This document discusses the translation of a Tausug folk narrative song called "Kissa sin Pagbunu ha Zambo" from Bahasa Sug to English. The song tells the story of Ustadz Habir Malik's heroic actions during the Zamboanga siege in 2013. The researchers employed the interpretive theory of translation to translate the cultural items and meanings while maintaining the sense of Tausug culture. Translating this folk song aims to help outsiders understand Tausug history and culture associated with their tradition of "parang sabil", which involves fighting against foreign invaders through both warfare and narrative songs.
CULTURAL HERITAGE VALUE OF THE PHILIPPINE FOLK DANCES IN THE MODERN TOURISM I...AkashSharma618775
The Philippine Folkdance scene is incredibly diverse. The Folk dances vary from various regions; the
study assesses the “Cultural Heritage Value Of The Philippine Folk Dances In The Modern Tourism Industry”.
The research is qualitative in nature, and the interview is used as an instrument; the respondents represent the
different agencies involved in Philippine Folkdance, such as NCCA (National Commission of Culture and Arts),
CCP (Cultural Center of the Philippines and Bayanihan Folk Arts Foundation.) The result shows that Philippine
Folkdance in the modern world performing Philippine folk dance is still relevant in the modern world. The
Philippine folk dance opportunities are the performance of Philippine Folkdance; to be known worldwide, and the
potential lies in promoting Philippine Folkdance in tourism and creating a new dance identity with influences from
the folk dances and the modern contemporary dances. Philippine Folkdance will survive in the future. To preserve
the Philippine Folkdance: The creation of events and government programs is crucial. Philippine Folkdance is
important culturally because it shows diversity and uniqueness: Considered intangible cultural heritage, while
there has been a large change in performing the folk dance. Lastly, most Filipinos are still aware of the Philippine
Folkdance, which creates a sense of pride among them. In contrast, most Folkdances are now performed in
festivals as Entertainment and schools as a requirement to promote Philippine Folkdance. It is done through the
Philippine Festival’s support, advertising Philippine Folkdance events through the internet, including other
mediums, inviting professional, local, and community-based folk-dance groups to showcase their repertoire of folk
dances and perform the national folk-dance workshop.
The document summarizes research about Dr. Saleem Ali and his work focusing on environmental conflicts and how ecological factors can promote peace. It discusses Dr. Ali's background, research interests, and a 2012 article he wrote advocating for peace between religious sects in Afghanistan and Pakistan to help protect the vulnerable Hazara minority group from ongoing discrimination and violence. The document provides historical context about the Hazara people and outlines the challenges they continue to face.
Social commitment in female song a functionalist study of agbachaa-ekuru-nwa ...Alexander Decker
This document discusses a study of oral poetry and songs composed and performed by the Agbachaa-Ekuru-Nwa women's performance group in Mbaise Igbo, Nigeria. The study examines how these oral art forms serve as a vehicle for transmitting cultural values and socializing new generations. It analyzes specific poems/songs collected from this group using a functionalist approach to understand their role in effecting social and cultural change. The study finds that the oral genres use satire, lament, admonition and encouragement to comment on social issues and behaviors in their community in a way that aims to influence attitudes and promote societal norms.
THE POWER OF SOUND AND IMAGES SAFEGUARDING SONG AND DANCE TRADITIONS IN ZIMBABWEvictor Nduna
This document discusses the importance of documenting traditional songs and dances in Zimbabwe to preserve indigenous cultural heritage. It describes how songs passed down orally have served as historical records, but modernization is disrupting this oral tradition. While paper is ineffective for capturing performance-based cultural expressions, the introduction of audio and video recording in the late 19th century allowed for more comprehensive documentation. The document relates experiences from Zimbabwe's National Archives recording traditional songs and dances, emphasizing the importance of capturing all contextual aspects to fully convey cultural meaning.
This document summarizes what the Gawad sa Manlilikha ng Bayan (GAMABA) award is, including profiles of six Filipino artists who received the award. The GAMABA award recognizes individuals who have made significant contributions to Philippines' intangible cultural heritage through traditional arts. To receive the award, candidates must be engaged in traditional Filipino art forms and have passed their skills to younger generations. The profiles highlight artists in poetry, weaving, music, and dance who have helped preserve important cultural traditions.
The document provides information about the Visayan people of the Philippines. It discusses their origins, history, culture, languages, important figures, literature, music, dances and festivals. The Visayans are the largest ethnic group in the country, numbering around 33 million people. They are speakers of Visayan languages like Cebuano, Hiligaynon and Waray-Waray. They live primarily in the Visayan islands as well as parts of Mindanao. Their culture is characterized by strong Roman Catholic influence and they are known for celebratory festivals like the Sinulog, Maskara, Sandugo, Ati-Atihan and Pintados-Kasadyaan.
Presentation by Alison Phipps, University of Glasgow, with Tawona Sitholé (Seeds of Thought), Gameli Tordzro (Pan African Arts Scotland) and Naa Densua Tordzro at the Conference on Languages and Tourism at the Institut für Afrikanistik und Ägyptologie, Universität zu Köln, 30 May 2016
This document discusses traditional musical instruments used by the Bukidnon people of Mindanao in the Philippines. It describes several instruments including lutes, spike fiddles, and tube zithers made from bamboo and other natural materials. The lutes come in different shapes and sizes depending on the region, and are often designed to represent animals. Spike fiddles have a coconut shell body and bamboo neck. Tube zithers have strings made from bamboo that are plucked and beaten to produce notes. These instruments are used both individually and to accompany social gatherings and dances. The musical traditions show similarities to neighboring ethnic groups but also regional variations reflecting cultural influences.
CULTURAL HERITAGE VALUE OF THE PHILIPPINE FOLK DANCES IN THE MODERN TOURISM I...AkashSharma618775
The Philippine Folkdance scene is incredibly diverse. The Folk dances vary from various regions; the
study assesses the “Cultural Heritage Value Of The Philippine Folk Dances In The Modern Tourism Industry”.
The research is qualitative in nature, and the interview is used as an instrument; the respondents represent the
different agencies involved in Philippine Folkdance, such as NCCA (National Commission of Culture and Arts),
CCP (Cultural Center of the Philippines and Bayanihan Folk Arts Foundation.) The result shows that Philippine
Folkdance in the modern world performing Philippine folk dance is still relevant in the modern world. The
Philippine folk dance opportunities are the performance of Philippine Folkdance; to be known worldwide, and the
potential lies in promoting Philippine Folkdance in tourism and creating a new dance identity with influences from
the folk dances and the modern contemporary dances. Philippine Folkdance will survive in the future. To preserve
the Philippine Folkdance: The creation of events and government programs is crucial. Philippine Folkdance is
important culturally because it shows diversity and uniqueness: Considered intangible cultural heritage, while
there has been a large change in performing the folk dance. Lastly, most Filipinos are still aware of the Philippine
Folkdance, which creates a sense of pride among them. In contrast, most Folkdances are now performed in
festivals as Entertainment and schools as a requirement to promote Philippine Folkdance. It is done through the
Philippine Festival’s support, advertising Philippine Folkdance events through the internet, including other
mediums, inviting professional, local, and community-based folk-dance groups to showcase their repertoire of folk
dances and perform the national folk-dance workshop.
The document summarizes research about Dr. Saleem Ali and his work focusing on environmental conflicts and how ecological factors can promote peace. It discusses Dr. Ali's background, research interests, and a 2012 article he wrote advocating for peace between religious sects in Afghanistan and Pakistan to help protect the vulnerable Hazara minority group from ongoing discrimination and violence. The document provides historical context about the Hazara people and outlines the challenges they continue to face.
Social commitment in female song a functionalist study of agbachaa-ekuru-nwa ...Alexander Decker
This document discusses a study of oral poetry and songs composed and performed by the Agbachaa-Ekuru-Nwa women's performance group in Mbaise Igbo, Nigeria. The study examines how these oral art forms serve as a vehicle for transmitting cultural values and socializing new generations. It analyzes specific poems/songs collected from this group using a functionalist approach to understand their role in effecting social and cultural change. The study finds that the oral genres use satire, lament, admonition and encouragement to comment on social issues and behaviors in their community in a way that aims to influence attitudes and promote societal norms.
THE POWER OF SOUND AND IMAGES SAFEGUARDING SONG AND DANCE TRADITIONS IN ZIMBABWEvictor Nduna
This document discusses the importance of documenting traditional songs and dances in Zimbabwe to preserve indigenous cultural heritage. It describes how songs passed down orally have served as historical records, but modernization is disrupting this oral tradition. While paper is ineffective for capturing performance-based cultural expressions, the introduction of audio and video recording in the late 19th century allowed for more comprehensive documentation. The document relates experiences from Zimbabwe's National Archives recording traditional songs and dances, emphasizing the importance of capturing all contextual aspects to fully convey cultural meaning.
This document summarizes what the Gawad sa Manlilikha ng Bayan (GAMABA) award is, including profiles of six Filipino artists who received the award. The GAMABA award recognizes individuals who have made significant contributions to Philippines' intangible cultural heritage through traditional arts. To receive the award, candidates must be engaged in traditional Filipino art forms and have passed their skills to younger generations. The profiles highlight artists in poetry, weaving, music, and dance who have helped preserve important cultural traditions.
The document provides information about the Visayan people of the Philippines. It discusses their origins, history, culture, languages, important figures, literature, music, dances and festivals. The Visayans are the largest ethnic group in the country, numbering around 33 million people. They are speakers of Visayan languages like Cebuano, Hiligaynon and Waray-Waray. They live primarily in the Visayan islands as well as parts of Mindanao. Their culture is characterized by strong Roman Catholic influence and they are known for celebratory festivals like the Sinulog, Maskara, Sandugo, Ati-Atihan and Pintados-Kasadyaan.
Presentation by Alison Phipps, University of Glasgow, with Tawona Sitholé (Seeds of Thought), Gameli Tordzro (Pan African Arts Scotland) and Naa Densua Tordzro at the Conference on Languages and Tourism at the Institut für Afrikanistik und Ägyptologie, Universität zu Köln, 30 May 2016
This document discusses traditional musical instruments used by the Bukidnon people of Mindanao in the Philippines. It describes several instruments including lutes, spike fiddles, and tube zithers made from bamboo and other natural materials. The lutes come in different shapes and sizes depending on the region, and are often designed to represent animals. Spike fiddles have a coconut shell body and bamboo neck. Tube zithers have strings made from bamboo that are plucked and beaten to produce notes. These instruments are used both individually and to accompany social gatherings and dances. The musical traditions show similarities to neighboring ethnic groups but also regional variations reflecting cultural influences.
Different Types of Philippine Folk DancesLeelet1121
There are three major classifications of Philippine folk dances:
1) Tribal dances from the Cordilleras which are non-Christian in origin.
2) Lowland Christian dances which come from areas with Western influences like the Tagalogs and Ilokanos. These dances are influenced by Hispanic and European cultures.
3) Muslim dances which come from the southern Philippines like Mindanao and Sulu and are influenced by Arabic and Indo-Malayan cultures.
There are three major classifications of Philippine folk dances:
1. Tribal dances from the Cordillera mountains
2. Lowland Christian dances with Western influences from areas like Tagalog, Ilocano, Pampango, etc.
3. Muslim dances from areas in the Southern Philippines with Arabic and Malay influences.
Philippine folk dances can also be categorized according to their purpose, such as life cycle dances for courtship, wedding, and funerals or dances for religious and seasonal celebrations and depictions of occupations.
Bhangra is a folk dance and music that originated in the Punjab region of India. It began as a harvest celebration dance performed by Punjabi farmers and reflected their farming techniques. After the partition of India, the dance was further developed as refugees from different parts of Punjab shared their folk dances. Traditional Bhangra features energetic dance moves and stunts performed to lively music. Men typically wear a chaadra cloth around the waist along with a kurta shirt and pagadi turban, while women wear a traditional Punjabi salwar dress. Bhangra is now popular worldwide due to its promotion by Punjabi Sikhs living abroad.
The document summarizes Philippine pre-colonial literature from before 1564 up until the Spanish colonization. It discusses how pre-colonial literature was orally transmitted and covered topics of common experience. Forms included riddles, proverbs, songs, poems, narratives, dances and epics. Indigenous culture was preserved through resistance, isolation or using perishable materials. The literature expressed Filipino wisdom and identity prior to colonial influences.
1. Spanish colonization of the Philippines began in 1565 under Miguel Lopez de Legazpi and led to the development of literature through the translation of religious texts into local languages.
2. The Spanish established Catholicism and sought to replace native oral traditions, but local traditions survived in remote areas. Bilingual natives called Ladinos helped with translation and began publishing devotional poetry in the early 17th century.
3. Notable figures of the Spanish colonial period included poets like Gaspar Aquino de Belen and playwrights like Francisco Balagtas, as well as national hero Jose Rizal, whose novels criticized Spanish rule and inspired revolutionaries. Local languages and folk traditions continued developing despite Spanish influences
Pre-colonial Philippine literature was primarily oral and consisted of various folk genres that served to both entertain and educate communities. Common forms included riddles, proverbs, myths, and folk songs. During Spanish colonization, native writers began producing literature in Spanish and Philippine languages that incorporated Christian and European themes. Notable works from this period included religious poems and the first Tagalog novel "Florante at Laura". The revolutionary period saw the rise of nationalist literature critical of Spanish rule, such as Rizal's novels which chronicled the struggles of the Filipino people.
This document contains information about several indigenous groups in the Philippines, including their traditions, beliefs, and practices. It discusses the Maranao people and their history of resisting colonization. It also provides details about the Yakan people's Dayak and Sama origins, and their practice of an imam combining religious and political leadership. The document mentions Ifugao traditions like their rice terraces and the "Hidit" peace pact ritual.
Traditional Filipino folk music and dance varies widely by region and tells stories of everyday life. In the south, kulintang music uses gong instruments and serves purposes like entertainment and communication. Dances like asik depict courtship, while tinikling famously mimics birds dodging traps. Northern music incorporates gangsa gongs and accompanies dances that formerly represented tasks. The national folkdance tinikling involves dancers stepping rapidly between bamboo poles. Folk culture expresses both tribal identities and the blending of Asian, European, and other influences in Philippine history.
This document summarizes Philippine pre-colonial literature from before Spanish colonization in 1565. It discusses how oral traditions like riddles, proverbs, songs, poems and stories were traditionally transmitted and helped preserve indigenous culture. Forms of literature included short rhyming poems, epic tales, and mimetic dances. Despite attempts by colonizers to destroy indigenous culture, oral traditions survived through geographic isolation or resistance to colonial rule.
The document summarizes the different literary genres that have existed in the Philippines throughout history. It discusses the pre-colonial genres like riddles, proverbs, songs, chants and epics that were orally passed down. During the American period, genres like poetry and drama emerged but still imitated American forms. Under Japanese occupation, literature declined as the Filipino language was banned but some still wrote plays and stories in Tagalog. Overall, Philippine genres have evolved throughout colonial rule and independence to reflect the country's rich cultural traditions and sociopolitical contexts.
British Forum for EthnomusicologyBirds of Wasulu Freedom VannaSchrader3
British Forum for Ethnomusicology
Birds of Wasulu: Freedom of Expression and Expressions of Freedom in the Popular Music of
Southern Mali
Author(s): Lucy Durán
Reviewed work(s):
Source: British Journal of Ethnomusicology, Vol. 4, Special Issue: Presented to Peter Cooke
(1995), pp. 101-134
Published by: British Forum for Ethnomusicology
Stable URL: http://www.jstor.org/stable/3060685 .
Accessed: 15/02/2013 14:45
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
British Forum for Ethnomusicology is collaborating with JSTOR to digitize, preserve and extend access to
British Journal of Ethnomusicology.
http://www.jstor.org
This content downloaded on Fri, 15 Feb 2013 14:45:06 PM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=bfe
http://www.jstor.org/stable/3060685?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
VOL 4 BRITISH JOURNAL OF ETHNOMUSICOLOGY 1995
Birds of Wasulu:
freedom of expression and
expressions of freedom in the
popular music of southern Mali
Lucy Durdn
Wassoulou is a type of semi-acoustic music that has been popular in Mali since the 1970s.
This paper, an ethnography of wassoulou, traces its roots to the music of masquerade and
the hunters' traditions of the Wasulu region in the south, and explores the ways in which
the cultural worlds of these traditions are evoked through the music. Wassoulou
performers are called birds (kono) and occupy a social r0le that allows them to comment
on social issues with impunity, with gender playing an important part.
INMALI, a type of music known as wassoulou has become increasingly popular
in the past decade.1 Named after the Wasulu (Wasolon) region in southern Mali
where the music originally developed, and with which it continues to be
associated, it is of recent (post-independence) origin, though its roots are far
older. It first emerged in Bamako, the capital of Mali, in the early 1970s, reaching
a peak of success in 1989 with the release of a cassette by the female singer
Oumou Sangare (Fig. 1). This cassette, entitled Moussolou ("women"), sold
widely throughout West Africa, consolidating an international audience. There are
currently dozens of young artists performing and recording wassoulou in Mali,
Ivory Coast, and Europe.
One of the most important characteristics of wassoulou is that its performers
describe themselves as konow (sing. kono), meaning "birds". By doing so, ...
The document summarizes various examples of the destruction and desecration of indigenous Philippine beliefs, practices, and history by colonial forces. This included the Balangica Massacre by American forces, which involved stealing the bell from the Balangica church. It also discusses how Philippine history has been left out of American history books. Hundreds of ancient Tagalog manuscripts were burned by a Jesuit priest in Batangas. Traditional burial grounds of native peoples were also desecrated. Overall, the dominant colonial culture attempted to destroy elements of indigenous Philippine culture and promote its own version of history.
Kwanzaa is a Pan-African celebration which was initialized in the USA in 1966 and has since spread internationally celebrated by Africans on the continent and the Diaspora.
The document provides an overview of themes in Aboriginal women's writings in Australia. It discusses how Aboriginal women writers began expressing their race's past and exploring what it means to be black in Australia. Major themes they examined included the Aboriginal identity, history of colonization, experiences of racism and discrimination, and efforts to preserve Aboriginal culture and heritage. The document summarizes some prominent Aboriginal women authors and their works that helped establish a new phase of self-reflective literature expressing Aboriginal perspectives.
Dear Ilustrados,
It is with deepest gratitude that I write to you today to express my sincere appreciation for your contributions to our nation and its literature during the Period of Enlightenment. Through your brave writings that exposed the injustices of colonial rule, you reawakened the Filipino spirit and inspired the Propaganda Movement that helped pave the way for our independence.
Your works, including Noli Me Tangere, El Filibusterismo and other essays, addressed the corruption and abuse that our people suffered under Spanish colonialism. You gave a voice to the voiceless and ignited in our hearts a longing for freedom. Though the road was difficult and the consequences severe, you remained committed to advancing our rights and dignity through
This document provides an overview of Philippine literature across different historical periods from pre-colonial times up until the 21st century. It discusses the major genres, forms, and influences of each period, including pre-Spanish folk literature, the introduction of Christianity and the Spanish language during the Spanish period, the nationalism and use of English/vernaculars during the American period, the suppression under Japanese occupation, and the revival and modernization in the post-war decades. The document also provides examples of literary works, activities to analyze genres and periods, and a direction to write about the importance of literature in achieving independence.
Domestication of the English Language in Nigeria: An Examination of Morpho-Sy...Premier Publishers
This paper examined certain developmental patterns Nigerian English (NigE) demonstrates in recent times, particularly at the linguistic levels of morphology and syntax. While studying these current trends, a sociolinguistic approach, as enunciated and popularized by Labov (1966), was adopted. The principal source of data for the corpus was the use of 100 questionnaires containing 11 objective tests administered to the respondents. The first part of the work provided an overview of the place of NigE as one of the World Englishes, today, while the second part which is the core of the work is an examination of the nature of foray the typology has made on the construction and use of English by Nigerians of a broad social spectrum. The study established that the uniqueness of NigE is considerably realized in such linguistic features as conversion, acronym, composition, redundancy, coinage and reduplication. It was, as well, observed that some NigE forms exhibit the same morphological and syntactic patterns as those of Standard English (SE) while some exhibit significant variations.
The document summarizes three prominent periods in the Philippine literary timeline: pre-colonial times, the Spanish occupation, and the American era. It provides details on forms of oral literature that existed during pre-colonial times, including riddles, proverbs, folk songs, folk tales, and epics. It notes that indigenous culture survived through resistance and isolation from colonial powers. During the Spanish occupation, imposition of Catholicism altered traditional beliefs, though some oral traditions continued. The American era saw the introduction of English and more widespread literacy.
Using a theoretical concept by combining linguistic relativity and linguistic determinism – the
structure of our language; a set of specific selected words influence man’s perception of the world and language
use determines thought and action, data was collected and analysed qualitatively. The aim of the paper is to
illustrate the pertinence of culture in language use and actions with emphasis to explore the contextual symbolic
meanings of specific words in Africa nation states’ quest for peace. Specifically, in this paper we examine
carefully selected and uttered lexis and their significant meanings in Cameroon, South Africa and Uganda. The
results of the study confirmed that words have unique significance in relation to the culture, history and identity
of a particular African people. Words used in the Cameroon context, ‘all is well’, are mostly words of hope and
assurance in a war-free nation. The interpretation of some words, ‘Rhodes must fall’, generate disputes and
lead to violent actions in the search for peaceful and prosperous co-existence in an apartheid ridden country
like South Africa. Certain words of greetings, ‘you still exist’, though a total recall of pain and torture in a
period of turbulence and massacre in Uganda, portray gratitude and delightedness among citizens.
African folksongs as veritable resource materials for revitalizing music educ...Alexander Decker
This document discusses using African folksongs as educational resources in Nigerian schools. It begins with an introduction noting concerns about the state of music education in Nigeria and its overreliance on Western concepts. It then provides background on Egbeda-Egga women's folksongs in Yoruba culture and the methodology used to study them. Key sections analyze funeral, wedding, and other song types, presenting transcribed examples and discussing cultural values and meanings expressed. The document argues that incorporating analysis of traditional ethnic music could make school music better reflect local communities and enhance students' artistic development.
Different Types of Philippine Folk DancesLeelet1121
There are three major classifications of Philippine folk dances:
1) Tribal dances from the Cordilleras which are non-Christian in origin.
2) Lowland Christian dances which come from areas with Western influences like the Tagalogs and Ilokanos. These dances are influenced by Hispanic and European cultures.
3) Muslim dances which come from the southern Philippines like Mindanao and Sulu and are influenced by Arabic and Indo-Malayan cultures.
There are three major classifications of Philippine folk dances:
1. Tribal dances from the Cordillera mountains
2. Lowland Christian dances with Western influences from areas like Tagalog, Ilocano, Pampango, etc.
3. Muslim dances from areas in the Southern Philippines with Arabic and Malay influences.
Philippine folk dances can also be categorized according to their purpose, such as life cycle dances for courtship, wedding, and funerals or dances for religious and seasonal celebrations and depictions of occupations.
Bhangra is a folk dance and music that originated in the Punjab region of India. It began as a harvest celebration dance performed by Punjabi farmers and reflected their farming techniques. After the partition of India, the dance was further developed as refugees from different parts of Punjab shared their folk dances. Traditional Bhangra features energetic dance moves and stunts performed to lively music. Men typically wear a chaadra cloth around the waist along with a kurta shirt and pagadi turban, while women wear a traditional Punjabi salwar dress. Bhangra is now popular worldwide due to its promotion by Punjabi Sikhs living abroad.
The document summarizes Philippine pre-colonial literature from before 1564 up until the Spanish colonization. It discusses how pre-colonial literature was orally transmitted and covered topics of common experience. Forms included riddles, proverbs, songs, poems, narratives, dances and epics. Indigenous culture was preserved through resistance, isolation or using perishable materials. The literature expressed Filipino wisdom and identity prior to colonial influences.
1. Spanish colonization of the Philippines began in 1565 under Miguel Lopez de Legazpi and led to the development of literature through the translation of religious texts into local languages.
2. The Spanish established Catholicism and sought to replace native oral traditions, but local traditions survived in remote areas. Bilingual natives called Ladinos helped with translation and began publishing devotional poetry in the early 17th century.
3. Notable figures of the Spanish colonial period included poets like Gaspar Aquino de Belen and playwrights like Francisco Balagtas, as well as national hero Jose Rizal, whose novels criticized Spanish rule and inspired revolutionaries. Local languages and folk traditions continued developing despite Spanish influences
Pre-colonial Philippine literature was primarily oral and consisted of various folk genres that served to both entertain and educate communities. Common forms included riddles, proverbs, myths, and folk songs. During Spanish colonization, native writers began producing literature in Spanish and Philippine languages that incorporated Christian and European themes. Notable works from this period included religious poems and the first Tagalog novel "Florante at Laura". The revolutionary period saw the rise of nationalist literature critical of Spanish rule, such as Rizal's novels which chronicled the struggles of the Filipino people.
This document contains information about several indigenous groups in the Philippines, including their traditions, beliefs, and practices. It discusses the Maranao people and their history of resisting colonization. It also provides details about the Yakan people's Dayak and Sama origins, and their practice of an imam combining religious and political leadership. The document mentions Ifugao traditions like their rice terraces and the "Hidit" peace pact ritual.
Traditional Filipino folk music and dance varies widely by region and tells stories of everyday life. In the south, kulintang music uses gong instruments and serves purposes like entertainment and communication. Dances like asik depict courtship, while tinikling famously mimics birds dodging traps. Northern music incorporates gangsa gongs and accompanies dances that formerly represented tasks. The national folkdance tinikling involves dancers stepping rapidly between bamboo poles. Folk culture expresses both tribal identities and the blending of Asian, European, and other influences in Philippine history.
This document summarizes Philippine pre-colonial literature from before Spanish colonization in 1565. It discusses how oral traditions like riddles, proverbs, songs, poems and stories were traditionally transmitted and helped preserve indigenous culture. Forms of literature included short rhyming poems, epic tales, and mimetic dances. Despite attempts by colonizers to destroy indigenous culture, oral traditions survived through geographic isolation or resistance to colonial rule.
The document summarizes the different literary genres that have existed in the Philippines throughout history. It discusses the pre-colonial genres like riddles, proverbs, songs, chants and epics that were orally passed down. During the American period, genres like poetry and drama emerged but still imitated American forms. Under Japanese occupation, literature declined as the Filipino language was banned but some still wrote plays and stories in Tagalog. Overall, Philippine genres have evolved throughout colonial rule and independence to reflect the country's rich cultural traditions and sociopolitical contexts.
British Forum for EthnomusicologyBirds of Wasulu Freedom VannaSchrader3
British Forum for Ethnomusicology
Birds of Wasulu: Freedom of Expression and Expressions of Freedom in the Popular Music of
Southern Mali
Author(s): Lucy Durán
Reviewed work(s):
Source: British Journal of Ethnomusicology, Vol. 4, Special Issue: Presented to Peter Cooke
(1995), pp. 101-134
Published by: British Forum for Ethnomusicology
Stable URL: http://www.jstor.org/stable/3060685 .
Accessed: 15/02/2013 14:45
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected]
.
British Forum for Ethnomusicology is collaborating with JSTOR to digitize, preserve and extend access to
British Journal of Ethnomusicology.
http://www.jstor.org
This content downloaded on Fri, 15 Feb 2013 14:45:06 PM
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/action/showPublisher?publisherCode=bfe
http://www.jstor.org/stable/3060685?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
VOL 4 BRITISH JOURNAL OF ETHNOMUSICOLOGY 1995
Birds of Wasulu:
freedom of expression and
expressions of freedom in the
popular music of southern Mali
Lucy Durdn
Wassoulou is a type of semi-acoustic music that has been popular in Mali since the 1970s.
This paper, an ethnography of wassoulou, traces its roots to the music of masquerade and
the hunters' traditions of the Wasulu region in the south, and explores the ways in which
the cultural worlds of these traditions are evoked through the music. Wassoulou
performers are called birds (kono) and occupy a social r0le that allows them to comment
on social issues with impunity, with gender playing an important part.
INMALI, a type of music known as wassoulou has become increasingly popular
in the past decade.1 Named after the Wasulu (Wasolon) region in southern Mali
where the music originally developed, and with which it continues to be
associated, it is of recent (post-independence) origin, though its roots are far
older. It first emerged in Bamako, the capital of Mali, in the early 1970s, reaching
a peak of success in 1989 with the release of a cassette by the female singer
Oumou Sangare (Fig. 1). This cassette, entitled Moussolou ("women"), sold
widely throughout West Africa, consolidating an international audience. There are
currently dozens of young artists performing and recording wassoulou in Mali,
Ivory Coast, and Europe.
One of the most important characteristics of wassoulou is that its performers
describe themselves as konow (sing. kono), meaning "birds". By doing so, ...
The document summarizes various examples of the destruction and desecration of indigenous Philippine beliefs, practices, and history by colonial forces. This included the Balangica Massacre by American forces, which involved stealing the bell from the Balangica church. It also discusses how Philippine history has been left out of American history books. Hundreds of ancient Tagalog manuscripts were burned by a Jesuit priest in Batangas. Traditional burial grounds of native peoples were also desecrated. Overall, the dominant colonial culture attempted to destroy elements of indigenous Philippine culture and promote its own version of history.
Kwanzaa is a Pan-African celebration which was initialized in the USA in 1966 and has since spread internationally celebrated by Africans on the continent and the Diaspora.
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1. Southeastern Philippines Journal of Research and Development, Vol. 26, No. 2 97
Unveiling the Tausug Culture
in Parang Sabil through
Translation
Sajed S. Ingilan and Nena C. Abdurajak
Abstract
Translation communicates through language and
facilitates the spread of information and culture.
It is a conscious semantic transfer of cultural
items from one culture to another. In this paper,
it aims to unveil the culture of the Tausugs, the
people of Sulu, Philippines, in doing the jihad
(holy war) through the translation of the parang
sabil, a folk narrative song. Anchored on the
interpretative theory of translation, this study
translates the contemporary parang sabil titled
Kissa sin Pagbunu ha Zambo written in Bahasa
Sug, a language spoken among the Tausugs, into
English. Performed by the Tausug lady named
Indah Anjam, Kissa sin Pagbunu ha Zambo (The
Story of War in Zambo) talks about the heroic act
of Ustadz Habir Malik during the Zamboanga
siege in 2013. By mobilizing the researchers’
knowledge in Bahasa Sug, English, and Tausug
history and culture, linguistic and cultural issues
were addressed in the English translation to
maintain the sense or culture of doing the Tausug
jihad. The researchers faithfully expressed in the
English translation the culture of the Tausugs
by maintaining the identity of the Tausugs as
Muslims, by showing that the Tausugs are in
unity to defend their homeland and religion,
and by projecting that they are brave warriors
in defense of Islam. Hence, translating this
particular Tausug parang sabil placed in its
cultural context is an urgent work to do in order
to enlarge our consciousness on Tausug culture
and history.
Keywords: translation studies, Mindanao
studies, interpretative approach,
Bahasa Sug, Philippines
2021
Author information:
Sajed S. Ingilan
ingilan.sajed@usep.edu.ph
orcid.org/0000-0002-4466-2028
Associate Professor of Language,
College of Arts and Sciences,
University of Southeastern
Philippines, Obrero, Davao City
Nena C. Abdurajak
abdurajaknena@gmail.com
orcid.org/0000-0002-1633-6428
Assistant Professor of Filipino,
Western Mindanao State University,
Zamboanga City
2. 98
In Muslim Mindanao history, the Tausug (Orang Suluk in Malay) is one of
the Muslim groups in the Southern Philippines recognized for their bravery and
firm opposition to the infidels or non-Muslims. The Tausugs or Bangsa Sug are
proud to say, “We were never conquered”. Before the arrival of the Spaniards,
Sulu, or Lupah Sug for the Tausugs, already existed under the abode of Islam,
thus the title Sulu Darussalam. The authority of the Sultanate of Sulu reached
Mindanao, Palawan, and even in Sabah, Malaysia (Ingilan, 2018; 2015).
Sources in the Philippine history revealed that Lupah Sug is a reminder of
the longest history of anti-colonial resistance in Southeast Asia. The Tausugs
executed the localized jihad or holy war known as parang sabil for their agama
(religion) and for the liberation of their Lupah Sug from those who conquer it.
The term parang sabil may have been derived from the Bahasa Sug parrang
which means to fight, and sabil from Arabic fi sabilillah (in the way of Allah),
hence it literally means ‘to fight in the path of Allah’ (Tuban, 2020, p. 62). Sakili
(1999) in Ingilan (2018) states that “parang sabil, also known in the Philippines
as sabilullah, is considered one of the most misconstrued customs of the
Tausugs”. After the action-packed Battle of Bud Dahu and Bud Bagsak, the
Tausugs resorted to a type of guerilla warfare known as the parang sabil. Sakili
(1999), and Majul (1999) emphasize that “practicing the parang sabil is not
going amuck as popularly portrayed in films in the Philippines.” Sakili (1999)
states that, “it was a religious and patriotic act directed against the combatants of
kafir (infidels) or foreign invaders.” Parang sabil is the Tausug’s way of waging
a holy war. It was waged as the last option of opposition against colonization.
For more than five hundred years, the Bangsa Sug fought to defend their
homeland and to retain their agama or religion (Bara, 2015 in Ingilan, 2018,
p.38). They carried on with their fight for independence upon the failure of the
American invaders and the Philippine government to secure the assurance of
improved life for the Bangsamoro or Muslims in the Philippines. As a response to
this injustice and as embodiment of the continued sacrifice of the Bangsamoro
kamaasan or ancestors, a Sama-Tausug leader, Nurulaji ‘Nur’ Misuari, founded
the Moro National Liberation Front in 1972.
This opposition to foreign invaders is manifested in the Tausug folk
narrative song popularly referred to as parang sabil which is performed with
the accompaniment of gabbang (native xylophone), and biyula (native violin)
in special gatherings in Tausug kawman or community (Tuban, 2020, p. 62). It
is clear then that the term parang sabil is referred to as (1) holy war or (2) folk
narrative song.
The parang sabil as a folk narrative song was also played on public radio in
Jolo. The parang sabil may have the aaaa or aabb rhyme scheme but without a
fixed meter. It uses the recurring refrain or the repetition of melody, which is fast
3. Southeastern Philippines Journal of Research and Development, Vol. 26, No. 2 99
in tempo and is passionately sung on the spot by the singers (Asain, 2006). The
stories in the parang sabil share the same plot: an offense has been committed
against a believer, threatening the survival of the community of believers and
which the offended party feels obliged to defend by dying in the path of Allah.
Among the Tausug parang sabil were: (1) Parang Sabil hi Baddun – The Parang
Sabil of Baddun (Mercado, 1963), (2) Parang Sabil hi Abdulla iban Isara -The
Parang Sabil of Abdulla and Isara (Rixhon , 1973), (3) Parrang Sabil Kan Apud
-The Parang Sabil of Apud (Kiefer , 1973), (4) Kissa Kan Panglima Hassan
-The Story of Panglima Hassan (Tuban, 1977), (5) Parang Sabil hi Sakili-The
Parang Sabil of Sakili (Tuban, 1977), 6) Parang Sabil hi Mahmud -The Parang
Sabil of Mahmud (Tuban, 1992), and (7) Parang Sabil hi Maharadja Untung
-The Parang Sabil of Maharadja Untung(Tuban, 1992). The rhyme, rhythm,
and the fast-paced, melismatic singing style of the male and female singers of
parang sabil in an ensemble of biyula and gabbang give delight to the Tausug
kawman. But in 1974, the military mayor banned the singing of the parang sabil
on the public radio of Jolo as it was only then that the Philippine government
authorities unearthed that the abhorrence was perpetuated not only exclusively
against the Spaniards but was directed also against any colonial authority
that lorded over the Lupah Sug from the Spanish era to the present “central”
government (Rixhon, 2010 in Ingilan, 2018, p. 38).
To unveil the culture of the parang sabil, this translation project aims
to translate the Tausug parang sabil titled Kissa sin Pagbunu ha Zambo (The
Story of War in Zambo) performed by Indah Anjam into English using the
interpretative approach. Kissa sin Pagbunu ha Zambo (The Story of War in
Zambo) tells about the heroic act of Ustadz Habir Malik, an MNLF commander
from Basilan, during the Zamboanga siege in 2013. The three-week siege
was attributed to the refusal of Zamboanga City Mayor Maria Isabelle ‘Beng’
Climaco to let the MNLF headed by Ustadz Habir Malik to raise its flag on its
founding anniversary, on the basis that such an act was unconstitutional (Veloso,
2017). A sum of 32 people (9 civilians, 5 police officers, and 18 soldiers) were
killed, and 238 people (57 civilians, 167 soldiers, and 14 police officers) were
wounded (Sinapit, 2013).
The Kissa sin Pagbunu ha Zambo was uploaded on Youtube last November
19, 2014 by Hush Hamid (https://www.youtube.com/watch?v=8ppyC_MjlCA),
a Tausug from Sulu. This was performed by Indah Anjam on a wedding in
Kampung Sukang Luyang, Kota Kinabalu, Sabah, Malaysia. Indah Anjam, a
Tausug, is one of the most requested singers during special occasions in Tausug
kawman in Sulu and Sabah. Her performance is often requested by the parents
of the bride during wedding (Hush Hamid, personal communication, April 26,
2018).
4. 100
The translation of this Tausug parang sabil into English is deemed
necessary in order to understand the culture of parang sabil. For Okeogu (2017,
p.195), “Translation communicates through language and facilitates the spread
of information and culture.” Mba (1996, p.1) sees “translation as a conscious
semantic transfer of cultural items from one culture to another.”
Materials and Methods
This translation study employed the interpretative approach in translating
the Kissa sin Pagbunu ha Zambo into English. After watching the video for a
couple of times, the researchers transcribed the 20-minute Kissa sin Pagbunu
ha Zambo performed by Indah Anjam in Bahasa Sug. To check the accuracy of
the transcription, the researchers sought the help of native speakers of Bahasa
Sug who are now living in Davao City, and Zamboanga City.
To achieve our aim in this project, the researchers used the interpretative
theory of translation (ITT) also known as theory of meaning developed by Danila
Seleskovitch, Marianne Lederer and their counterparts at Ecole Superieure des
Interpretes et Traducteurs, University of Paris. ITT states that “the meaning
contained in the original text has to be understood and reformulated in the
second language. It upholds equivalence in translation rather than one-to-one
meaning” (Lederer, 1994, p.51) . It is built upon four pillars: (1) command of the
native language, (2) command of the source language, (3) command of relevant
world and background knowledge, (4) command of interpreting methodology.
ITT offers a guideline for the treatment of cultural features: Sense, awareness
of the things meant by the speaker, is not contained in any given language or
text but arises from cues given by the text and cognitive complements. The
cognitive complements include knowledge of the world, of time and place, of
the circumstances out of which a speech arises, knowing who the speaker is
and who the listeners are. With ITT as our framework, we then proceeded to
translating the Kissa sin Pagbunu ha Zambo into English.
Bahasa Sug, the researchers’ first language, is the language used in Kissa
sin Pagbunu ha Zambo. Bahasa Sug is a member of the East Mindanao (EM)
subgroup of the Central Philippine group of languages (Pallesen, 1985). The
Bahasa Sug, the rightful term for the language of people of Sulu (Bangahan,
2015) was, for long time, the means of communication of the Sulu Sultanate
with varying entities and areas under its rule since 15th century. The Bahasa
Sug, spoken by 900,000 people (Ashley, Olson, & Soderberg, 2012), serves as
the lingua franca in the Sulu archipelago and neighboring islands.
In translating the Kissa sin Pagbunu ha Zambo to English, we focused
on the meaning of the lyrics and not taking the music into account (Franzon,
5. Southeastern Philippines Journal of Research and Development, Vol. 26, No. 2 101
2008). In interpreting the meaning of the parang sabil, we used our knowledge
in Bahasa Sug and English. Living in a Tausug community in Mindanao for
decades had helped the researchers in unveiling the Tausug culture in the
parang sabil.
Results and Discussion
The parang sabil is primarily done in defense of agama Islam, thus showing
tawheed (oneness) in Allahu taala (Allah, the highest). This trait which reveals
the Muslim identity of the Tausugs is seen in the story of war in Zamboanga, in
which we faithfully translated to English.
The Bangsa Sug were first exposed to Islam in the 13th
century through the
influential Tuan Mashaika (Majul, 1973 in Bara, 2015). Islam was intensified
in Lupah Sug (Sulu) with the advent of Sayyid Abubakar, and the Bangsa Sug
were eventually admitted to ummat al Islamiyah ‘Islamic community’ (Ingilan,
Jubilado, & Dumanig, 2015, p. 148). The use of Arabic expressions in the Kissa
sin Pagbunu ha Zambo (The Story of War in Zambo) revealed their identity as
Muslims or followers of Islam. Some of these Arabic expressions were bismillah
and alhamdulillah. Our background in Arabic language helped us in doing the
literal translation of these expressions. Then, we considered the context in the
source text as to how these Arabic expressions were used. In translating these
Arabic expressions to English, we retained the use of Allah, the Arabic term
for God, to maintain the character of the Tausug as Muslims. For Muslims,
Allah is never translated to God for Allah cannot be compared to any deity. For
example, the Arabic expressions bismillah translated as “In the name of Allah”
and alhamdulillah “praises to Allah” in the following:
Tagnaan in bismillah I will start in the name of Allah
sunud alhamdulillah.
Then, with praises to Allah.
These lines describe one feature of parang sabil. It started with a prayer
with the mention of Arabic expression, bismillah (In the name of Allah) which
is the first line of Al Fatiha (The Exordium), the first surah (chapter) of Qur’an.
This feature of Tausug parang sabil is similar also to shair, a Malaysian literary
genre (Rixhon, 1974).
The Tausugs are united in their advocacy to have their own government
since 1972. In the folk narrative song, we encountered the terms bangsa Muslim
and bangsa Islam to refer to the Muslims in Mindanao who have been clamoring
6. 102
for independence. To contextualize it, we used Bangsamoro in our translation
to refer to bangsa Muslim or bangsa Islam as seen in the stanzas 6 and 7.
(6) In planu mahugut It was a concrete
pa nag paawn higut. and careful plan.
Bangsa Islam gawgut The Bangsamoro was firm
Kunu umatu bang maglagut. and would fight until death.
(7) Kailu bangsa Muslim Oh the Bangsamoro
yakkalan sin UN. was deceived by the UN.
We decided to use Bangsamoro in the English translation since this is
the identity given to the Muslims in the Philippines. The term Bangsamoro is
derived from two words: bangsa (nation) and moro (Muslim), thus translates to
Muslim nation. Bangsamoro, an identity given by the Spaniards after the Moors
of Spain, is also recognized by the Organization of Islamic Countries (OIC).
Nur Misuari, the leader of MNLF has been constantly invited to represent the
Bangsamoro in the meetings of OIC (Bara, 2015).
The Tausugs have high respect to their leaders as revealed in the use of
maas and ustadz as seen in the stanzas 13 and 43.
(13) Maas nag-ordir The maas gave an order
madtu kan Ustadz Habir. to Ustadz Habir.
Bisan magparang sabil Maas ordered, “Do the act of
parang sabil,
laung niya ayaw kaw sumurindil. do not surrender.”
(43) Ustadz Habir gagandilan Ustadz Habir was a warrior
iban tau Basilan. who hailed from Basilan.
Bang sin Tuhan dulan If Allah permits,
dayang Zamboanga lanjalan. Ustadz Habir would proceed to
Zamboanga.
The Tausug title maas literally means old, matured. But for the Tausugs
especially the members of the Moro National Liberation Front, maas means
head of the family. In this folk narrative song, Nur Misuari is regarded as the
7. Southeastern Philippines Journal of Research and Development, Vol. 26, No. 2 103
maas or the highly respected head of MNLF. This is the title of Misuari known
to many Tausugs as well as other Muslim groups in Mindanao who are members
of the MNLF.
Another title is ustadz, a respected Arabic language and Islamic teacher.
We cannot just translate ustadz to teacher in English because the title ustadz
means that he is not just teaching the language of Islam, but also living the
traditions of Islam. Translating ustadz to teacher changes the meaning of the
word. In this folk narrative song, Ustadz Habir Malik, a commander of MNLF
from Basilan as shown in stanza 43, is well loved by the Tausugs and regarded
as hero who fought the enemies in defense of Islam.
In the Kissa Sin Pagbunu ha Zambo, it is noticed that the Tausugs gave
high regard to the warriors as seen in the stanzas 23 and 24.
(23) Ustadz Habir malanu Ustadz Habir, who was pure,
imatu ha mga satru. fought the enemies.
In marihang nagbahu The dead bodies became stinky,
dayang mataud nagkahalu. dear, and were rotten.
(24) Ustadz Habir marurug Ustadz Habir was brave
pa Barbara simud. who entered Barbara.
Kabayan nadahpug Houses were burned down
sabab titimbakan makusug. because of the cannon shots.
We carefully thought of the English equivalent of the Tausug adjective
malanu that means clean or pure. But in the stanza 23, we believe pure is more
appropriate since it describes the character and intention of a true sabil (martyr).
Another adjective used to describe Ustadz Habir is marurug. We decided
to translate it to brave since the context tells that he entered Barbara, a Tausug
community in Zamboanga City given that the place was under fire. Marurug
may also mean ‘handsome’ but in the stanza 24, it does not fit to the context,
hence we used brave.
The bravery of the Tausugs was clearly manifested in the folk narrative
song. They did not withdraw from the fight though the enemies, the government
soldiers, had been attacking them with bazookas, and mortars, as seen in the
stanzas 26 and 27.
8. 104
(26) Bazooka giyamit The government soldiers used
bazooka
pa Hall of Justice. to the Hall of Justice.
Sambil pa mga pulis Even the police
way na kunu nakapag-upis. were not able to hold office.
Anduh dayang. Oh dear.
(27) Manga pulis nagpustu The police positioned
duun ha LTO. in the LTO.
Murtal bang hikadtu When the mortar was sent,
gammayan makahilu. the situation became chaotic.
Translating bazooka to English was not a problem for us since this word
is an English word borrowed by the Tausug to refer to a light portable antitank
weapon consisting of an open-breech smoothbore firing tube that launches an
armor-piercing rocket and is fired from the shoulder.
What made us confused is the word murtal in the source text. We read
several times the text and we realized that murtal refers to mortar, a big gun
which fires missiles high into the air over a short distance. The Tausugs usually
pronounce some English words with the final lateral retroflex /r/ to lateral liquid
/l/ such as mortar to murtal, mayor to miyul, governor to gubnul, sir to sil.
Even during the American occupation in the Philippines, the bravery of
Tausugs was vividly seen in the parang sabil titled Kissa kan Panglima Hassan
(The Story of Panglima Hassan). Armed with budjak (blades of iron, brass, or
steel), barung (a leaf-shaped blade), and kalis (sword with waves), the Tausugs
of Sulu protected their homeland by fighting the American soldiers who had
their guns, cannons, and ammunitions. Ingilan (2018, p.38) explains that “the
Tausugs performed the parang sabil under the ideology of martabbat (honor),
darál Islam (space), and tawheed (oneness)”.
The Tausug parang sabil such as the Kissa sin Pagbunu ha Zambo (The
Story of War in Zambo) is still a cry for independence and love of Islam among
the Bangsa Sug. It epitomizes the beliefs and values of the Tausug.
9. Southeastern Philippines Journal of Research and Development, Vol. 26, No. 2 105
Conclusion
This project aims to translate the Kissa sin Pagbunu ha Zambo into English
to expose the culture of Tausug parang sabil to the non-Muslims. By applying
the interpretative theory of translation, we attempted to adapt the Tausug
cultural elements into the English translation . We made sure that we faithfully
expressed in the English translation the culture of the Tausug parang sabil by
maintaining the identity of the Tausugs as Muslims, by showing the Tausugs are
united to defend their homeland and religion, and by projecting that they are
brave warriors in defense of Islam.
The use of Allah in the English translation reveals the Muslim identity of
the Tausugs. The use of Bangsamoro in the target language tells the character
of the Tausugs in the Philippines that they are united in their struggle for
freedom. The Bangsamoro is headed by maas and ustadz as seen in the English
translation. These Tausug leaders are respected by the Bangsamoro for these
leaders are marurug (brave) and malanu (pure).
Performed in special events, the parang sabil functions not just to give
entertainment but also to instruct the audience specially the young Tausug to
treat the sabil (one who performs the jihad) as heroes who did not surrender
amidst the strong forces of the enemies as evidently manifested in the use of
bazooka and mortar of the government soldiers. By doing all these, we maintain
the sense of doing the Tausug parang sabil in the English translation.
This study, a good reference material in translation, history, and peace and
development studies, covered only the parang sabil of the Tausug. In order to
enlarge our consciousness on Muslim culture in Mindanao , it is suggested to
examine also the folk narrative songs about jihad of other Bangsamoro such as
the Meranaw of Lanao, Maguindanao of Cotabato, Kagan of Davao, and Sama
of Tawi-tawi.
This paper does not only shed light on the culture of Tausug in doing jihad,
but more importantly, it contributes to the ongoing conversations on Muslims
in the Philippines.
10. 106
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