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Samaon Sulaiman - Group 7 GAMABA Virtual Museum
Samaon Sulaiman - Group 7 GAMABA Virtual Museum
Who is Samaon Sulaiman?
Samaon Sulaiman is one of the awardees of GAMABA (Gawad sa Manlilikha ng Bayan). His dedication and passion has also come to influence the other kudyapi masters such as Esmael Ahmad, Bitul Sulaiman, Nguda Latip, Ali Ahmad and Tukal Nanalon.
Samaon Sulaiman attained the highest level of proficiency in the art of playing the kudyapi. His wide range of masterfully interpreted dinaladay, linapu, minuna, binalig, and other forms and genres perfectly showcase the expressive and creative capabilities of his instrument.
Sample Performance Of Samaon Sulaiman
Samaon Sulaiman learned to play the kudyapi
at the age of 13 from his uncle, he soon became acclaimed to be the greatest master and teacher of kudyapi in Libutan and other barangays of Mangonoy Town in the age of 35.
According to Prof. Felipe M. de Leon, Jr. (n.a., as cited by GOVPH, n.a.), Samaon Sulaiman is deserving of emulation and the highest distinctions for his outstanding creativity and devotion to his chosen instrument, as well as his unshakable dedication to the melody of the kutyapi at a time when this instrument is no longer played in many areas of Mindanao.
"Kudyapi"
The Kudyapi or Kutiyapi/Kutyapi, is a Philippine two-stringed, fretted boat-lute, its highly lyrical in inspiration, rich in melodic and rhythmic inventiveness, and explores a broad spectrum of timbres and sound phenomena, both human and natural. It also has a sophisticated and flexible tuning system.
It's a favorite solo among Muslim and non-Muslim Filipino and is frequently played along with other instruments. The Magindanaon specifically is known among other Filipino cultural communities, they are the masters of Kulintang and Kudyapi. Even if the Magindanaon would prefer to use the kulintang as seen in it's popularity, it's the kutyapi that enthralls with its intimate, introspective, even magical allure. Even at its most joyous and euphoric state, it keeps a peaceful, kind disposition.
One reason why the younger generation is not very eager to study the Magindanao kudyapi is that it is one of the most technically challenging and challenging to master among Filipino traditional instruments. The second string, which has adjustable frets, allows melodies to be played in two sets of pentatonic scales, one of which contains semitones and the other of which does not. The first string serves as the rhythmic drone.
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