument was historically used by Tagalogs as mentioned in the Jesuit friar Pedro Chirino's Relacion de las Islas Filipinas (1604) which is called kutyapi. Unlike its southern counterparts, the Tagalog kutyapi was a four-stringed instrument. According to Chirino:^[1]

Similar Southeast Asian instruments

Similar instruments played throughout the region include the Sapeh of Borneo, Sundatang of Sabah, and the Crocodile lutes of Mainland Southeast Asia. Although they share a similar name, the Kacapi of Sundanese is a zither, and not a lute.^[1]

Related: History of bayok maranao song · Culture and traditions of bayok maranao song · bayok maranao song: key facts and timeline

External references: ^[1][2][3]

History of bayok maranao song

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Related: Kutiyapi · Culture and traditions of bayok maranao song · bayok maranao song: key facts and timeline · Maranao

Culture and traditions of bayok maranao song

Social status

Babaylan were highly respected members of the community, on par with the pre-colonial noble class. In the absence of the [[datu]] (head of the community), the babaylan took on the role of interim head of the community. Babaylans were powerful ritual specialists who were believed to have influence over the weather and could make use of various spirits in the natural and spiritual realms.^[4]

Related: Kutiyapi · History of bayok maranao song · bayok maranao song: key facts and timeline · Maranao

External references: ^[4][5][6]

bayok maranao song: key facts and timeline

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Related: Kutiyapi · History of bayok maranao song · Culture and traditions of bayok maranao song · Maranao

Music of India

Indian music encompasses numerous genres in multiple varieties and forms which include classical music, folk, rock, and pop. It has a history spanning several millennia and developed over several geo-locations spanning the subcontinent. Music in India began as an integral part of socio-religious life.^[7]

Vedic and ancient era

The Vedas (c. 1500–c. 800 BCE, Vedic period) document rituals with performing arts and play.^[7]

Medieval era

In the early 14th century under the Khiljis, there were concerts and competitions between Hindustani and Carnatic musicians.^[7]

Twentieth century

In the early 1960s Jazz pioneers such as John Coltrane and George Harrison collaborated with Indian instrumentalists and started to use Indian instruments such as sitar in their songs. In the late 1970s and early 1980s, rock and roll fusions with Indian music were well known throughout Europe and North America. In the late 1980s, Indian-British artists fused Indian and Western traditions to make the Asian Underground.^[7]

Classical music

The two main traditions of Indian classical music are Carnatic music, which is practised predominantly in the peninsular (southern) regions, and Hindustani music, which is found in the northern, eastern and central regions. The basic concepts of this music includes Shruti (microtones), Swaras (notes), Alankar (ornamentations), Raga (melodies improvised from basic grammars), and Tala (rhythmic patterns used in percussion). Its tonal system divides the octave into 22 segments called Shrutis, not all equal but each roughly equal to a quarter of a whole tone of the Western music.^[7]

Carnatic music

Carnatic music can be traced to the 14th - 15th centuries AD and thereafter. It originated in South India during the rule of Vijayanagar Empire through the Keerthanas composed by Purandara Dasa. Like Hindustani music, it is melodic, with improvised variations, but tends to have more fixed compositions.^[7]

Hindustani music

The tradition of Hindustani music dates back to Vedic times where the hymns in the Samaveda, an ancient religious text, were sung as Samagana and not chanted. It diverged from Carnatic music around the 13th–14th centuries CE, primarily due to Islamic influences. Developed over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh.^[7]

Light classical music

There are many types of music which comes under the category of light classical or semi-classical. Some of the forms are Thumri, Dadra, Bhajan, Ghazal, Chaiti, Kajri, Tappa, Natya Sangeet and Qawwali. These forms place emphasis on explicitly seeking emotion from the audience, as opposed to the classical forms.^[7]

Tamang Selo

This is a musical genre of the Tamang people and popular amongst the Nepali speaking community in West Bengal, Sikkim, India and around the world. It is accompanied by Tamang instruments, the Madal, Damphu and Tungna, although nowadays musicians have taken to modern instruments. A Tamang Selo can be catchy and lively or slow and melodious, and is usually sung to convey sorrow, love, happiness or day-to-day incidents and stories of folklore.^[7]

Bhangra and Giddha

Bhangra (Punjabi: ਭੰਗੜਾ) is a form of dance-oriented folk music of Punjab. The present musical style is derived from non-traditional musical accompaniment to the riffs of Punjab called by the same name. The female dance of Punjab region is known as Giddha (Punjabi: ਗਿੱਧਾ).^[7]

Related: Kutiyapi · History of bayok maranao song · Culture and traditions of bayok maranao song

External references: ^[7][8][9]

Maguindanao people

The Maguindanaon people are an Austronesian ethnic group from the Philippines. The Maguindanaon are part of wider political identity of Muslims known as Moro, who constitute the third largest ethnic group of Mindanao, Sulu and Palawan. The Maguindanaons constitute the ninth largest Filipino ethnic group and are known for being distinguished in the realm of visual art.^[10]

Etymology

The word Maguindanao or Magindanaw means "people of the flood plains", from the word Magi'inged that means "people or citizen" and danaw that means "lake or marsh". Thus Maguindanao or Magindanaw can also be translated as "people of the lake", identical to their close neighbors, the Maranao and Iranun. These three groups speak related languages belonging to the Danao language family.^[10]

Maguindanao Sultanate

In the early 16th century, Sharif Muhammad Kabungsuwan, an Arab-Malay preacher from the Royal House of Malacca, arrived in what is now Malabang, introduced Islamic faith and customs, settled down with a local princess, and founded a Sultanate whose capital was Cotabato. The other center of power in the area, Sultanate of Buayan, once located in modern-day Datu Piang, Maguindanao del Sur, has an even longer history dating back to early Arab missionaries, who, although not able to implant the Islamic faith, introduced a more sophisticated political system. In Buayan, the transition to Islam took a longer time.^[10]

American era

During the Philippine–American War, the Americans adopted a policy of noninterference in the Muslim areas, as spelled out in the Kiram–Bates Treaty of 1899 signed by Brig. General John C. Bates and Sultan Jamalul Kiram II of Jolo.^[10]

Independent Philippines

After independence, efforts to integrate the Muslims into the new political order met with stiff resistance. It was unlikely that the Muslims, who have had longer cultural history as Muslims than the Christian Filipinos as Christian, would surrender their identity. The conflict was exacerbated in 1965 with the "Jabidah Massacre", in which Muslim soldiers were allegedly eliminated because they refused to invade Sabah.^[10]

Language

The Maguindanao language is the native language of the Maguindanaons. Aside from this, most are able to speak Filipino, and English in varying levels of fluency. Arabic is also used among madrasah-educated Maguindanaons, being the liturgical language of Islam, a religion of most Maguindanaons.^[10]

Area

Maguindanaons are traditionally native to the present-day provinces of Maguindanao del Norte, Maguindanao del Sur and the present-day Soccsksargen region, where the historical sultanates of Maguindanao and Buayan once stood that also included parts of the present-day regions of Davao and Zamboanga Peninsula.^[10]

Culture

Maguindanaon are known for their distinguished in the realm of visual art. Historically, they have been renowned as metalworkers, producing the wavy-bladed keris ceremonial swords and other weapons, as well as gongs. The Sagayan dance became well-known because of the Maguindanaons, this dance depicted in dramatic fashion the steps of their hero, Prince Bantugan, took upon wearing his armaments, the war he fought in and his subsequent victory afterwards.^[10]

Literary arts

The literary elements of the Maguindanao include folk speech and folk narratives. The folk speech is expressed in the antuka/pantuka/paakenala (riddles) and bayok (lyric poems), while the narratives may be divided into the Islamic and folk traditions. The Islamic includes the Quran; tarsila or genealogical narratives; the Luwaran, an embodiment of customary laws; hadith or sayings of Muhammad; quiza or religious stories.^[10]

Musical and performing arts

The Maguindanaon have a culture that revolves around kulintang music, a specific type of gong music, found among both Muslim and non-Muslim groups of the Southern Philippines.^[10]

Related: Kutiyapi · History of bayok maranao song · Culture and traditions of bayok maranao song · Maguindanao · Maguindanao

External references: ^[10][11][12]