Excerpt from the BMI Ethnography of Maasin’s Tultugan

“Tultug: The Root of Maasin’s Tultugan Festival” By Hermie F. Cartagena

INTRODUCTION AND HISTORICAL BACKGROUND

Bamboo plants are abundant in Maasin. One of the varieties that can be found in the area is the “kawayan tinik” and is produced yearly with more than 2 million poles. Thus, bamboo is the primary material in producing local products and handicrafts in Maasin. The place has been supplying bamboo poles and various handicrafts in Iloilo and has even been exporting them internationally (Marin, 2017). Being one of the primary exporters of bamboo products in the region and the country, this municipality in the central part of Iloilo became known as the bamboo capital of the Visayas. In celebration of the abundant supply of bamboo products in the municipality, the Tultugan Festival was established. The festival, initiated or institutionalized by Mayor Mariano Malones in 1999, is considered a contemporary festival sponsored by the government (Muyco, 2016). Tultugan came from the word “tultug,” which means the act of making sound by tapping or striking the bamboo instrument (Marin, 2017).

The Tultugan Festival is primarily dedicated to bamboo and its various uses and functions. Held every fourth week of December, it features street dancing and a tribal dance competition. The highlight of the celebration is the tribal dance competition that showcases the various usage of bamboo in the community. The performers show how to creatively utilize the bamboo materials as part of the performance, incorporating them into their props, costumes, and instruments. Aside from the street dancing and tribal dance competition, the festival also highlights the “Gwapo Karabaw,” a contest wherein the participants adorn their water buffalos with various ornaments;

“Parada sang Litson,” where roasted pigs are presented in the streets through a parade; “Rara Amakn” contest, wherein the speed in weaving bamboos is tested; “Kadang Race,” a test of balance; and the search for Miss Tultugan (“News Today” 2005, p. 1, paragrap 3).

The festival is a way of preserving the local culture for the next generations to come, and various approaches were applied in redesigning and modernizing the bamboo material. Likewise, various rhythmic patterns were composed and developed by local musicians to provide a dynamic and vibrant sound in the performance (Marin, 2017; Jacinto, 2013).

PRODUCING THE BAMBOO MUSICAL INSTRUMENTS

All bamboo instruments and products in the municipality of Maasin are made from the kawayan tinik variety. Ms. Rosemarie Bayag explained that the best time for the harvesting of the Kawayan tinik is from September to January. At this time, the bamboo is mature enough to be crafted as a musical instrument. The diagram below shows the systematic process of making a bamboo instrument from planning up to its final form. For Bayag, the first step in making a bamboo instrument is planning. She explained that an instrument maker should have in mind what kind of instrument he or she desires to make. Secondly, the selection of bamboo must be fit to be crafted as an instrument. For Bayag, the best bamboo material are those bamboos that are situated uphill and have red pigmentations already. She also taps the bamboo pole using a bolo to check for sound quality. For her, not all bamboo has the potential to “sing.” Bayag further explained the science behind this process. According to her, bamboos that are situated uphill have less moisture in their fibers when compared to those bamboos found in the lowland area. She also added that bamboos found uphill are used to dry or humid climates. With that, the bamboo fibers are denser and sturdier. Also, she advised to look for the red pigmentation of the bamboo, which signifies that it is already mature enough and ideal to be constructed as an instrument. She further explained that mature bamboos with denser fibers are better because they produce a brighter and better sound resonance or what she called “nagakanta nga instrumento” (singing instrument).

The third step is choosing the appropriate part of the bamboo fit to be an instrument. According to Bayag, she only cuts and uses the pusog and the puno part of the bamboo – found in the lower part of the bamboo stem. Such parts have thicker bamboo flesh compared to its other parts. This is followed by carefully and neatly cutting or removing some bamboo nodes (for pipes or pitched instruments) and making a slit on one side of the bamboo (for rhythmic types of instrument like tultug). Bayag makes sure that this step is meticulously done for it may affect the sound quality of the instrument.

Lastly, refinement of the instrument is done by checking the sound quality (resonance) and durability. Bayag explained that once the bamboo instrument got cracked or damaged during the refinement stage, it is simply replaced. For her, the sound quality of the bamboo will be affected if adhesive will be applied to fix the broken part of the bamboo.

THE INSTRUMENTS AND THEIR ROLES

The instruments in the municipality of Maasin can be classified into two – rhythmic and pitched. Rhythmic instruments produce sound by striking, stamping, and clashing bamboos. Pitched instruments, on the other hand, produce melodies by striking the surface or tubes of the bamboo. These instruments are set in three octaves tuned to the key of C. The table below explains the method of sound production, melodic range, role in the ensemble, and function in social/cultural activity.

A. Content Standards

Recognize and understands the salient features of the music of the representative music from the Visayas.

B. Performance Standards

1. Performselected vocal and instrumental music of the Visayas (Iloilo) with appropriate rhythm, pitch, and style
2. Performappropriate dance steps relevant to the Tultugan festival

C. Learning Competencies/Objectives

1. Describe the relevance of bamboo to the people of Maasin, Iloilo in terms of its culture and geographical set-up
2. Identify the characteristics of the Tultugan music
3. Explain the meaning of tultug and its socio-cultural function
4. Create and improvise melodic and rhythmic patterns based on Tultugan music

Tultugan Instrumental Ensemble and Festival from Maasin, Iloilo

A. References

1. Print Materials

a. BMI ethnography of Maasin’s Tultugan Festival

b. Pictures of Tultugan instruments and performance

2. Audio-Video Materials

YouTube videos of performances in Tultugan Festival

3. Music Scores “Cundansoy”

B. Other Learning Materials

1. Other Learning Materials

Improvised percussion instruments (empty bottles, cup, plastic containers, empty can, PVC pipes)

2. RemoteLearning Resources

Improvised percussion instruments found at home (empty bottles, cup, plastic containers, empty can, casserole pot, PVC pipes, kitchen materials)

A. Reviewing the previous lesson or presenting the new lesson

1. Show a picture of amakan and ask students about the process of makingamakan and what material it is made of.
2. Show a picture of the municipality of Maasin and explain that the municipality is the bamboo capital in the Visayas.

B. Establishing the purpose of the lesson

1. Show a picture of tultug instrument and explain to the class its social and cultural function.
2. Show other Tultugan instruments like tala-tala, bayong, gabbang, paraspas, bamboo pipes, and mini bamboo pipes and elicit initial reactions from the students.

C. Presenting examples/instances of the new lesson

Watch a video of Tultugan festival and let the students observe the characteristics of its music in terms of melody, rhythm, texture, and style.

D. Discussing new concepts and practicing new skills # 1

1. Learn the song Cundansoy
2. Discuss the story in the song Cundansoy
3. Let the students explore various rhythmic patterns that may accompany the song Cundansoy.
4. Divide the class into three groups: group 1 will sing the song; group2 will be the actors; group 3 will be the instrumentalists (improvised instruments).

E. Discussing new concepts and practicing new skills # 2

1. Let the students conceptualize a theme and make a story.
2. Using improvised instruments, students will create melodic and rhythmic patterns appropriate to the story.
3. Choreograph movements appropriate to the story.

F. Developing mastery (leads to formative assessment)

Supervised practice and feedback: Have the students practice their presentation. Give feedback to improve student’s performance.

Group Presentation: Students present their output on Tultugan festival showcasing their original concept, dance movements, and musical ideas.

G. Finding practical applications of concept and skills in daily living

Prompt: How is sound reflected in our daily lives?

H. Making generalization and abstraction about the lesson

Music is a representation of one’s culture. The music reflects the way of life of a certain community. Prompt: what’s the impact of music on your life?

I. Additional activities for application or remediation

Let the students watch and observe Dinagyang performances. Let the students compare the Dinagyang and Tultugan festivals of Iloilo and identify their similarities and differences.

A. How many learners earned 80% in the evaluation? How many learners require additional activities for remediation?

B. Did the remedial lesson work? How many learners have caught up with the lesson? How many learners continue to require remediation?

C. Which of my teaching strategies worked well? Why did this work?

D. What difficulties can my principal or supervisor help me solve?

E. What innovation or localized materials did I use/discover which I wish to share with other teachers?