CULTURE

FEATURE | CULTURE

From a Kept Maiden to an Empowered Woman: The Liberty of a Binukot

Written by Mdpn. John Rovic T. Lopez Photos by Mdpn. Mark Joseph D. Alovera Illustration by Mdpn. Vincent Jay A. Vigo The algid atmosphere of the film theater damps her skin even more as she gets on stage, receiving her very first Best Actress award for QCinema Film Festival 2017. Deafening applause, blinding lights, and stares of adoration from people like the veteran actress Eula Valdez whom she defeated on the coveted award—these are new for a Panay Bukidnon teenage girl like Jally Nae Gilbaliga.

After starring on the full-length film ‘The Chanters’ by director James Robin Mayo, Jally Nae was so proud to represent her culture on the national scene. Her face flashing in the huge screens of Quezon City doesn’t just stand as a representation of the rich culture of the Panay Bukidnon, but also a good scene of liberty—a young woman whose role is supposedly a Binukot (kept maiden) in the tribe, now defies tradition for freedom and opportunities in these modern times. The pre-colonial practice of Pagbukot—where the Panay Bukidnon tribe chooses a beautiful maiden as young as three years old to keep inside the house until she is arranged for a potential husband—is ‘somehow’ put into an end when the last kept maiden, Rosita Silva Caballero of Calinog, Iloilo passed away last 2017. For some, a condign mourning is necessary not just for the death of Rosita but also for the nearing death of the century-old tradition of Binukot. Yet for young girls like Jally Nae, the nightfall of the tradition means a new dawn for their freedom. “Kung binukot timo biskan pagtapak sa lupa indi ka pagsugtan. Pati pagparigus mo dapat gab-i don sa suba para waay it may makakita kanimo.” (If you’re a kept maiden, you are not even allowed to step a foot on the ground. Even your bath should be done on the river at night so that no one can see you.) A binukot is considered as the princess of the tribe. She is given too much attention, care, and prestige that every time she moves from one place to another, she is being carried on a bamboo hammock accompanied by two men in the family so that her feet will not be bedraggled by earth. Her face is covered with sheets of silk so that no one can peek on her. This practice of sheltering women for dowry—to the extent of depriving them their free-will—is far from Jally Nae’s idea of a princess.

The role and duties of a Binukot seem to be different to those of princesses that Jally Nae often sees in movies. The maiden is often isolated; sometimes she is left to just sit all day and stare blankly in her room. Aside from this, she is also being taught by the elders on how to weave their Tinubok nga tela, how to dance, and how to chant the entire Suguidanon epic. They are considered as the people in the tribe with the most knowledge on their culture, practices, and rituals. During weddings and other celebrations, the Binukot is allowed to go out with the guests and showcase her talents such as in dancing Binanog—one that mimics the movements of a free-flying endemic hawk called Banog. Only through dancing, a Binukot feels free. Until she goes back to her room again, like a bird on its cage. For young women in the tribe like Jally Nae, the tradition is strangling their basic human rights such as the rights for education and the rights for freedom. In these times when movements arise fighting for women empowerment and fighting against child abuse, the old tradition does not comply to a friendly and more inclusive world that we are living in right now.

“Daw mayad man gani kon waay don ang pagbukot. Tulad maka eskwela tamon, makapili ka paramanhon; indi kami pag ibaligya baylo sa isa ka karbaw kag mahimo ang mga gusto namon parehos ka dayang pag akting ko sa pelikula” (I am glad that the tradition stopped. Now, we can go to school, have our choices in terms of marriage; we can’t be bought in exchange of a carabao anymore and we can pursue the things we are passionate to do such as this, acting in a film.) When Jally Nae is hired to become an actress for the film The Chanters, she never hesitated to say yes. In the film, her character struggles with embracing her culture in these modern times. This is not far from her real-life story. Like any other young people in their tribe, she is faced with a lot of distractions particularly those that are brought by the emerging technology and innovations. However, she learned one thing, and that is how to embrace her authenticity as a Panay Bukidnon and at the same time, as a part of the Generation Z. She always clings to the mentality that these innovations can actually promote their culture more. One example is her entering the film industry to showcase her identity. She also sees the modern times as a gateway to reforms for her tribe’s flawed practices. Jally Nae believes that this tradition of women confinement doesn’t need preserving for it promotes abuse to women and children; somehow a violence. Today, with the provision of the Republic Act No. 9262 which is also known as the “Anti-Violence Against Women and Their Children Act of 2004”, any form of abuse—mental, physical, psychological, sexual or economic—is not and should not be tolerated. However, Jally Nae explains that this tradition will not be put to end because of the IPRA or The Indigenous Peoples’ Rights Act of 1997 that states “The State shall recognize, respect, and protect the rights of ICCs/IPs to preserve and develop their cultures, traditions, and institutions. It shall consider these rights in the formulation of national laws and policies”. However, the choice is put into the hands of the elders now, which according to her, the tradition is alive but the practice is dying.

“Ang tradisyon ka pagbukot dayan sa gihapon, pay waay don ka daa ka gusto maghimo. Una, kinahanglan manggaranon ka gid para magbukot ka isa ka bata. Ikaduwa, indi tana don gusto ya mga malam nga bukuton timo hay kung binukot timo waay timo ineskwelahan. Husto lang timo intuon ka may tinun-an.

Hinilawod is an epic poem from early tribes of Sulodnon (now known as Panay Bukidnon) that is told through chanting. Considered as one of the longest epics in the country and in the world, it takes three days for a chanter to sing the original 29,000-verse epic. The story tells of the exploits of the three demigod brothers, Labaw Donggon, Humadapnon and Dumalapdap of Panay.

The QCinema Trophy that Jally Nae had received after winning Best Actress for the film The Chanters. Photos courtesy to The Chanters FB page Some of the books of the written Sugidanon Epic researched and compiled by Alicia P. Magos, Ph.D. of U.P. Visayas. Photos courtesy to UP Press Official

Pay sarang sa gihapon magbukot ang isa ka pamilya bangod sa IPRA law”. (The tradition is still alive but it is not put into practice anymore. First, you need to have a very high social status to seclude and keep a young maiden. Second, the elders don’t want to do it anymore because if you’re a kept maiden, you are illiterate. Those who are educated will simply take advantage of you. However, anyone can still practice the custom because of the IPRA law.) Conforming to her cultural responsibilities, Jally Nae continues to promote the rich culture of Panay Bukidnon through their Panubok weaving, their epic chanting also called as Suguidanon, and their Binanog dance. At the same time, she also still pursues on spreading cultural and social awareness especially on the protection of women and children’s rights. And for her, one way to exercise these rights is to do what her heart desires to do— acting in front of the camera and on stage. From the far-flung areas of Calinog, Iloilo, Jally Nae’s face has been shown internationally. The recognitions and the extraordinary limelight from the industry might be new for a person like her who is from a tribe of Indigenous people. But for Jally Nae, it is something to celebrate—from the fate of a supposedly confined woman behind closed doors, she steps out and chooses her destiny now. Beyond her little house in the mountainous areas of Central Panay are the endless possibilities of what an empowered woman can do.