11th Asia Pacific Triennial of Contemporary Art

A desire for an inclusive peace is present in the work of many Moro artists. Rameer Tawasil’s (1969–2023) family fled their home during the devastating bombing of Jolo in 1974, relocating to Zamboanga City on mainland Mindanao. In connecting with his Tausug culture and heritage, Tawasil developed a style of representational painting using the ukkil (arabesque) motif said to mimic the sea’s currents (sug). 5 Made at the end of his life, Tawasil’s bold, colourful Taguri paintings on board were inspired by the immense Royal Sulu kites, common during the era of the Sulu Sultanate (1450–1898), conveying a consciousness of his own impending mortality. The ukkil motif is also apparent in ceremonial canopies and wall hangings used for weddings and auspicious occasions. Mark Tolentino, who grew up in Tausug communities in Davao City and who describes himself as ‘Tausug at heart’, makes appliqué hangings alongside his painting practice. His Burras – Tawbi (Tree of Life) 2024 depicts a symmetrical tree of life with ornate branches that signify Islamic concepts of unity and continuity. In the Sulu Archipelago region, weavers often work together in communities. Artists Karma Gadjali Amilbangsa and her daughter Ruhina Rajik Muhaimer make the refined geometric pis syabit of the Tausug, using a backstrap loom and cotton or polyester threads. Along with fellow weavers Nadia Allih and Harija Alaw, they were apprentices of the late Darhata Sawabi, who received the prestigious Gawad sa Manlilikha ng Bayan (GAMABA) ‘National Living Treasure’ award given to those who practise and revive age-old customs, crafts and ways of living. As a number of critics have noted, the award is problematic due to its rigid criteria, its distinction between art and craft and assumption that indigenous art forms are the national arts of the Philippines. For the descendants of awardees, the prize is seen to ensure the ‘authenticity’ and ‘quality’ of their work, and in some cases has led to a practice of gatekeeping. For many Moro peoples, weaving has provided a sense of purpose and livelihood, allowing former combatants or those displaced through conflict to earn a living and create a community united by their experience of trauma. Men have also begun to contribute, although a social stigma remains around their involvement. 6 Almanis Madjidul works with her husband to make habul tiyahian — embroidered satin sashes with distinct ukkil motifs. Krisher Bayani Appay has not previously had the opportunity to show her habul in a gallery or museum, instead showcasing them through trade fairs. Misrifa and Nursima Juhaili are associated with the Bagsak Youth Association, in which younger artists strengthen their local identity through working alongside elders. Other Moro communities use variations on ukkil and geometric motifs for a wide range of objects. Silling Sabturani weaves tutup — ceremonial food covers made from bura palm. Sabturani was only recently able to return to her home in Patikul after her community was internally displaced in 2017. Sama artist Rhudsia Jamih Mohammad, from Tawi-Tawi, also makes distinctive tutup and, in an innovative update of the practice, also creates miniature tondaan (small graceful boats with vibrant sails) from pandang leaves. Bilma Ausalin Hatamun of the Yakan people weaves bunga sama textiles, featuring repeated diamond patterns said to represent the continuity of the universe. Ausalin belongs to a family of four generations of weavers in Basilan who trace their lineage from the state-awarded artist Ambalang Ausalin. The youngest skilled weaver is five-year-old Normina Indasan. Meranaw artist Mohammad N Haji Zaman comes from the carving village of Tugaya in the Bangsamoro Autonomous Region in Muslim Mindanao (BARMM). 7 Among the Meranaw, the ukkil arabesque is referred to as okir and is more ornate than the Tausug version. Zaman uses okir to create the body of his carved Sarimanok, the mythical bird of Lanao. Sarimanok also Rhudsia Jamih Mohammad / Sama people / The Philippines b.1959 / Tutup (detail) 2024 / Pandang leaves / Four pieces: 23 × 49cm (diam.); 26 × 41cm (diam.); 26 × 41cm (diam.); 20 × 33cm (diam.) / Purchased 2024 with funds from the Bequest of Noela Clare Deutscher, in memory of her parents, A Evans Deutscher and Clare Deutscher, through the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art (clockwise from above) Joel Geolamen / The Philippines b.1972 / Habilin (Tausug 2) 2021 / Oil on canvas / 76.2 × 152.4cm / Purchased 2024 with funds from the Bequest of Noela Clare Deutscher, in memory of her parents, A Evans Deutscher and Clare Deutscher, through the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art; Habul Tiyahian (detail), Bagsak Youth Association, Sulu / Image courtesy: Accelerate Bangsamoro Project, The Asia Foundation / Photograph: Limitless Lab; Tennun weaver from the school of GAMABA awardee Ambalang Ausalin (Yakan people, 1943–2022), in Parangbasak, Lamitan City, Basilan / Photograph: Marky Ramone Go ARTISTS+PROJECTS ASIAPACIFICTRIENNIAL 150 — 151