SYMBOLISM AND SPIRITUAL FUNCTIONS IN THE VERNACULAR ARCHITECTURE OF DAVAO DEL NORTE

The kinowago resembles a twin-bird figure.

The province of Davao del Norte is the home of several IPs (indigenous peoples). These groups have thrived for generations and have built a remarkable form of vernacular architecture in this part of the country. These structures are influenced by the demands of the environment, the people's culture, and as well as the level of technology that they practice.

What is notable, though, is that certain details and features of these traditional structures convey interesting symbols and assume spiritual functions that have become integral expressions of the people’s identity and beliefs. In most of these indigenous houses one can find distinct figures and objects that are important components of the cultural traditions and beliefs of the IPs.

The togan is the traditional chieftain’s house of the Dibabawon, a tribe found in the mountainous interlands of Davao del Norte. Aside from being the residence of the datu, the togan is actually a multi-purpose hall that is used as a venue for community gatherings such as weddings, a court for settling disputes, and as a meeting place of tribal elders.

Inside the togan are fascinating woodcarved totem figures. The most significant of these is the venerated binutitok. Crafted in the image of the sacred green parrot, this unique piece only found in the togan, reflects the high rank of its owner. Also inside the togan are other carved figure such as the kinabug, talipuso, and the pag-abi sa bisita, which are considered as the tribe’s emblematic designs.
Lesser Dibabawon dwellings contain other carved objects, such as the kinowago (a twin bird figure) and the sinulaway (a fish-like figure) which indicate the social status of the houses’ owners.

Prominently displayed on top of Dibabawon dwellings, as well as those of the Ata-Manobo, another tribe in Davao del Norte, are symbolic diamond-shaped figures called tabanog, which are formed using reeds and tree branches. On the roof of the tog’gan, the traditional house of the Mangguangan, a kin of the Dibabawon found in the highlands of New Corella, Davao del Norte, is a set of finials called kawit or sungag, which is made of bamboo and attached at the roof’s gable ends. The tabanog and kawit are believed to be protectors of dwellings’ residents from evil spirits.

These traditional details and features are reflections of the IP’s values and beliefs. Aside from symbolizing power and social position, such architectural elements signify connections to the spiritual world that have afforded the people their protection and continued existence. The vernacular architecture of these Davao del Norte tribes, indeed, proves that aside from the functionality of their dwellings, symbolic and social functions exist in these humble abodes.

THE TOROGAN AS A NATIONAL TREASURE

Around a year ago, the National Museum has given a mark of distinction to one of our country’s existing architectural heritage. By issuing Declaration No. 4-2008, the Museum declared the Maranao torogan, most specifically the Kawayan torogan as National Cultural Treasure.

According to R.A. 4846, otherwise known as The Cultural Properties Preservation and Protection Act, national cultural treasures are defined as "unique objects found locally, possessing outstanding historical, cultural, artistic and/or scientific value, which is significant and important to the country."

Anthropologist Dr. Jesus Peralta, one of the panel of experts who signed the declaration, describes the torogan as the "imposing stately house of the Maranao elite found in the province of Lanao del Sur in Mindanao,” which is “composed of a single cavernous hall under a widely flaring ridged, bonnet type roof.”

What makes the torogan distinct, according to Peralta, “are the floor end beams (panolongs) that project frontally into butterfly shapes that are ornately carved and painted, alternately into the niaga/naga (serpent/dragon) and pako rabong armalis (assymetrical growing fern) with the facade panels and interior posts and sidings painted and carved.”

That declaration last year was very timely as several Maranao torogans all over Lanao have already succumbed to decay and wear. The Kawayan torogan, specifically identified in the declaration, is the only remaining habitable torogan to date. Located in Bubung Malanding, Marantao, Lanao del Sur, it was built during the American period by Sultan Kawayan Makaantal. Parts of the structure have reportedly collapsed, hence its immediate rehabilitation was of utmost importance.

The cost of rehabilitating the Kawayan torogan was assessed at P2.5 million. Since then the Museum has been busy sourcing for funds to complete the rehabilitation. Aside from the fund allocation secured from the NCCA, Senator Edgardo Angara was reported to have pledged P1 million for the project.
Targetted for completion in one year, rehabilitation work to be done included, among other things, repair of roof, replacement of termite-infested wood, repair of existing panolong and fabrication of the missing or deterioated ones and re-touching of panolong pigment.

Now, a year has passed since the Maranao torogan was declared as National Cultural Treasure. It is my hope that this declaration would not remain on paper only. Rather, it has served, or will still serve, as a means to bring attention to "last standing example of the finest of traditional vernacular architecture of the Philippines." It is also my hope that the planned rehabilitation of the Kawayan panolong will be completed soon.

THE OKIL VENTING LIGHT SCREEN

Throughout the centuries of Philippine building tradition, from up north of the archipelago to down south, a variety of houses has emerged. Taking on various forms --- the rustic bahay kubo, the elegant bahay na bato, the modest tsalet --- the Filipino house has been shaped by the demands of the environment and available building materials.

Because of our country’s tropical climate, one distinct feature of the Filipino house is the concept of transparency. This characteristic allows for maximum ventilation or better circulation of air, making the house rather comfortable despite the scorching heat and stifling humidity of the tropical climate.

These climatic concerns are addressed with wide windows, elevated floors, roof vents, open porches and fretwok at the upper portions of partitions, giving the Filipino house an airy or maaliwalas ambiance. Hence, making the structure truly “a house that breathes.”

In some parts of Mindanao, particularly around the Davao Gulf area, an architectural detail has evolved in response to the tropical climate --- the okil venting light screen or VLS. This is a creative ventilation detail that brings in outside air and shadowed light into the house’s interior. The light screen consists of repeated patterns of carved wood panels with interesting curving designs in its perforations.

Okil comes from the Malayan word “ukit” which means to carve. The VLS’ flamboyant pattern takes off from the okir, the Maranao’s ornate curvilinear motifs applied in woodcarving, popularly found in the panolong, the potruding beam-end of the torogan or the Maranao datu house.

The VLS, while resembling the calado, runs the whole length of the exterior wall and is also found above the window transom and ventanilla, while the latter is mainly positioned in the upper parts of interior partitions. Aside from allowing cross ventilation, the light screen allows diffused light to stream into the house while casting ornate shadows inside. From the outside, the VLS provides an attractive lace-like ornamention to a humble wooden structure.

A recent documentation of ancestral homes in Mindanao revealed that this architectural feature developed in the southern parts of the island in the early 1900s and eventually disappeared around half a century later. This was the period when large plantations were established in Mindanao, which brought an influx of migrants from different parts of the country. The region, thus, became an melting pot of cultures, bringing together varied building traditions.

During the study, the researchers were able to locate in the sleepy town of Baganga, Davao Oriental, a living artisan of the okil VLS, Hipolito Mulato, who, with other apprentice carpenters from Bohol, travelled to Davao in the 1930s in search of livelihood. Later, becoming a master carpenter, Mr. Mulato, now an octogenarian, would incorporate Mindanawon motifs into his carpentry know-how. His masterpieces, proud residential structures of yore, now dilapidated, can still be found around Bangaga.

Artistic details, though not imperative in building function, plays an important role in architecture. The okil venting light screen was able to fuse both. Indeed, its an outstanding architectural detail that combines fascinating ornamentation with the important demands of tropical design.