The Philippine Brassware

By Apolinario Villalobos

The Maranaos of Lanao find brass as a good object on which they express themselves artistically. Be it on lampstands, “gong”, plant holders, jars, ash trays, and food trays, the Maranao brass artist whose deft hands have been made sensitive by years of experience, imprint his personal expression of the “okir” and “naga” art forms.

Synonymous to the southern culture which in itself is exotic, the brassware is usually considered as an object that could enliven any living room, office, restaurant corners, or hotel lobby. Those who visit Marawi City, Jolo, Zamboanga City or Cotabato City, always see to it that they have purchased a brass item to be brought home as a souvenir. Not only are the brassware kept for their decorative value, but also for their cultural significance.

While brass handicraft is a waning source of income for some families in other Muslim provinces that have become outlets and showcases, in southern Lanao, particularly, Tugaya, locals still consider it their source of income. Here, some of the artisans still use the crude centuries-old foundry and casting methods. Despite the crudeness of the craft in Tugaya, the cottage industry is struggling for its perpetuation.

It is said that the craft was brought to Tugaya by a local trader, Maruhom Maulia, who got the knowledge from his trading trips to Tampasok, Sabah, where brass and bronze items were manufactured. Eventually, while at Tugaya, he fell in love and married the Sultan’s daughter.

According to Dr. Manitua Saber, an authority on Islamic arts, the techniques used by the artisans of Tugaya are similar to those being used in Bali, Sumatra and Brunei. Furthermore, he said that the technology could have found its way to Southeast Asia by way of China or India, in 1,000 A.D.

There are two processes practiced by the Maranao artisans, such as, the stamping and drip wax techniques. It is interesting to note that the tools which the artisans use are also made by them, usually out of the local materials.

In the stamping technique, brass plates are incised using a home-made “compass” to determine the size of the expected design.  Several plain plate tied together are etched or punched with intricate designs of “naga” or “okir”, or both, before they are formed into the desired item. Brassware produced out of this method, are cheaper compared to the drip wax technique which is more tedious, as it involves more time and processes. The latter, actually, revolves around the “mold” technique, and being crude, needs several phases to complete the process.

The brassware comes in many forms and uses. Those who are not familiar with the use of the items, would resort to just one thing – use them as decorative accessories in homes and offices. It is not surprising therefore, to find homes whose tables in the living room are accented with brass betel nut containers, open flat iron, small gongs or kulintang set and urns.

In Pasay City, brass and bronze items from the small ash trays and betel nut containers to big jars and urns can be found at the Philtrade Center, beside the World Trade Center, along Roxas Boulevard. Similar items can also be found in the Ermita district of Manila and the Islamic Center in Quiapo.