Who is Uwang Ahadas?
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Uwang Ahadas was born on February 16, 1945.
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He went near-blind when he was five years old. People in his community believed that this was due to the retribution of nature spirits that lived in Bohe Libaken, a creek where Ahadas frequently bathe in.
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He first learned how to play the gabbang, a wooden bamboo instrument similar to the xylophone then learned how to play the agung an instrument traditionally played by Yakan men.
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From the gabbang, a bamboo xylophone, his skills gradually allowed him to progress to the agung, the kwintangan kayu, and later the other instruments. Even musical tradition failed to be a deterrent to his will. Or perhaps it only served to fuel his determination to demonstrate his gift. Yakan tradition sets the kwintangan as a woman’s instrument and the agung, a man’s. His genius and his resolve, however, broke through this tradition.
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By age 20, Ahadas had already mastered the kwintangan which is considered the most important Yakan musical instrument despite the instrument traditionally reserved for women. He can also play the tuntungan.
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He taught his children how to play Yakan traditional instruments, including Darna who would later become a teacher of these traditions herself. Ahadas went on to promote these traditions outside his native town of Lamitan, Basilan.
Uwang Ahadas' Tradition:
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The Culture of Basilan is derived from the three main cultural ethnolinguistic nations, the Yakan, Suluanon Tausug and the Zamboangueño in the southern Philippines. Both Yakans and Tausugs are predominantly Muslim, joined by their kin from the Sama, Badjao, Maranao, and other Muslim ethnolinguistic groups of Mindanao, while the Zamboangueños are primarily Christian, joined by the predominantly Christian ethnolinguistic groups; the Cebuano, Ilocano, Tagalog and others. These three main groups, however, represent Basilan's tri-people or tri-ethnic group community.​
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Percussion is a big part in Yakan music. In the rice fields, two types of xylophones are used to intimidate pests or entertain the ripening crop, if not, for personal amusement. The Tagunggu Gong ensemble's music is popular at weddings and other celebrations. The Kwintang, a row of horizontally strung "Pot Gongs" comparable to the bonang of Indonesian Javanese gamelan, is the ensemble's principal instrument. Tagunggu music can be used to accompany either male or female solo dances, and the instruments can also be played by men or women.
Uwang Ahadas' Purpose:
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Uwang, however, is not content with merely his own expertise. He dreams that many more of his people will discover and study his art. With missionary fervor, he strives to pass on his knowledge to others. His own experience serves as a guide. He believes it is best for children to commence training young when interest is at its peak and flexibility of the hands and the wrists is assured. His own children were the first to benefit from his instruction. One of his daughters, Darna, has become quite proficient in the art that like her father, she too has begun to train others.
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His purpose carries him beyond the borders of Lamitan to the other towns of Basilan where Uwang always finds a warm welcome from students, young and old, who eagerly await his coming. His many travels have blessed him with close and enduring ties with these people. Many of his onetime apprentices have come into their own have gained individual renown in the Yakan community. He declares, with great pride, that they are frequently invited to perform during the many rituals and festivals that mark the community calendar.
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Similar to his mentors before him, Uwang’s teaching style is essentially hands-on. He teaches by showing; his students learn by doing. His hands constantly keep a firm hold on those of his students, the gentle pressure encouraging them to tap out music from the silent bamboo blades and the splendid brass gongs. His soft voice sings praises when merited and lightly censures when necessary. And each student receives his full attention while the others persevere in learning and perfecting the art.
ACHIEVEMENTS
1995
Mastered of all Yakan traditional instruments at the age of 20
2015 to present
Continues to teach and promote tradition to this day.
2000
National Living Treasures awardee
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He was awarded the Gawad Manlililkha ng Bayan in 2000 for his excellence in playing Yakan instruments and in-depth knowledge of their artistic possibilities and social context. Instrumental music plays an important role in the social and agricultural life of the Yakans.​
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He is entitled as one of the “National Living Treasure Awardees” for music recognized by the National Commission for Culture and the Arts (NCCA).
