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Originally Posted by kai
I did understand your line of reasoning and apologize for failing to state that I respect this POV.
I believe we need to distinguish between evolving traditions and cultural degeneration though. Maybe the situation can be compared to the living keris tradition on Jawa: The modern generation of makers (or rather some of them) are able to craft high-quality pieces that conform to established cultural norms (pakem); however, this is a difficult task and minute deviations will result in missing the mark (and, thus, considerable loss of income). Many craftsmen seem to opt for an art approach which isn't bound by tradition: This allows for expressive free-style work that catches the eyes of customers, especially the huge majority who hasn't been initiated into the traditional aesthetics. If done well, it certainly is art; it probably isn't a regarded as a "real" keris by any traditionalist though. While one might argue that even pakem are subject to change (as they did in history), I do feel there is a considerable difference between any cultural development that takes place within a cultural setting of norms, traditions, and, especially, underlying symbolic code/language compared to a free-style approach which tosses out the meaning in favor of appealing to any uneducated eyes.
Coming back to Tugaya: Apparently much of the Moro language coded in kris and its fittings has been lost and/or is kept secret; I don't see any indications that the current artisans are trying to "speak" to a culturally educated/initiated audience. Most of the pieces are being sold to cultural outsiders, anyway.
BTW, gunong seem to continue being produced closer to traditions and some of the design elements even carry over into modern kris fittings...
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Hello Kai,
Thank you for the acknowledgement. I also respect your point of view.
I've been around shops in Metro Manila and Davao where I've seen some newly made Mindanao krises with new stylistic elements, but which also conform to traditional standards. Recently, I held a brand new kris with a
separate gangya (not just a line) which indicated to me that manufacturers are now aware of some "signs" collectors are looking for. While the seasoned collector would be able to tell they are merely aged to look antique (and a few other things), these swords are nonetheless really beautiful and would appeal to a niche market.
In terms of function, they are equally lethal and may even better many of the antique krises I have personally handled. As display items, these new swords look nicer. In many ways, the modern products are superior to the antiques.
However, as a weapon, the kris has become obsolete. I therefore see the production of krises these days as akin to manufacturing sophisticated typewriters in the age of laptops and personal computers. It has its niche market but has become mainly, a novelty item. I think this is the reason why manufacturers have to resort to "creative" efforts to sell their products but it is something they have to do to keep their livelihood and traditions going.
I'm not sure if I made sense.
But I do agree that we can also look at this as a form of "cultural degeneration." Anyway, I don't want to divert the discussion away from Alexish' queries.
Kind regards,
Fernando