• Corpus ID: 27892222

SOME IMPLICATIONS OF THE OKIR MOTIF IN LANAO AND SULU ART

@inproceedings{Baradas2013SOMEIO,
  title={SOME IMPLICATIONS OF THE OKIR MOTIF IN LANAO AND SULU ART},
  author={David B. Baradas},
  year={2013}
}

• David B. Baradas
• Published 2013
• Linguistics

OKIR IS A TERM USED TO REFER TO A WHOLE REPERTOIRE of art motifs consisting mainly of plant forms that figure prominently in the art of Lanao and Sulu.2 These two areas have markedly distinctive art forms but those who have had a close look at the motifs have alluded to either their similarity and/or identicality (Szanton, 1963; Dacanay, 1967; & Casino, 1968). Although this has been apparent, no attempt has been made to account for its distribution in these two areas. Some vague generalizations have been made, accounting for its presence in Lanao as being a direct result of contacts with the surrounding groups, i e., the Taosug and the Magindanao, which idea is generally believed owing to what has been proved to be the order of islamization of the major [Moslem] groups in southern Philippines. Although such may be the case, there had been no attempt to outline how such a process took place. Some of the socio-structural implications of its presence in both areas, which is the focus of this paper, reveal (a) the population movement in the two areas at an earlier period, and (b) the nature of two societies relative to the emergence of an art style.