page_title: Culture of Basilan
section_title: Tausug
hierarchical_section_title: Culture of Basilan / Tausug
caption_attribution_description: English: Tausug Refugee Child selling Piyutu [Traditional steamed tapioca]
context_page_description: The Culture of Basilan are derived from the three main cultural ethnolinguistic nations, the Yakan, Suluanon Tausug and the Zamboangueño in the southern Philippines. Both Yakans and Tausugs are predominantly Muslim, joined by their kin from the Sama, Badjao, Maranao, and other Muslim ethnolinguistic groups of Mindanao, while the Zamboangueños are primarily Christian, joined by the predominantly Christian ethnolinguistic groups; the Cebuano, Ilocano, Tagalog and others. These three main groups, however, represent Basilan's tri-people or tri-ethnic group community.
context_section_description: The Tausug are the Yakan's traditional rivals in the Sulu Archipelago. Based primarily in the island of Jolo, the Tausug built a powerful maritime confederation of Datus and Rajas extending from the Sulu Archipelago to Palawan and North Borneo. They inhabit Basilan's coastal areas, specifically around the island's southwest and northwestern communities. Known to be fierce warriors and sailors throughout the 16th to the 19th centuries, they withstood Spanish incursions for over 350 years, succumbing only in 1876, and then to the Americans in 1915.
  "Tausug" derives from tau meaning "man" and sug meaning "current," and translates into "people of the current." It refers to the majority Islamized group in the Sulu archipelago, their language, and culture. The Tausug, are predominant in the northern part of Sulu province, i.e., Jolo Island and the neighboring islands of Pata, Marunggas, Tapul, and Lugus, and to a lesser extent in Siasi and Pangutaran (Arce 1963:3). The province of Sulu derives its name from sulug or sūg which in Tausug means "ocean current," while Sulu's capital Jolo is the Spanish corruption of Sulu.
  The Tausug speak Bahasa Sūg, a Malayo-Polynesian language related to the Visayan variety spoken in Surigao, and write in a Malayo-Arabic script known as Jawi or sulat sūg.
  Tausug visual arts are represented by carvings, metalworks, woodworks, tapestry and embroidery, mat making and basketry, textile and fashion, pottery, and other minor arts (Szanton 1963). In general, Tausug visual arts follow the Islamic prohibition of representing human or animal forms. Consequently, Mindanao and Sulu have developed ukkil or abstract motifs which are carved, printed, or painted into various media. These motifs are suggestive of leaves, vines, flowers, fruits, and various geometric shapes.
  Tausug carving is best exemplified by the sunduk or grave marker. Although not as stylized as those of the Samal, the Tausug sunduk are wood or stone carvings of geometric or floral forms. Women's grave markers are flatter with carved geometric designs, those of the men are more floral. Sakayan or outriggers present yet another media for Tausug carving. Adornments are usually made on the prow and sometimes on the sambili or strips across the hull. The carvings are done either on the boat itself, or on a separate piece of wood which is then attached to the vessel. Abstract manok-manok (bird) motifs are the most common. Ajong-ajong/sula-sula are carved tips supporting the wrapped sail; the hidjuk (dark cord) on the sangpad (prow-plate) also serve as decoration. Carved saam or cross—pieces supporting the outriggers are called the mata (eyes) of the boat. Colors used on the finished carvings are yellow, red, green, white, and blue (Szanton 1973:33–47).
  Tausug mananasal or blacksmiths produce bolo, kalis, and barong (bladed weapons). Fishing implem-ents are also made, such as the sangkil (single-pointed spear) and the sapang (three-pronged spear). The more expensively fashioned blades have floral and geometric incisions; the ganja or metal strips which lock the handle and the blade are a decorative as well a functional device. Bronze casting is not as well developed as it is in Lanao. Among the several functional pieces produced were the batunjang (standing trays) and the talam (flat trays). Gold and silver-smithing for jewelry remain lucrative. Items produced by the local goldsmith include the singsing (ring), gallang (bracelet), gantung liug (necklace), bang (stud earring), aritis (dangling earring), pin (brooch), and gold teeth. In the past, tambuku (buttons) made of gold or silver decorated the traditional male and female costumes and were made with exquisite designs, often inlaid with palmata (semiprecious stones or gems). Among the favorite palmata are mussah (pearl), intan (diamond), kumalah (ruby) (Szanton 1973:47–51; Amilbangsa 1983:142–157).
  An example of Tausug woodwork is the puhan (wooden handle) of bladed weapons which may be simple or decorated with gold or silver wires, strings, and rings. For the barong, the handle is wrapped in c
caption: A Tausug child vendor selling piyutu (traditional steamed tapioca cylinders)
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