Agung Vol XIX No. 4 July-August 2016

Volume XIX • Number 4 • July-August 2016 • For Artists and Cultural Workers • ISSN 0119-5948

Legendary Feats, Immortal Songs Official Newsletter of the National Commission for Culture and the Arts

The National Commission for Culture and the Arts

MESSAGE FROM THE CHAIRMAN Why Myths Matter Cultural complexes are emotionally charged group of ideas and images that cluster around an archetypal core. They exist within the cultural unconscious, which has a kind of “identity arising from the archetypes of the collective unconscious, and assists in the formation of myth and ritual shared by individuals within a cultural community, promoting the process of development in individuals” (Henderson).

Cultural complexes are based on frequently repeated historical experiences that have taken root in the collective psyche of a community and in the psyches of its individual members. They express archetypal values for the group.

As such they provide the deep structure for human motivation and meaning. When we encounter them in myths, art, oral literature, and sacred texts, they evoke a deep feeling within us. Archetypes, which Plato called “elemental forms” resonate with our highest cultural values. Thus, we project them outward onto images of gods and goddesses to give them compelling power.

In ancient Philippine culture, for instance, there was the ideal of absolute equality between man and woman, as in the story of “Si Ka Lak and Si Ka Bay” — the first man and woman — emerging fully grown out of a bamboo pole. Unfortunately, Western and Semitic beliefs influenced our culture to downgrade the pair towards an unequal relationship, where the woman can only be beautiful but not strong and the male may not have desirable looks as long as he is strong. The idea of Malakas at Maganda is not originally Filipino. Si Ka Lak and Si Ka Bay represent the Filipino yin-yang principle, which is definitely a principle of wholeness that is of central value in Philippine traditional culture.

Filipino popular culture is the culture of devotion to the family and sanctity of the home, which is its source of strength and happiness for nothing can surpass the family in social connectivity (another central ideal of Filipino culture), especially in the mother-child connection. Thus, the Mother Mary-Baby Jesus bond has become a mythical symbol of the sacred mother-child relationship in Filipino popular culture. This could perhaps be the reason for the Philippines’ having the “longest” Christmas celebration in the world!

Nowadays, we tend to seek symbolic archetypes in celebrities. But we need to understand and fully express the archetypes rooted in our culture. Our myths resonate with our psyches and can inspire us to do great things.

“Mythology is the wellspring of our civilization. One of the consequences of depriving people of mythology is that they join street gangs. Why? Because gangs have a leader, they have rituals, they have initiation rites–the stuff of mythology.” (Deepak Chopra) The deepest wellspring of civilization and identity are mythological stories. Movies, soap operas and celebrities are seductive precisely because they strike this mythic chord. But mythology has a numinous, sacred plane that is not attainable in a highly consumerist, materialistic societies. Real archetypes are embodied by people who can embrace the magnitude of the heavenly spheres and epic grandeur, like Mahatma Gandhi, Jose Rizal, Martin Luther King, or epic characters like Ampu, the Master of Rice and mythical heroes like Agyu, Kudaman, and Sandayo — “anyone who reaches beyond daily life into the realm of the wondrous.”

“They are able to achieve greatness because they tapped into the collective unconscious, which gave them the ability to see several event lines simultaneously and predict the future based on choices in the moment. These events create a shift in cognitive and perceptual mechanisms. These are the powers that bloom as myth.” (Chopra) When we go into our archetypal dreams or enter mythical stories, we are riding that special train to a place ordinary people in their everyday world do not usually see. It is an adventure that reflects something of our search for our true selves. Carl Jung observed that “every nation has its own modes of experiencing this psychic reality.” It is to our great advantage, thus, to examine and understand these modes for they are the wellsprings of our indigenous skills, creative energy and modes of intelligence – the very source of meaning, strength and inspiration towards social well-being and greatness as a people.

FELIPE M. DE LEON, JR.

Vol. XIX, No. 4 July-August 2016 ISSN 0119-5948

FELIPE M. DE LEON, JR. chairman

About the covers

ADELINA M. SUEMITH oic-executive director

Covers show modern renderings of the characters Bolak Sonday and Sandayo of the guman The Tale of Sandayo of the Suban-on /Illustrations by Emil Aldrine Alarcon

MARICHU G. TELLANO deputy executive director Rene Sanchez Napeñas editor-in-chief The agung is a knobbed metal gong of the Philippines used in various communal rituals.

Suspended in the air by rope or metal chains, the musical instrument is also employed by some indigenous groups as a means to announce community events, and as an indicator of the passage of time.

Agung is published bimonthly by the National Commission for Culture and the Arts.

Roel Hoang Manipon managing editor Mervin Concepcion Vergara art director Marvin Alcaraz photographer

Leihdee Anne Cabrera Manny Arawe May Corre Tuazon Roezielle Joy Iglesia Christine Sarah Sy paio staff Emilie V. Tiongco editorial consultant

Facing page: The MSUIIT Kalilang Ensemble with onor pakukulintang Caironesa Dimatanday.

Behind her is the apprentice, Cainora’s own daughter, during Cultural Center of the Philippines’ Performatura Festival. /Photo courtesy of the CCP

As the government arm for culture and the arts, the National Commission for Culture and the Arts (NCCA) is the overall policy-making, coordinating, and grants-giving agency for the preservation, development and promotion of Philippine arts and culture; and executing agency for the policies it formulates; and an agency tasked to administer the National Endowment Fund for Culture and the Arts (NEFCA). The NCCA traces its roots to the Presidential Commission for Culture and the Arts (PCCA), which was created when President Corazon Aquino signed Executive Order No. 118 on January 30, 1987, “mindful of the fact that there is a need for a national body to articulate a national policy on culture, to conserve and promote national heritage, and to guarantee a climate of freedom, support and dissemination for all forms of artistic and cultural expression.”

On April 3, 1992, President Aquino signed Republic Act No. 7356 creating the NCCA and establishing the NEFCA, a result of over two years of legislative consultations among government and private sector representatives.

The bill was sponsored by senators Edgardo J. Angara, Leticia RamosShahani, Heherson T. Alvarez and congressman Carlos Padilla.

The NCCA Secretariat, headed by the executive director and headquartered at the historic district of Intramuros, provides administrative and technical support to the NCCA and other units, and delivers assistance to the culture and arts community and the public.

THE NEED FOR MYTH HOW MINDANAO’S CHANTERS TELL THE TALE

By Christine F. Godinez Ortega

4 Agung • Number 4 • 2016

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yth, and by extension, the epic, is labeled “allegorical” today, and has been so demythologized in debates between mythos (fantasy) versus the logos (rational argument) that through the ages fewer people recognize the epic for its grandeur, elevated language, historicity and, in Northop Frye’s terms, “highly mimetic” qualities.

Fiction, specifically the novel, popular entertainment and the proliferation of Disney’s interpretation of fairy tales have supplanted native storytellers to such an extent that the chanting of the ethno-epics, a favored term since there is no national epic, have become “occasional” treats during weddings, wakes, political or community events, and for research purposes.

Talaandig Manobo chanter Florina Saway of Lanpatan, Bukidnon, at 66 in 2015. /Photo by Rene Adlawan

Epic chanters have become a rarity these days, and if they are available, researchers and scholars need to seek permission and negotiate before indigenous councils or through their contacts in universities and museums to have access to the chanters.

Chanters fetch high fees of up to five figures for chanting and for which they have been trained to narrate before audiences in their own communities and in the context of their respective cultures.

This nut-shelled characteristic of the chanters in this article are easily shared by the world’s chanters for oral narratives fulfill a community function where individuals develop a sense of community,and at the same time, believe in the existence of another world of myth promising a utopianlife.

Paul Ricoeur in Laurence Coupe’s Myth argues that “myth may imply a hierarchy, but it also implies a horizon: disclosure of unprecedented worlds, an opening on to possible worlds which transcend the established limits of our actual world.”

It was E. Arsenio Manuel, on the other hand, who claimed that every ethnic community must have an epic.

If we go by this claim, the number of ethno-epics from Mindanao’s twenty-one lumad and thirteen Islamized groups could be staggering, taking into consideration the numerous episodes, and their variations. The variations, because oral, depend on the creativity, the goals and personalities of individual tellers and the situation where they are at during chanting.

The late Dr. Elena G. Maquiso had collected and published five volumes of the Ulahingan (from ulahing meaning “to sing”). This Arumanen-Livunganen Manobo epic of the Northern Cotabato area, and again because oral, has variants shared with Northern, Central and parts of Southern Mindanao.

Maquiso had likened the main storyline to the kepu’unpu’un, a clump of bamboos, and its bamboo shoots, the sengedurug as episodes, of the main story. The variants of these episodes are just as numerous but the main storyline is kept intact.

A sixth volume of the Ulahingan published by Earl Jude Cleofe is now available and hopefully, the numerous tapes, already digitized by Silliman University be transcribed and published in order to evaluate what new tales along with their variants have been recorded. The find, along with other researches on the epic, must be shared to the nation and not just kept in archives.

The prospect of putting together and knowing, much less translating, and assessing the numerous ethno-epics from Mindanao with all its linguistic and cultural diversities is therefore staggering and requires government

2016 • Number 4 • Agung 5 support to researchers and scholars.

These may also be realized if the ageing chanters or, the bearers of tradition, pass on their knowledge to the new generation to tell the stories of their ancestors not only for their entertainment value but for the history, cultural values, mores, beliefs and worldviews that often result in pride of race.

For the outsider inured by Western tales, the epics of Mindanao leave him wondering where these stories replete with fantastic and magical elements in the mortal world, in heaven or in the underworld have been kept all along.

From the memory of chanters, these epic worlds are structured, aristocratic, and bloody as they are spiritual. They likewise give us lessons from genealogy to pharmacology to conservation and the survival of families during wars and famines.

These worlds are peopled by mortals, divine beings, the shape-shifting diwatas that help the highest god to do his bidding among mortals, the chosen or ruling families who eventually leave their earthly abode for the heavenly world aboard a sarimbar (salimbal) and the heroes who, aided with magic, diwatas and spirits (tonong in Meranao) perform their duties for the greater good.

Epics also give us a glimpse of the adventures of Mindanao’s fictive heroes such as the Ulahingan’s Begyasan (also Mendayawi), the heavenly name of Agyu, his older brother Pemulew and Agyu’s son Bayvayan; the heroines Yambungan, Mungan and Lekumbing (also Tigyekuwa), narrated by a tala-ulahingan (singer); the darangen’s (song) Bantugan, Mabaning and Lumna (chanted by an onor); Indarapatra and Sulayman, both epics shared by the Maranaos and Maguindanaos; Bato Lakungan of the Maranaos and Higaunons; Taake of the Subanen epic Ag Tobig neg Keboklagan; and, Tudbulol of the Tbolis, to mention a few.

In 2001, this writer met Talaandig Manobo chanter Florina Saway, 53, of Lantapan, Bukidnon, who was then an apprentice to her mother Victoria Binataw Baristol, then 85, considered the accomplished chanter of the Talaandig at the time. Florina could only succeed her mother as chanter of the community after her mother dies.

Florina belongs to the fifth generation of singers and is descended from the legendary Apu Agbibilin and is the granddaughter of Datu Kinulintang, a chanter and bearer of tradition.

Florina, in tracing her journey towards becoming a chanter told this writer that her mother, Nanay Victoria was barely 18 when she began to train as a chanter because she heard the call of the diwatas. Her commitment

A Kulamanon Manobo chanter from Arakan, Cotabato./Photo by Cherly Adlawan

From the memory of chanters, these epic worlds are structured, aristocratic, and bloody as they are spiritual. They likewise give us lessons from genealogy to pharmacology to conservation and the survival of families during wars and famines.

6 Agung • Number 4 • 2016 Bayvayan, son of Agyu, the first chanter of the world.

He was destined to remain on earth and experience life’s hardships. His followers who refused to accept his leadership were transformed into stones. /Illustration

by Nonoy P. Estarte (acrylic on illustration board, 1980), courtesy of the Xavier University Museo de Oro

The Sarimbar. The illustration shows a scene from the Ulahingan: “While Agyu’s people rode in the Salimbar, Puhak, a giant man was supplied with a ladder. The Sarimbar rested on the seven layers of heaven and the people partook a little of the food supplied to them.” /Illustration by Nonoy P. Estarte, courtesy of the Xavier University Museo de Oro

was made before the community through a ritual sealed by white chicken’s blood.

Training began through knowing and understanding the stories chanted or sang in Binukid by the chanters before her, the storylines known to everybody in the community.

But it had to take 15 years for Nanay Victoria to be declared the chanter of the community, after being deemed skilled enough to narrate their cultural heritage, but always validating the stories each time she sang before the community.

Thirteen years later when this writer revisited the Talaandig community for the third time in 2014, Florina, now 66, gave a more confident performance about a Calm Realm but not before warming up with a shot of rhum.

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Florina seemed to have perfected what her mother and grandmother Basilia, another chanter had taught her two singing styles, the lingaketan, a colorful and elaborate singing of the epic and the pamubungan where one sings the main plot without elaboration of the narrative’s motifs.

Often, the chanting lasts from four to eleven hours and is preferably done in the evenings. All chantings begin with a prayer petitioning the gods or spirits for guidance.

This is called pamahra in the Ulahingan.

About 30 years ago, this writer experienced for the first time how Maranao onors (chanter/singer) sang episodes of the Darangen.

At the Mindanao State University-Iligan Institute of Technology (MSU-IIT), a male onor shared the stage with his mentor, a

female onor. He was an apprentice then and his bayok (singing style) contrasted with that of his mentor’s.

Their names escape this writer now but these two were removed from their communities to sing before an audience composed of academics and students.

The female onor, dressed and made up for the part, sang of the plight of one of Prince Bantugan’s wives who was ostracized on mere suspicion that she accepted a gift from a male admirer. The male onor, an apprentice was conscious of his audience but he went through a battle scene singing in bayok which was loudly rendered, guttural, and tremulous.

Like Florina, the two Maranao onors had been trained to memorize and dramatize in classical Meranao selected episodes of the

Darangen depending upon their inclinations, goals and personalities.

They had to hone their skills at storytelling and if they choose to perform in bayok they are called onor pababayok while the onor who plays the kulintang well is called onor pakukulintang.

Often, onors learn not only to sing but to play the kulintang and learn dance movements using props in keep with the rhythmic beats like a fan, a comb or a handkerchief and as aid to memory while chanting. Onors also show their skill at juggling and balancing the basal (wooden sticks) before the audience during lulls in playing the kulintang.

To this, Luminambos Dimatunday, 50, a mother of five showed off her singing and dancing in performing the story of Alongan Piseyanan, a son of Bantugan who ended his

8 Agung • Number 4 • 2016 half-brother’s bullying. She performed this episode during the recently held Performatura, a literary festival at the Cultural Center of the Philippines (CCP) and during the ReadAlong for children sponsored by the Philippine Daily Inquirer.

Episodes of the Darangen are usually kept in kirims or scrolls written in Arabic. Some families own kirims handed down through generations. During the American occupation of Lanao, schoolchildren were made to write down these episodes in notebooks.

The Mindanao State University with support from the Toyota Foundation published 17 cycles in eight volumes of the Darangen. In 2005, United Nations Educational, Scientific and Cultural Organization (UNESCO) declared the epic as one of the Masterpieces of Oral and Intangible Cultural Heritage of Humanity.

An episode from the Darangen is usually performed for two nights. Deemed the repository of Maranao culture, many contemporary Maranaos take their cue regarding the courtship, marriage and other customary laws recorded in the Darangen.

Today, some Maranaos in Marawi City are gathering as many episodes of Darangen,

and other folk materials to be kept for posterity, a joint project between the MSU and the City Tourism Office.

In the last 20 years, public performances became rare owing to the objections of fundamentalist Muslim clerics who had declared that such materials and their performances are un-Islamic.

But there is no doubt that the chanting of the epics engages a community in the recollection of a glorious past where heroes negotiated the skies on flying kerchiefs, flying shields, and on occasions, leap across hills in a wink of an eye or, magical, messenger rings fly to faraway places, where, among other things, a deep well exists in the middle of the sun, and when thirsts are quenched, heroes take respites during battle for seven days.

As the battle rages, magical shields automatically form a wall to protect the sleeping heroes while the weapons take a life of their own, and continue fighting from where the heroes had left off.

Most surprising of all is a running conversation between talking fabrics and talking needles when heroines are at their needlework.

The flowers in pots are as gossipy, and they turn their heads to catch the latest news about

A sample of a kirim. /Photo by JD Enriquez; courtesy of Johana Gandamra, of Marawi City

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Scene from Integrated Performing Arts Guild of the MSU-IIT’s (IPAG) interpretation of an episode in the Darangen, “The Abduction of Lawanen,” featuring Lani Fernandez. /Photo courtesy of the CCP

the ruling family or the conflicts among members of the Council of Datus.

These epic qualities should move the government to include the teaching of our epic lore among our schoolchildren so our epic heroes, whose exploits are just as magical, purposive and exciting, may be appreciated alongside Western, fictive heroes like Superman and Batman.

Promoting our indigenous heritage is one way of fulfilling our expectations of cross-regional understanding among all peoplesof our country.

In these times when our nation desires independence from foreign interventions, educating ourselves of our folklore, in particular the ethno- epics could bolster patriotism, and fulfill our subconscious need for myth.

Note: Meranao refers to language, and Maranao refers to a person. Orthoepy of Maranao words and their spelling have yet to be standardized.

Acknowledgements: Hobart P. Savior, director of the Xavier University Culture and Arts Office; the MSU-IIT IPAG; the Philippines Yearbook (2001); Johana Gandamra; Zayda O. Macarambon, MSU-IIT Cultural Development Office; Office of Publication and Information’s Jez Orbe and John Daniel Enriquez; and Cultural Center of the Philippines’ Herminio S. Beltran Jr. and Jasmin Tresvalles.

Christine F. Godinez Ortega is the head of the National Committee on Literary Arts of the NCCA. She is also with the faculty of the Department of English, College of Arts and Sciences, and is the director of the Office of Publication and Information under the Office of the Chancellor at the Mindanao State University-Iligan Institute of Technology. She is the co-founder and director of the Iligan National Writers Workshop. She has published a collection of her poetry, and her poems, articles and reviews have appeared in numerous publications.

Darangen chanter Luminambos Dimatunday at CCP’s Performatura Festival. /Photo courtesy of the CCP

10 Agung • Number 4 • 2016

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he landscape of the Philippine imagination is populated with fantastic beings, terrifying monsters and valiant heroes, coming from the country’s numerous ethnolinguistic groups, each with its own age-old traditions of chants and storytelling. The forests, mountains, shores and villages reverberated with the rhythms of epics, songs and chants; the characters thriving in the peoples’ consciousness; the exploits and adventures enthralling our ancestors.

As time goes by, the sounds of stories increasingly became fainter, now heard only in remote forests and villages, if at all.

Their enchantment lost to many generations of recent years.

The fictive heroes and other characters of our heritage, unfortunately, have become unknown or just amorphous ideas. Other characters have populated the imagination of present generations, most of which are not rooted in our native culture. But there have been efforts to revitalize these heroes and other characters of our native stories—from retelling their exploits in other forms such as theater and comics to giving them form and visual representations. One of these efforts is the Bayaning Bayan: Sa Ating mga Katutubong Epiko, Mito at Alamat, a project of NCCA’s Philippine Cultural Education Program (PCEP), a program that aims to increase cultural literacy among Filipinos as widely as possible.

Bayaning Bayan aims to “develop and establish clear images and visualization of Philippine myth, epic and folklore characters.” Its initial venture was a visual arts/painting contest, held from March to September 2015, tapping local visual artists from all over the country to create the images of a selection of epic and folkloric characters. The contest yielded visual renditions of nine characters—Dumalapdap from the Hinilawod of the Panay Bukidnon; Luyung Baybay of the Panay Bukidnon cosmology; Handiong, Baltog and Oryol of the Ibalon of the Bikolano; Tuwaang from the Tuwaang epics of the Bagobo Manobo; Banna of the ullalim “Magic Birth of Banna” of the Kalinga; Aliguyon from the “Hudhud hi Aliguyon” of the Ifugao; and Lam-Ang of the Biag ni Lam-ang of the Ilocano.

The winning artists were then commissioned to create visual representations of selected characters, producing in 2016 Sandayo and Bolak Sonday of the Keg Sumba neg Sandayo (The Tale of Sondayo) of the Suban-on; Taake of the Ag Tobig Nog Keboklagan (The Kingdom of Keboklagan) of the Suban-on; Agyu and his son Tanagyaw from the Agyu of the Ilianon Manobo; Lena (also known as Lono) from the Ulahingan of the Livunganen-Arumanen Manobo; Bantugan from the Darangen of the Meranaw; Panglima Hassan from the “Parang Sabil hi Panglima Hassan” of the Tausug; Palaisgen of Palaisgen of the Tagbanua; and Kudaman of the Kudaman of the Pala-wan.

More characters are also planned to be rendered visually.

PCEP aims to popularize these images as part of the Sagisag Kultura ng Filipinas, a major undertaking that creates a registry of cultural icons of the country.

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“hero” is a mortal who has done something so far beyond the ordinary range of human experience. He is thus elevated and worshipped as divine or God-like. Heroes were not necessarily good, but they were always extraordinary. A hero expands people’s idea of what is humanly possible.

We need heroes because they help define the limits of our aspirations. We largely define our ideals by the heroes we choose, and our ideals—things like courage, honor, and justice—largely define us. Our heroes are symbols for us of all the qualities we would like to possess and all the ambitions we would like to satisfy. A person who chooses Dr. Jose Rizal or Gen. Antonio Luna as a hero will have a very different sense of what human excellence involves than someone who chooses the Beatles or Serena Williams, for example.

And because the ideals to which we aspire do so much to determine the ways in which we behave, we all have a vested interest in each person having heroes, and in the choice of heroes each of us makes.

The heroes of myths are the outer representations or personifications of the inner spirit, psychic forces, human powers and energies that shape us and give meaning to our lives. They help define our connections with each other, society and the world. People nowadays often treat myths as nothing more than entertaining stories, thereby casting aside the guidance and wisdom of the past. Our media make it all too easy for us to confuse celebrity with excellence. If asked to choose their heroes, many students will likely choose an athlete, a movie star, or a musician.

Modern culture does little to foster spiritual growth, and so many of us have fumbled in the dark, trying to make our own spiritual journey without the kind of guidance and wisdom available to people of the past. Luckily, though, myths both old and new are waiting to speak to those who know their language.

The myth of the hero journey, for instance, is one of rejuvenation. It begins with a problem, with society out of balance and in decay. The hero is called to adventure, and must leave the ordinary (human) world and enter the dangerous and mysterious world of the divine, such as a magic realm or the wilderness. The hero is tested, and his reward is the Ultimate Boon. He carries this boon back with him to the ordinary world and uses it to rejuvenate, to redeem the world.

Typically the hunter leaves his village and crosses into the wilderness to test his strength and skill—if he succeeds, then he will return with life-sustaining meat. Or a young man leaves his family in search of a mate, and if he passes the tests and wins his bride, he brings her back to become part of his family and to create new life.

In another level, the hero myth is about forces within our psyche that we have to master to achieve spiritual growth. Inner conflicts, such as between self-gratification and devotion to the community or nation, are among the many obstacles heroes must overcome.

In myths, these conflicts are personified for us to be able to internalize the conflicts and their resolutions. This way, we can understand better and master the inner forces that we have to grapple with to achieve psychological growth.

By Felipe M. De Leon, Jr.

Felipe M. De Leon, Jr. is the chairman of the National Commission for Culture and the Arts. He is a professor of Art Studies at the University of the Philippines where he taught humanities, aesthetics, music theory and Philippine art and culture, and a lecturer on social transformation courses at the Asian Social Institute. His experience as a cultural administrator/manager is extensive and widely recognized. De Leon, Jr. is the son of National Artist for music Felipe Padilla de Leon, Sr. and the father of musician Diwa De Leon and multi-awarded triathlon athlete Ani De Leon.

From The Tale of Sandayo of the Suban-on

SYNOPSIS OF KEG SUMBA NEG SANDAYO (THE TALE OF SANDAYO) Datu Salaria, the chief of Tubig Liyasan (Waters of Liyasan) was greatly worried because his wife Salaong had not borne him an heir.

He therefore accompanied her when she descended the Giliyan (mountain) to take a bath in the miraculous spring of Liyasan. Immediately, Salaong felt heavy. She returned home. As she combed her hair, a baby fell from her hair. Thus was born the son of Salaria and Salaong, handsome as the rising sun, named Sandayo.

After one week, Sandayo had already learned to walk. One month later he asked permission from his parents to go on a journey. His father gave him a kalis (sword) and his mother dressed him up with “golden” robes. She also laid two sabongs (charms) on his hair. One charm was to attract women and the other to repel enemies. Sandayo then spread out his monsala (scarf) and rode to it.

The scarf brought him to the center of the sun where he dreamt of two beautiful women, Bolak Sonday and Benobong, who gave him areca nut-betel chew. Sandayo, however, chose the chew of Bolak Sonday. Then the scarf brought him to Gwalo Leyo where he was adopted by two datus, Daugbolawan and Lomelak, who were on their way to the buklog (feast) of Lumanay.

Sandayo accompanied the two datus.

At the buklog of Lumanay, Sandayo met his cousins Bolak Sonday, Benobong, Datu Tulog and Pammitonan, the children of Datu Pombanwa and Bae Salagga of Tubig Manelangan (Waters of Manelangan) and the children of Panday Tape and Bae Salangka of Sumina, Daugbolawan, Lomelok, Lengotubig and Mendepesa. They danced the buklog. Sandayo was enraged at a certain datu

named Domondiamay for whom Bolak Sonday showed affection. He challenged him to a duel and a great battle ensued which lasted for two years.

The goddess Bae Asog descended to the earth and intervened, telling them they were brothers and that Domondianay, who was also born from the hair of Bae Salaong, had been blown by the wind into the hill of Balatakan (bamboos) when the latter was combing her hair. The brothers thereupon embraced each other. Sandayo invited Domondianay to visit their parents in Liyasan but the latter refused.

Sandayo cast a spell and Domondianay fell

asleep. Sandayo severed the hill of Balatakan and kicked the earth, bringing Domondianay to the waters of Liyasan.

There was a happy reunion between Sandayo and his parents. Datu Salaria beheaded seven tinayobos (female servants) and seven sampilakans (male servants) for the blood rite. Datu Salaria asked his son to go to Tubig Sumina to accompany his cousins who would propose to Bolak sonday and Benobong.

Sanadayo with his cousins Daugbolawan, Lomelok and Mendepesa went in a great ship called Gadyong to Tubig manelangan. On the way, they met Bae Pigdingdingan who invited them for an areca nut-betel chew. Sandayo refused. The lady was infuriated and cursed them.

Immediately, a strong wind swept the ship, but Sandayo fought the powerful wind. The wind was transformed into a giant octopus and held the ship.

Sandayo hurled the octopus into the house of Pigdindingan. The octopus stuck to the body of the bae, making her a prisoner. She would die during the day and would revive during the night.

When Sandayo and his cousins reached the waters of Manelangan, there were many datus who vied for the love of Bolak Sonday.

Datu Pombanwa and Bae Salagga welcomed Sandayo and asked him to prepare the dowry. Bae Salagga demanded as dowry money, gongs and jars “as many as the grains of one ganta of dawa” (millet), a golden bridge “as thin as the hair” that would span the distance from the house of the suitor to the room of Bolak Sonday, and a golden trough “that would connect the sun with the room of the bae.” Datu Pombanwa for his part demanded a sinduko (scythe) and an axe. Tinayobo, the

Sandayo is the main character in The Tale of Sandayo, a guman of the Suban-on of the Zamboanga Peninsula in western Mindanao. Bolak Sonday also appears in the epic. With 6,455 lines, repetitious episodes and scenes involving endless fighting, journeying, ritual drinking and bouts of sleep, the epic is sung during festive occasions such as buklog, a ritual feast or a wake. Public school teacher Virgilio Resma recorded the epic chanted by a Suban-on woman Perena from the village of Pawan in June 1980. It was published as Keg Sumba neg Sandayo in Kinaadman: A Journal of the Southern Philippines in 1982.

nurse of Bolak Sonday, asked for a “golden” loom, a “golden” handbag, a “golden” comb and a child.

The datus, including their powerful leader Datu Lumalab, were unable to raise the dowry. Sandayo, on behalf of his cousins, came to the rescue and obtained the required objects through his powers.

Finally, Datu Pombanwa and Bae Salagga asked the suitors to kill the giant pig for the banquet. No one succeeded except Sandayo. A wedding was then set for Lomelok and Bolak Sonday and Benobong and Daugbolawan.

Lumalab and the other datus got angry. They fought Sandayo and his cousins. After months of fighting, Lumalab and the other datus were killed.

Sandayo ang his cousins went home to Sumina bringing with them Bolak Sonday and Benobong, and using the golden bridge. Then Sandayo proceeded to Liyasan.

In Liyasan, Sandayo got ill.

He commanded the monsala to get Bolak Sonday. His cousins arrived and comforted him but Sandayo died. The cousins, especially Bolak Sonday and Benobong, thought of searching for the spirit of Sandayo to bring him back to life. Bolak Sonday searched in the Baya (the place of the dead) and Benobong on earth and in the sky. The search was in vain. While Benobong and Bolak Sonday were resting under a bolongis (legendary) tree, they heard two birds, a sumusom (a black bird with red eyes) and dalandaw (oriole) talking, and from the birds they learned where Sandayo was and how they could reach him. The feathers from the birds fell to the women. Bolak Sonday and Benobong caught them, and the feathers became brilliant rings which they used to light their way to Tubig Piksiipan (Waters of Piksiipan)

The waters of Piksiipan was inhibited entirely by women. At last Bolak Sonday and Benobong found the spirit of Sandayo held

by Bae Pendeligan. Bolak Sonday fought the Amazon and took away the spirit of Sandayo.

They fled and Sandayo was restored to life.

Bolak Sonday and Benobong went back to Sumina. While Bolak Sonday was cutting the bonga (areca nut) for the chew, her finger was wounded by her tinangke (dagger). It was a small wound but blood oozed out profusely. Bolak Sonday died. Sandayo ordered the search for Bolak Sonday’s spirit. Lomelok and Daugbolawan searched the whole wide world.

Mendepesa went to the Baya and Sandayo went to heaven. But the search was futile. The birds sumusom and gowak (crow), which roosted in the bolongis tree where the datus were resting, told them that Bolak Sonday was held captive in Tubig Katonawan (Waters of Katunawan). The datus took the feathers and made them into brilliant rings which they used to light their way to the waters of Katonowan. There, Sandayo found the spirit of Bolak Sonday was held by a datu. Sandayo fought the datu and fled together with the spirit of Bolak Sonday. Bolak Sonday was restored to life.

When Sandayo arrived in Liyasan, Datu Salaria prepared another blood rite for his sin. Then, Sandayo took leave again to visit his uncle and cousins in Tubig Sumina.

When he arrived, his other cousins Datu Tulog and Pammitonan of Tubig Manelangan, also arrived to propose to Lengotubig. Sandayo was again asked by his uncle to provide the dowry. Bae Salangka and Panday Tape demanded the same dowry Bae Salagga and Datu Pombanwa had asked before for Bolak Sonday And Benobong. The dowry was raised. Datu Tulog was married to Lengotubig.

After the wedding, Datu Tulog and Pammitonan together with Lengotubig wnet home to Manelangan. Sandayo too went back to Liyasan. Then, he dreamt of a beautiful buklog being planned by his uncle Datu Pombanwa and Bae Salagga of Tubig Manelangan which could not be held without Sandayo. He asked his parents Datu Salaria and Bae Salaong to go with him to the buklog of Manelangan. They rode on their monsala and made a stopover at Sumina.

Turn to page 31 Art by Emil Aldrine Alarcon

From Ulahingan of the Livunganen-Arumanen Manobo

Lena or Lono is the brother of Agyu. He figures prominently in the episode “The Visit of Lagaba’an to Nelendangan” of the Ulahingan, an epic of the Manobo subgroup LivunganenArumanen of the province of North Cotabato. It is closely related to the epic of Agyu of the Ilianon Manobo. The epic, chanted by a tala-ulahingan, consists of several parts which include the standard history of the hero Agyu and episodes that continue his story, called the sengedurug. About 30 sengedurugs have been recorded, among the said hundreds.

SYNOPSIS OF “THE VISIT OF LAGABA’AN TO NELENDANGAN” IN ULAHINGAN Nalandangan is the later name of an ancient city fortress called by different names, among them: Yendang, Menengneg, Libalan, and Newili-an. A chosen people, loved by the highest God of the Skyworld, dwell in the fortress city. They have come from Aruman by riding a huge ship.

The people built the city, a huge structure along the seashore at the mouth of a river, using trees for pillars. The trees are so big that the eight men are needed to link hands around each one. The beams point to the east, their tips decked with statues of reptiles carved with their mouths open, dagger-like teeth exposed. The hair of the mermaid and the locks of the deity Alimugkat, goddess of the seas, layered with grass from the skyworld, make up the roof of the fortress.

On the eaves is a frieze of statues of dazzling red warriors; and on top of the building are two warriors of gold, each armed with a spear, a shield, and a buckler, both poised for battle. West of the building is a statue of a beautiful maiden, washing herself in a stream; in the east, a statue of a golden eagle with the wings outspread. Surrounding the bulding are shrubs and flowering plants.

The huge palace also has a courtyard of silver and a playground of glass. A mountain of destroyed shields and bucklers, spear shafts and uprooted trees, hems in battlefield. Scattered around are the teeth, skulls, and hair of previous invaders. Agyu’s room, called the bengyasan, is coated with paint nine times over.

The bathing place of the maidens is fenced by boulders to protect them from sharks and crocodiles. The floor is made of silver; the inside wall of glass. There are also bathing places for the married women, for Agyu, the hero, and for the young men. They never remove their armours when they bathe.

Nalandangan also has fortifications.

Each of the well-known warriors—Kuyasu, nephew of Agyu; Seyluwen, the son; Piglibu, the brother; Banlak/Vanlak, another brother; Nebeyaw, another son; and Agyu—is assigned a fort. Agyu’s fort is built with iron and steel. This fort is specialy provided with a cover on which eight or ten men can perform the sa-ut. Invaders reach no farther than the opening of the fort.

After a period of peace comes an eventful time for the people and warriors of Nalandangan. Elbowing one another and splattering betel quid onto the floor, the people are assembled in the place. Agyu’s brother Lena/ Lono has convened the people to an assembly while Agyu has been sleeping for days. When he wakes up, Agyu asks his wife for the water container to wash his face and for the areca nut-betel chew. Directing his eyes to Lena, the favorite son of Nalandangan, Agyu recites his foreboding dream about the darkness and destruction of Nalandangan. He has dreamt that hardwood trees are uprooted and flung to distant places, that places are trampled out upon and scattered to far places, and that the cliffs of the sea are turned to dust.

Pigyugung or Pemulew, Agyu’s older brother, dreams that invaders have come.

Agyu wants to offer a prayer because he thinks that the goddess of fate has forsaken him and his people. Thunder booms. Unperturbed, Lena laughs faintly and says that the morrow will show whether or not they are an abandoned people. Just then, the invaders reach the fortress. Lena orders the young people to arm themselves. They grab weapons from the piles of shields and spears, and they delight in putting on their battle gear again after a long time.

Vanlak, the younger brother of Agyu, shouts that he will lead the attack against the “darkness” that has enveloped the fortress of Nalandangan. Agyu’s son, Nebeyew, is just as ready as any other young man. With his plume, he paces around the courtyard like

a cock at the edge of the lawn. Soon, he is fighting the invaders who fall like fruit from a tree. He raises his arm, and from it comes a flame that lights the place, revealing that the “darkness” has caused a magic iron rod to disable or devour many of Agyu’s followers.

Lena arms himself carefully, with the orioles hovering over his plume, signifying his diwata is guiding and protecting him.

Then he leaps on to the pebbled arena, and he sinks deep there up to his belt. He instructs his shield and buckler to be firmly rooted to the foundation of the underworld.

Then, the enormous magic iron rod warns him to be ready because he might be blown by a storm or swallowed up by a mighty wind. The iron rod now withdraws to the sea and from there trots back to the battlefield, knocking Lena’s shield and buckler to pieces.

Lena leaps overhead, grapples with the rod, and throws it to outer space. The rod devastates every kingdom that it passes.

When it returns, it warns Lena of its revenge. The rod tries to gnaw Lena’s slender waist, but Lena’s waist is alloyed. Then Lena grabs the rod, and, locked together, they spin, until Lena smashes it against the hardwood trees and the cliff, turning them into a wasteland. Lena then implores his protecting diwata to turn his legs with anklets into sharp swords and his limbs into sabers. With them, he splinters and powders the monster of iron. But out of the splinters and powder appears a fleet of invading ships.

In one ship is a king, and from all come a thousand troops. They land and destroy the plantations, the trees and the gardens. The people of Yendang are fettered on the decks of the ships. Lena leaps onto the decks and transported back to the spacious courtyard.

A toddler welcomes the old king to Yendang. As the king sits at the portal of the Turn to page 30 Art by Resty C. Lopez

From Ag Tobig Nog Keboklagan of the Suban-on

Taake headlines the Ag Tobig nog Keboklagan (The Kingdom of Keboklagan), an epic of the Suban-on of the Zamboanga Peninsula and Misamis Occidental in Mindanao, consisting of 7,590 lines. In November 3, 1968, Gaudiosa Martinez Ochotorena recorded a version sung by Liyos Ambos of Bunawan, Salog, Sindangan, Zamboanga del Norte, which she translated into English.

SYNOPSIS OF AG TOBIG NOG KEBOKLAGAN Part 1. Timoway, a datu of Sirangan, had a wife who was about to give birth but he wanted to go to other places. He left the kingdom with Kasanggolan (a datu of lower rank who acts as an assistant to a higher datu) and fifteen of his men. They dropped by the village of Sakabandar whose wife was also pregnant. Despite her condition, he also left her and went with Timoway.

At sea, they were seen by Diwata Pegderaman, goddess of wind, lightning and thunder, and invited them to her abode but they refused. Pegderaman got angry and she sent out the wind and the thunder. Big waves appeared on the sea and their vessel broke into two. They all perished.

The boat, although broken and with no passengers, sailed back to Sirangan and informed Timoway’s wife of the incident. The wife wept until she felt labor pains and gave birth to a boy. At the same time, the wife of Sakabandar also gave birth to a baby boy.

Part 2. Timoway’s son, Taake, grew fast at night and became handsomer at daytime.

At seven months, Taake cried aloud without stopping. Gagongs were beaten and so each one came to render assistance. Just then the baby spoke and asked his mother about his father, particularly whether his death was caused by an offense committed by someone. The boy was glad that his father had died without being killed by anyone.

His mother later gave Taake the hook and line, his inheritance from his father.

With this he went fishing in their own waters. With the help of supernatural powers, he caught plenty of fish.

He ventured out to fish again. He saw a fish as big as a hill with golden scales. He hooked the fish but it fought fiercely. It pulled him for seven months. In the seventh month Taake heard the explosions and roar of the big waves. An eel barred his way and told him to go home for the place was dangerous, adding that it was willing to conduct

him home. He strucked the eel instead with his sword and the eel drowned. Big waves came and Taake fell into the sea. He went down until he saw a horse with his hook and line in its mouth. He ran after the horse with his karisan (sword-like knife) but it ran away.

Part 3. At Keboklagan he looked around and saw a high tower. He ran up the ladder made of golden rungs till he reached the top of the tower. There he saw a beautiful girl almost naked. When she saw him, the lady of Pintawan invited him in and offered him mamaq.

After seven days of wooing, she consented to his offer of marriage and they lived together.

Part 4. The news about the coming of the Suban-on was soon known by two men named Towan Salip and Sorotan Domatong. Angered, they summoned the people through their gagong to kill Taake and offer him as a sacrifice.

The lady of Pintoqan, who was like a sister to the lady of Pintawan, advised Taake and his wife to return to Sirangan. Taake refused on the ground that he had not done anything wrong. He wanted to face the datus and explain his presence there. But the people of Keboklagan were already preparing to kill him. So he had no other recourse but to fight, and he did so.

Back in Sirangan, a datu named Tomitib Manaon, son of Sakabandar, who was born at the same time as Taake, dreamt about a Suban-on fighting alone in the Keboklagan.

He prepared to help him. He went to see if Taake was at home but the sons of Balo Laki and Bata Tobig informed him that they had not been home for sometime. He proceeded to Keboklagan while the other two datus followed. Tomitib rushed to the place where Taake was fighting and charged at Sorotan Domatong until the latter fell.

Taake saw Tomitib and stopped him. He asked him why he had fought at once without first inquiring about the cause of the fight.

Later, when the girls of Keboklagan saw Saulagya Maola, a datu of the place, they explained to him the cause of the whole trou-

ble. Maola remembered a promise he had made to his sister, the lady of Pintawan, that anyone who could go up the ladder of karis (with knife-blades for rungs) be it a dog or a pig, should marry the girl.

He then called all his datus to a conference and told them about the promise. Nevertheless, the datus insisted on fighting. So, Saulagya partitioned Keboklagan into two parts: one-half deciding to fight, the other half belonging to him agreeing not to participate in the fight.

When the datu of Liyo-Liyo heard of the fight, he rode on his horse and went to the battleground. As the fight went on, Saulagya Maola kept on bearing the drum, the gongs and the kolintangs. The people fought hard while the datu of Liyo-Liyo and Tomitib Manaon were engaged in hand-to-hand combat. They continued fighting until all the people died. The Sirangan datus then proceeded to other kingdoms to fight further.

Part 5. They first went to the kingdom of Dibaloy and challenged its chief, Datu Bataqelo, to a fight. Lilang Diwata, sister of Bataqelo, gave Taake a name, Malopanyag, meaning, “he fights in all places.” In this kingdom, Taake and Tomitib led the fight until half of the people died. Then they felt pity for the place so they went to another kingdom, Todongtodong, where they fought hard until all in the kingdom became lifeless.

Then the conquering datus agreed to move on the kingdom of Walo Sabang ruled

by Egdodan Magsorat and Egdodan Sabagan. The eight datus refused to fight and instead they let only their subjects fight. The subjects fought hard, but their datus just looked on. The Sirangan datus were surprised to see that the men who were killed became alive again. After seven months of fighting, Taake got tired and fell asleep on the battleground. Tomitib fought alone. Just then Taake dreamed of a pretty girl telling him to go to the tower of Walo Sabang in the Turn to page 30 Art by Waldz Villanueva

From“Parang Sabil hi Panglima Hassan” of the Tausug

Panglima Hassan is the subject of one of the parang sabils, a type of narrative song or kissa, of the Tausug of the Sulu archipelago in southwestern Mindanao. The parang sabil tells the exploits of historical and legendary heroes. It tells of a Muslim hero who does not fear death even at the hands of non-Muslims. It is usually sung in the liangkit tradition accompanied by the gabbang. Some of the known parang sabils are “Liangkit Parang Sabil kan Apud,” “Parang Sabil hi Abdulla,” “Parang Sabil hi Baddon” and “Parang Sabil hi Panglima Hassan,” which is about the hero of Battle of Bud Bagsak.

SYNOPSIS OF “PARANG SABIL HI PANGLIMA HASSAN” The song is based on events that happened between October 1903 and March 1904 in Jolo. The American colonial government imposed taxes and residence certificates on the Tausug, who regarded these as symbols of subjugation and domination. Panglima Hassan, a Tausug leader, led a resistance against the Americans, with more than a thousand kris-wielding Tausug warriors. He made his last stand in a crater of an extinct volcano, Bud Bagsak.

He died with 26 bullet wounds.

The song begins during the Holy Month of fasting, and Andung, one of the Tausug leaders, is being tortured for resisting the imposition of the cedula. An-

tayung, another leader, calls on his Tausug kinsfolk to avenge Andung. A letter seeking support is sent to other Tausug leaders, one of them being Panglima Hassan of Luuk. The leaders consult Sultan Jamalul Kiram II who says that they will all be imprisoned and they should surrender.

Hassan rejects the advice, and the other leaders follow him. They send a letter to the Americna governor general, virtually declaring war.

The American forces arrive and send emissary Hadji Butu to call on Panglima Hassan and his army to surrender. The call is brushed aside, and a battle ensues.

The better-equipped Americans defeat the Tausug. The pro-American sulatan again asks Panglima Hassan to surrender, but

the latter refuses. In the bitter engagement that follows, Panglima Hassan and his men are killed.

Througout the song, the hero is characterized as unyielding in his opposition in any form of submission to American rule. he values the interest of the Tausug even above his personal loyalty to the sultan. His fighting prowess and ferocity are replicated in the actions of his Tausug warriors, who in history fought the American forces in Mindanao with such physical courage as it took all of American technological superiority to win the war. —Edgar Maranan and Florentino Hornedo, “Parang Sabil,” CCP Encyclopedia of Philippine Art, Volume IX: Philippine Literature (Manila, 1994).

Art by Waldz Villanueva

From Darangen of the Mëranaw

Bantugan (also Bantugen or Bantogen) is the hero of the second division of the Darangen of the Mëranaw of Lanao del Sur. The pre-Islamic oral epic, which shows Southeast Asian as well as Indian influences and presently exists in Islamic context, was declared a National Cultural Treasure in 2002 and was inscribed in 2008 in the Representative List of the Intangible Cultural Heritage of Humanity being a Masterpiece of the Oral and Intangible Heritage of Humanity. The recorded Darangen, which means “something that’s chanted or sung” in Mëranaw, has about 17 cycles in iambic tertrameter or catalectic trochaic tetrameter.

SYNOPSIS OF DARANGEN A marriage takes place between Datu Gibon and the princess Aya Paganay Bai from the kingdom of Minangoaw a Rogong, who is found after a long quest. Datu Gibon transform the settlement into a kingdom by taking five other wives from neighboring kingdoms. The first wife resigns herself to her lot and leads the musical ensemble to welcome the other wives.

Years pass and Datu Gibon dies. Tominaman sa Togong, his son with Aya Paganay Bai, is proclaimed his successor. He ends up with eight wives. He sires 15 children, one of whom is Bantogen.

Bantogen has just returned from his many forays into foreign lands, courting and winning women. One of his loves, Lawanen, turns out to be one of his sisters. Totally distraught, Lawanen is convinced by Bantogen that the tragedy has been willed by the gods.

Then a fight ensues between Bantogen and Madali. Bantogen thinks that Madali is responsible for the destruction of Bembaran, while Madali thinks that Bantogen has come to take Princess Danangkap. They later recognize each other as first cousins, and they embrace.

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The king of Bembaran learns that his brother Bantogen has been courting Babali Anonan. He decrees that no subject should ever talk to Bantogen when he returns. The members of the royal council think that the edict is too cruel, but thy submit to it anyway. Except for his son and his sister, no one else talks to Bantogen when he arrives in the

kingdom. He makes his farewells to everyone and women weep.

Despondent, Bantogen runs in the heavy rain, removes his clothing, lays aside his blade, and lies down under the balete tree. He summons Magaw, his guardian spirit, who brings him to All the Land Between Two Seas. There, Bantogen is nursed

by Princess Timbang, who gives him a hammock and areca nut-betel chew. She calls for a healer to bring him back to health, but Bantogen dies.

The king of All the Land Between Two Seas has Bantogen’s body placed in a royal bed, adorned with flags and flowers, at the center of a great hall. Since he is stranger to the people of All the Land Between Two Seas, gongs are beaten to summon people who can identify him. Although 10,000 come in answer to the call, none of them knows him.

Finally, Bantogen’s parrot arrives, grieves over its fallen master, and faints. Revived with water, the bird identifies the dead man. The king places the body in a ship, while the princess sends the body back to Bembaran to make the sad announcement.

The king of Bembaran faints upon hearing the news; the people are struck with grief.

When Mabaling and Madali learn about Bantogen’s death, they ride their magic shields and fly to the skyworld to retrieve the dead warrior. Mabaning disguises himself as a beautiful woman to make the Angel of Death think he has been given a wife by the gods. He asks the Angel where he can find korna, the fruit of heaven. As the Angel leaves him to obtain one, Mabaning

loudly asks where Bantogen is. A tiny voice floats from a corked bottle, where Bantogen’s soul is kept. Mabaning grabs the bottle and joins Madali. They zoom back to Bembaran.

The hero’s soul is released, and Bantogen is brought back to life. There is great rejoicing in the kingdom.

Later, Bembaran is invaded by enemies who think that Bantogen is dead. With magic, he defeats the invaders. The war being over, he sails to distant lands and kingdoms, and marries several women. Maginar, Princess Minoyod, Princess Maginawan, Princess Timbang of All Land Between the Two Seas, Bolontai a Pisigi, and 40 other lovely ladies. Sailing back to Bembaran, he is met by his wildly admiring people, but he escapes and hides from them.

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Bantogen and Bolontai Mingginaon, sister of the ayonan or ruler of Bagombayan, are engaged to be married. While Bantogen is in Bembaran, Misoyao, the second son of the ayonan of another kingdom, invades Bagombayan to kidnap Bolontai Mingginaon.

Bantogen arrives and engages Misoyao’s forces. Despite his powers, Bantogen tires. His sons—Alongan Pisunyanan, Daidaimarinindo, Watakaiabarat, Barobarosaragat, Ginaasanaorai, Misunaiasasabai and Monasuman-payongan—arrive in time to the rescue.

A savage battle ensues, which leave Misoyao with only five wounded warriors alive. He retreats with them, leaving behind a great army of corpses.—Edgar Maranan and E. Arsenio Manuel, “Darangen,” CCP Encyclopedia of Philippine Art, Volume IX: Philippine Literature (Manila, 1994).

Art by Marvin Samonte

From Agyu of the Ilianon Manobo

Agyu is the hero of the epic Agyu of the Arakan-Arumanen or the Ilianon Manobo of North Cotabato. It is related to the Ulahingan of the LivunganonArumanen Manobo, both having the same characters. The epic is chanted without music or dance. The tempo of the melody is determined by the nature of the incident being narrated. E. Arsenio Manuel published Agyu: The Ilianon Epic of Mindanao in 1969, one of the five texts already collected. It was chanted by Blagtas Bukidnon of Lumut, Kallinan, Davao City. It has 1,279 lines and narrates seven episodes in the life of Agyu.

SYNOPSIS OF AGYU (EPISODES ONE TO FOUR) Episode 1: The killing of the Moro datu In the country of Ayuman lived the heroes Banlak, Agyu and Kuyasu. In the Ilianon tradition, these men were brothers, being the sons of Pamulaw. Agyu had four sisters, but only Yanbungan and Ikawangan are mentioned in the epic. Banlak’s wife named Mungan was badly afflicted with a consuming disease.

The Ilianon people gathered beeswax and honey, which they traded with the Moros for different articles and goods, identified as cloth, blankets, bolos (especially tabas which are used in weeding), betel nut and lime containers, salt and coconut oil.

One day, Agyu sent nine kamu or lumps of beeswax to a Moro datu, delivered by Kuyasu and Banlak. Incensed by the small payment, the Moro datu hurled the beeswax at Kuyasu, hurting his ulcered foot. Kuyasu retaliated, killing the Moro datu with his spear. He must have been left behind for it was Banlak who hurried to Ayuman to inform Agyu and the others that Kuyasu had slain the Moro datu.

Episode 2: The battle with the Moros Agyu predicted that there was going to be a war. In as much as the Moro datu had

been killed, it was better for them to leave their homeland. They went to Ilian Mountain where Agyu ordered the building of a port at the top. Agyu asked his followers to gather big stones and to cut logs. Then they built houses and shelters and lived peacefully there. But soon the Moro warriors came up to the Pulangi River and spotted the fort built by the Ilianon. When the Moro invaders tried to scale the mountain, Agyu ordered the cutting of the rattan that held the logs together and loosening them on the attackers. The result was almost decimation of the enemy. Those who escaped the slaughter fled.

Episode 3: Agyu leads his people to another country After this victory, Agyu decided to move to another country. He chose to go to Pinamatun Mountain. They built houses and habitations there once more. He left for Sandawa Mountain to hunt. Lono’ tried to cut a path on the side of the mountain, while two women, Yambungan and Ikwangan, were left behind swinging on a vine from bank to bank over the stream.

Something was stinging their feet, and they shouted for Lono’ to come. Lono’ found it was a bee, and this enabled him to locate beehives in the hollows of palm trees. Then Agyu came back with a small wild pig. He asked Banlak to singe it, after which the an-

imal was divided, and the meat and honey were distributed among the people.

Then Agyu remembered Banlak’s wife in Ayuman; she had been left behind because of her affliction. But Banlak refused to bring her share of the meat and honey, for he had abandoned her. It was Lono’ who volunteered to bring Mungan her share. When he reached Ayuman, he found out that Mungan was already well.

She gave Lono’ betel nut and young rice to distribute to the people. Lono’ returned to Pinamatun and told Agyu and the others the news that Mungan had already recovered and had become a beautiful lady.

When Banlak heard that, he wanted to return to his wife but Agyu reproved him.

Then the betel nut and pinipi young rice were distributed.

Episode 4: Agyu and his people return to Ayuman Because of Mungan’s recovery, Agyu decided to return to Ayuman, and this was done with his people following him. But when they arrived at Ayuman, they found Mungan gone. Agyu then decided to continue their journey further on until they reached the mouth of Tigyandang, at the junction of Mudan’udan. They built houses and settled there. —E. Arsenio Manuel, Agyu: The Ilianon Epic of Mindanao (UST Press, 1969)

Datu Agyu the Great Leader by Michael Briquillo (18 x 24, oil)

From Agyu of the Ilianon Manobo

Tanagyaw is the son of Agyu, the main character of the epic Agyu of the Arakan-Arumanen or the Ilianon Manobo of North Cotabato. Agyu has two parts: the pamambra/pamara or the invocation and the ulahingon or the narrative proper.

The ulahingon has two parts.The kepu-unpu-un, the first part which is recited rather than chanted, is the standard narrative on the history of Agyu’s family and how they fled to Nalandangan and became immortal. The chanted second part, sengedurong, tells about the continuing adventures of Agyu and his relatives in Nalandangan. Some episodes of Agyu tells about Tanagyaw’s adventures.

SYNOPSIS OF AGYU (EPISODES FIVE TO SEVEN) Episode 5: The invasion of Agyu’s country and the prowess of Agyu’s youngest son In this country of Tigyandang, Agyu’s people were attacked. Agyu’s men fought on the seashore of the Bay of Linayagon, but it was a losing battle.

When only a few men were left, Agyu’s youngest son, a mere boy, volunteered to fight the enemy single-handedly. In four days, he defeated them. The leader of the invaders invited Agyu’s youngest son to go home with him but the boy refused.

When the leader reached home, however, he found the boy already there. The datu told his wife to call their daughter and for her to dress up. The datu told her to give chew to Tanagyaw, Agyu’s son, and to consider him her husband. Buy’anon invited him to sit on her lap, but Agyu’s son refused, saying he was a mere boy.

Then he departed.

Episode 6: Agyu’s son saves the country of Baklayon from invaders and gets another marriage proposal; this

time the maiden is persistent, accompanies him to his home and finally succeeds in marrying him Tanagyaw reached the country of Baklayon. There was consternation. He learned that the village was going to be attacked by invaders. He was well received and was offered the young daughter of the datu in marriage. She came out and offered her chew and asked him to be her husband, saying he was going to be their savior. He fought the invaders and defeated them. The datu had a son named Bagsili’ who challenged him, but he was killed in a man-toman combat. The defeated datu took his leave and departed.

Tanagyaw told the people to shout the cry of victory. He went up the house and squatted. Paniguan, the datu’s daughter, proposed marriage to him for saving their country, but Tanagyaw said that he would help them even if they did not get married.

Then he said that he was going home. He departed, but the girl accompanied him home. Agyu was surprised to see his son accompanied by a young lady. He asked the maiden who she was; she identified herself but insisted on marrying Tanagyaw. So the two were married.

Episode 7: Agyu’s country was invaded but Tanagyaw successfully repulses the invaders; Tanagyaw settles in Sunglawon with his wife After some time, Agyu’s country is again endangered by invaders coming form across the sea. The men fought well but were overwhelmed. A counselor foretold doom. But Tanagyaw reproved him. He put on his attire that was ten times thick and of nine layers, and picked up his shield and spear which could not be broken. Then he fought the invaders on the seashore. The dead piled up, mountains and hills of them.

The leader of the invaders invited Tanagyaw to his country. But Tanagyaw said that the leader had been shamed. Upon hearing this, the leader’s son fought him, using a bar of gold. Tanagyaw in turn used his golden cane called Tanigid and with it reduced the challenger to a pounded mass.

The leader returned defeated to his homeland.

When peace had been restored, Agyu assigned the country of Sunglawon to his victorious son who settled there with his charming wife. —E. Arsenio Manuel, Agyu: The Ilianon Epic of Mindanao (UST Press, 1969)

Tanagyaw the Young Warrior by Michael Briquillo (18 x 24, oil)

From Palaisgen of the Tagbanua

Palaisgen is the hero of the epic Palaisgen of the Tagbanua of Palawan. Palaisgen is considered the longest among Tagbanua folk literature. Tagbanua village leader Dr. Paul Jagmis, Sr. recorded, transcribed and translated the epic, which is included in his dissertation Pala’isgen: Ang Epiko ng Tagbanua in 1997. The epic was sung by Gem-gem Bagued and Fernando Lingsa of Cabigaan, Aborlan, Palawan, and a part was narrated by Delia Jardinero. Dr. Jagmis’s recording consists of six parts.

SYNOPSIS OF PALAISGEN Part I: Palaisgen’s visitation to the people on earth Palaisgen told Liokyangan, his youngest brother, to prepare his golden boat because they would look for someone. While they were in the sky, Palaisgen saw that many people were being killed on earth. He commanded the people to stop fighting. They stopped fighting, and the earth became peaceful again.

Part II: Palaisgen’s courtship of Tubod kat Bulawan When the earth was peaceful again, Palaisgen told his mother that he and Liokyangan would look for Tubod kat Bulawan. Upon reaching Tubod kat Bulawan’s palace, Pala’isgen professed his love at once. However, Tubod kat Bulawan said that she was unworthy of his love. Palaisgen stressed that he truly love her. He came to her kingdom even if it was very far from his. Tubod replied that he should ask her father’s permission first.

Palaisgen went to Letang Bato, Tubod’s father, and expressed his intention to marry Tubod. Then, Letang Bato summoned Tubod and asked what she wanted. Tubod replied that she would follow what her father wanted.

Part III: The wedding feast of Palaisgen and Tubod kat Bulawan Tubod kat Bulawan willingly accepted the love of Palaisgen. Upon hearing this, Palaisgen ordered that all people in the kingdom of Letang Bato be invited to the wedding feast With Palaisgen’s magic, different kinds of food appeared and were served on golden plates.

The glasses were made of gold, too.

When the guest had eaten, they told one another that Palaisgen was not an ordinary man but god because everything that he wished came true.

Part IV: The visit of Letang Bato to Palaisgen and Tubod kat Bulawan Letang Bato held on to Palaisgen as they flew up above the sky. When they reached Palaisgen’s palace, Letang Bato was filled with awe and joy because everything in the palace of Palaisgen was made of gold. Letang Bato remarked that his son-in-law was a god indeed. For three days and

three nights, Letang Bato stayed with Palaisgen and Tubod kat Bulawan.

Part V: Palaisgen’s fight with the giants One day, Palaisgen asked Tubod why she always went around because he believed that a woman should stay at home. When Tubod answered back, he got angry with her. Tubod was hurt and she refused to talk to him.

Because of anger, Palaisgen went away. He sat under a tree, slept and dreamed. In his dream, an old man appeared to him and asked him why he was there. Palaisgen explained what had happened. The old man also advised him to go to a place where the wind came from, and he would hear news that would make his sadness vanish.

When Palaisgen woke up, he thought of changing his appearance. He swam in the river and wished that he be transformed into a beggar. He became a filthy beggar.

Thinking that he would not be recognized anymore, he decided to go home. While he was still far from his home, he heard a loud cry.

When he asked the servants why they were crying, they told him that Tubod kat Bulawan had been taken by the giants and their master was not at home to defend her.

When he returned to the river, he met a crab which told him that Tubod was taken by the giants to the seventh mountain, and they locked her up in the seventh room. A giant guarded each of the rooms. They were fattening Tubod before they would eat her.

He took a bath again and regained his old appearance. Then, he whistled and a bird appeared. The bird warned him that it was dangerous for him to go to the mountain during the day because he could be seen easily nor during the night because he could be smelled by the giants. Having been assured by Palaisgen that there was nothing to worry about, the bird carried him to the seventh mountain. They reached the seventh mountain a dawn.

Palaisgen beheaded two giants in the first two rooms. When he reached the third room, it was already noon so the giants smelled him. He hid inside a pot, and when the giant was about to get his food, Palaisgen stabbed him on the neck. Palaisgen came out and went to the fourth

room but found no giant there. He transferred to the fifth room not knowing that two giants awaited him there. They caught him with a huge basket but since the basket had big holes Palaisgen slipped away. However, a giant caught and swallowed him. Inside the giant’s belly, Palaisgen stabbed and cut the giant’s intestines. As a result, he came out of the giant’s belly unharmed.

Since the other giant thought that Palaisgen was already dead, he slept. Finding the giant in that condition, Palaisgen easily beheaded him.

When Palaisgen entered the sixth room, he did not find a giant there, so he went to the seventh room. To regain his strength, he rested first on a coconut tree. In his dream, an old man appeared to him and ordered him to wake up and summon his bee that knew where Tubod was being kept.

Palaisgen woke up, summoned the bee and rode on it. He rescued Tubod kat Bulawan although they were almost caught by the giants had they not taken the other direction. Palaisgen and Tubod went home home safely and lived happily in their palace.

Part VI: Palaisgen’s and his brothers’ fight with Tigre Tubod kat Bulawan told Palaisgen that what he knew was just to fight. Furthermore, Tubod kat Bulawan belittled him by saying that he was not like Ruray Karuraynen who was very rich. This made Palaisgen angry. To release his fury, he jumped out of the window and went to the garden where he cut all the trees. Then, he cut a bunch of antenganen and planted it in front of their house. He told his wife that if the plant withers this would mean that his life would end, but as long as he lives the plant would not wither.

Having planted the antenganen, he left to look for Biyarung-barungan, his father.

Palaisgen made a sail out of his hankerchief and a rudder out of his big dagger. He used these in flying. After flying for several days, he reached the kingdom of Tigre which stretched from the seashore to the almaciga plantation. There, Palaisgen saw the head of his father that was made into an ornament of Tigre’s house.

Turn to next page 30 Art by Resty Lopez

From Kudaman of the Pala-wan

Kudaman is a tultul or epic of the Pala-wan people of the province of Palawan. It is one of the 63 epics of Palawan, taking seven days to perform. The six songs of the epic was recorded and translated by French anthropologist Nicole Revel from the chanting of the bard Usuy.

SYNOPSIS OF KUDAMAN By the river Tabunganan is a spring, which is the abode of an evil spirit. Tuwan Putli, accompanied by her cousin Ambaynan, goes there to fish. As they are about to leave, Tuwan Putli sees a river lobster with golden pincers.

Ambaynan waits for her, but Tuwan Putli disappears. There is blood in her fish basket. Ambaynan goes home and reports the incident.

Tuwan Putli’s husband, Muta-Muta, was ordered by her father to search for her, but he disobeys. Muta-Muta turns to the Young Man of the Clouds for assistance. It is agreed that if the Young Man of the Clouds can find Tuwan Putli, she will be his. With the help of a crocodile, the Young Man of the Clouds finds a fragment of Tuwan Putli’s toenail inside a molar of an old crocodile. The old crocodile had accidentally eaten Tuwan Putli. Retrieving the nail, he sees Muta-Muta who tells him to bring home the nail fragment. The young man puts the nail inside the golden chest. In the afternoon, Tuwan Putli’s voice is heard inside the chest, pleading to be let out. The chest breaks open like a bamboo, filling the house with golden light. Tuwan Putli emerges and asks for a areca nut. Learning that the young man has rescued her, she consents to live with him.

Soon, the Young Man falls in love with the Lady of the Sea-Beings, the wife of Kudaman. The Young Man wins her love, forcing his wife, Tuwan Putli, to leave him. Kudaman decides to bring the Lady of the Sea-Beings to her father Surutan Tamparan, the Sultan of the Seacoast. On his journey back aboard Linggisan, the Purple Heron, Kudaman meets Tuwan Putli and offers her an areca nut. She accepts and becomes his puun or principal wife. When Surutan Tamparan discovers that his daughter has left Kudaman for the Young Man of the Clouds, he beheads her at the place called Scissors of the World. But she emerges from the ordeal lovelier than ever.

Muta-Muta, Tuwan Putli’s first husband, and his brother, the Datu of Ligayan, visit Kudaman to offer a blood compact. Kudaman reminds Muta-Muta that Tuwan Putli is

now his wife. Having become blood brothers, Muta-Muta asks to stay in Kudaman’s place.

Kudaman agrees, and he has a big house built.

Kudaman gathers his relatives and friends and offers to host a big feast of tabad rice beer.

Kudaman goes on a journey to look for beautiful garments for Tuwan Putli whom he entrusts to Muta-Muta. Riding on Linggisan, his pet bird, Kudaman travels for seven years.

The Lady of the Wild Green Pigeon falls in love with him. Kudaman promises to return for her. Reaching the house of the Sultan of the Seacoast, Kudaman buys the garments he wants. His former wife expresses renewed yearning for him and his bird, so she is transported to Kudaman’s house, where she is welcomed by Tuwan Putli as sister and co-wife. As he has promised, Kudaman passes by the place of the Lady of the Wild Green Pigeon on his way back. He asks for areca nut, and she offers him her areca nut container. When she agrees to come with him, he puts her inside his betel container for safekeeping. Tuwan Putli meets him with the news that the Lady of the Sea-Beings has come. Kudaman shows her what he has brought home: a new sister.

Kudaman goes on a journey, entrusting the two women to his principal wife. He encounters the Lady of the Ginuu Tree, who is gripped with admiration for his magnificent bird. Kudaman obtains her, as he did the Lady of the Wild Green Pigeon, but the Lady of the Ginuu Tree makes it clear to the other women that she has no desire to win the hero away from them, and that she has come with him only because she loves his bird.

Having put up his new kolongbanwa or big house, Kudaman wishes to offer a celebration in honor of Ampu, the Master of the Rice. Muta-Muta, Datu Ligayan and the four linamin or ladies are in agreement. He lays his hands over the mouths of the jars of tabad, and right away, the rice beer ferments. Muta-Muta and Datu Ligayan play their gongs, for this is the music beloved of the Master of the Rice, who bestows sweetness and fragrance to the rice beer. Clad in wondrous garments

and ornaments of gold, Kudaman’s four wives dance the tarok, and they prepare for the areca nut-betel chew for the guests. The Young Man of the Clouds hears the music from the feast and hastens to join Kudaman. But far away, the dreaded Ilanun also hear the gongs, and they decide to test the mettle of Kudaman and get his wives. Informed through a dream, Kudaman orders the music to stop. He does not want violence, for it is an affront against Ampu, the Supreme Master, who is also Nagsalad, the Weaver of the World. He waits for the Ilanun’s arrival and invites them to come to the house, but they harshly reject to offer.

Muta-Muta loses his restraints and attacks. The Young Man of the Clouds joins him. The leader of the Ilanun and the Young Man of the Clouds duel in the heavens for seven years. Moved by the Young Man’s spirit, Kudaman joins in the fray. He entrusts to his grieving wives a bouquet of basil flowers whose wilting or blossoming will signal his state. The ladies plead that Linggasan watch over its master; the bird itself is anguished over Kudaman’s decision to fight. Up in the clouds, astride of a ray of sunlight, Kudaman merely observes ar first. But when the Young Man of the Cloud falls, he comes to his rescue and puts him inside his betel container. Then he confronts the Ilanun leader, Apo Tugbu. A battle between them lasts for many years, taking them to several levels of the world. Finally Kudaman wins. The Ilanun are wiped out.

On their way home, Kudaman and the Young Man of the Clouds pass by the house of Limbuhanan, the hero’s first cousin. They meet the Lady of the Agoho Tree, Limbuhanan’s wife. The couple apologize to Kudaman for having gotten married without notifying him. The young man of the clouds relates the war he and Kudaman have just been through. The Lady of the Agoho Tree offers to accompany the two back home.

Muta-Muta, Datu Ligayan, and the four wives are overjoyed when Kudaman arrives.

Turn to next page 30 Art by Marvin Samonte

30 Agung • Number 4 • 2016 KUDAMAN

From page 29

The interrupted feast resumes. A jural discussion is held, regarding harmonious relationship in marriage, the duties of relatives, and other points of the adat or custom law. Among the guests are the Datu and the Lady of the Edge of the World, the Datu and the Lady of the Surrounding World, the Datu and Lady of Median Space, the Chief Judge Pinagsaraan and his wife, the Lady of the Luray Tree, the Lady of the Sails, the Lady of the Western Wind, and the Lady of the Atmosphere.

The Sultan of the Seacoast arrives with his seven wives, and he is offered the first sip of the tabad. The merriment lasts for three days, but no violence or rowdiness occurs. Kudaman finds himself in a state of stupor.

His being is transported, it seems, to another universe, and the heavens have been cindered by his drunkenness. But he is thought back to consciousness, and, seeing the face of the Lady of the Hooks, he proposes to marry her. Revived, Kudaman chews betel and spits at the dead army of the Ilanun. They are resurrected, and they surrender their weapons as a sign of compact.

Earlier, during the start of the feast, an old conflict over Tuwan Putli between Kudaman and the Chief Judge Pinagsaraan took place.

The Lady of the Luray Tree, wife of Pinagsaraan, proposed that Tuwan Putli be cut in two so that the two men could each have half of her.

Kudaman takes a blade and slices her. Each half of her becomes a lovelier Tuwan Putli. The Sultan of the Seacoast takes his leave, and the others follow suit, but not before everyone has agreed that there must be another feast in the future.

The rest of the epic contains episodes about Kudaman’s odysseys to distant lands and visitations of friends and relatives, during which great feasts are held. In one of his drunken revelries, having gulped down 180 jars of tabad, Kudaman plummets into the navel of the world and wrestles with himself. In his drunken state, he meets the Lady of the Young Men, who fans his face to bring him back to his senses and offers him areca nut-betel chew. She becomes his fifth wife. Riding his heron to the ends of the world, Kudaman wins his other wives who are all uniformly described as falling into a swoon at the sight of his magnificent bird. They are the Lady of the Sandbar, who leaves her husband to go with the hero; the Lady of the Last Level of the Universe; the Lady of the Oil of the World; the Lady of the Maiden Space, also married; and the Lady of the Hooks, to whom he had earlier proposed.

Kudaman ends with a final celebration of Kudaman’s marriage to ten women. At the same time, the Young Man of the Clouds takes the sultan’s seventh daughter in marriage, and the dowry he gives is a river which begins from the skies and flows right beside the sultan’s house, while a macopa tree and a pomelo tree bear fruit the whole year round. —Summarized by Edgar Maranan in the CCP Encyclopedia of Philippine Art, Volume IX: Philippine Literature (Manila, 1994), from Kudaman: Isang Epikong Palawan na Inawit ni Usuy (Ateneo de Manila Press, 1991)

“THE VISIT OF LAGABA’AN TO NELENDANGAN” IN ULAHINGAN From page 14

courtyard, he is directed to see for himself his own ships being splintered and strewn around. Unmoved, the king only encourages his followers to continue devastating the gardens and plantations. Lena chases the invaders around, and they assemble at the seashore. Their king exhorts them to shout and to knock their shields to produce a thunderous peal to frighten the inhabitants of Yendang. The local folks respond by following Lena’s instructions to produce an even more deafening sound that drowns out the invader’s shouts and banging of shields. Then, Lena tells his followers to dance the sa-ut, for he says that the battle will be awkward without it.

The war dance is just a warm-up to the fighting that ensues at the lawn. Both young and old warriors participate in the battle. The

enemies flee, but they are chased up to the underbrushes of the mountains, where they are decimated. The king of the invaders tells his aide to save his men. The aide plants his shield, which becomes a cliff in the middle of the lawn to shelter their warriors, although he claims it is for the people who are scared of the fighting. Either Dayuen, Agyu’s cousin, or Delemenen, his son, knocks the shield away. Delemenen spears the king’s aide. Losing his aide, the king arms himself. He commands his anklets and ringlets to ring the place up to the mountains and hills, making the place an impenetrable jungle. The king also commands his shield and buckler to grow taller and wider until they are fastened to the gilded beams of the palace, becoming a blocking cliff. The king taunts Lena to bypass the obstacle. Lena does not take the challenge right away, but he performs tha sa-ut. As he does so, he kicks the obstacles along the seashore. Then Lena moves to the lawn and tests the strength and solidity of the planted shield and buckler receive greater pressure from Lena, and they confess that they are like ropes snapping. Lena soon turns them into splinters.

Lena fights with the king. The king’s spear and javelin are ground to dust. Then, they fight with their daggers and kampilan blades, but Lena turns his opponent’s blades to dust. The two wrestle, and, as they are grappling, a smoke arises in their midst, but neither one of them yields. Lena then hurls himself skyward to look for the sipa’ or ball of the sky. With this ball, he encases the king, who, however, frees himself easily. The king shackles Lena’s feet. The fetters are attached to a gigantic tree and a balite tree, which is ordered to fasten its trunk to the land of the dead and the gilded beam of the palace. However, Lena frees himself easily. Lena retaliates by hurling the king up into space. But the king returns to the courtyard. Confronting Lena, he uses the hair of a deity to bind him, and although Lena can wiggle, he cannot free himself.

Meanwhile, in another land lives one of Agyu’s relatives, Tigyekuwa, Agyu’s first wife, and their son Kumugpa. The boy has been crying the whole day long, and to stop him, the mother promises him that they will visit his father Agyu if he ceases to cry. When they arrive at Yendang, they find Lena already bound. Tigyekuwa then approaches Lena and touches the hair that binds him and he is freed. She also identifies Lena’s adversary as his true father, who has never visited Nalandangan before. The king’s eyes moisten, unable to recognize the multitude of his children, his grandchildren, and his great-great-grandchildren.—E. Arsenio Manuel, CCP Encyclopedia of Philippine Art, Volume 9. This episode was collected by Elena G. Maquiso from Langkan Abud and his brother Santiago, and was published in 1977.

AG TOBIG NOG KEBOKLAGAN From page 16

guise of Towan Salip Palasti to get their powerful medicines and amulets. He followed the instructions. He came back with the medicines.

The people whom they had felled did not return to life anymore and those cut to pieces died.

Conclusion. The god Asog looked down and saw that the other world, the world of sinners, was very quiet for there was no life and no fire burning. He went down to Earth and told Malopanyag to stop fighting and to return to Sirangan. Asog urged him to hold a buklog upon arriving home, where each of them would be given his partner in life. Asog fanned the kingdom with his kerchief and all those who had died lived again.

The datus agreed finally to go home. Upon their arrival at Sirangan, they saw that Taake’s mother was dying, longing for her son.

When Taake kissed his mother and told he was her son, she was revived. The whole kingdom of Sirangan came to life, trees stirred, birds sang, and everything grew more alive.

They then prepared for the buklog. All the datus of the different kingdoms were invited and there they were given partners in life by their god Asog. —Gaudiosa Martinez Ochotorena, Kinaadman (volume 3, 1981)

2016 • Number 4 • Agung 31 KEG SUMBA NEG SANDAYO From page 13

Sandayo invited Panday Tape and Bae Salangka and their children to join the buklog of Manelangan. Lomelok and Bolak Sonday, Daugbolawan and Benobong and Mendepesa went along, too. They spread their monsala and flew to the waters of Manelangan.

When Sandayo’s party arrived at Manelangan, Datu Pombanwa and Bae Salagga welcomed them. The young couple, Datu Tulog and Lengotubig, also entertained them. They drank the pangasi (rice wine) and munched their chew. Pammitonan also joined the gathering, Sandayo ordered Tinayobo to get the gilded gapin (betel). Tinayobo threw the gapin, and a “golden” buklogon (platform) appeared before them. Sandayo ordered his parents and his relatives to stay on the buklogon. The tinayobo and the sampilakan cried bitterly. Sandayo comforted them. He planted a tikolanga flower and asked tinayobo to take good care of the plant because it was his life. He asked the sampilakan too to keep watch over their waters against the invaders. Sandayo promised to return and bring them to the place of eternal happiness. Sandayo and his relatives danced the buklog. The platform rose higher and higher. When the buklogan reached the clouds, the platform fell back to the earth. Sandayo and his relatives ascended to heaven and lived there happily ever after. —Virgilio Resma, “Keg Sumba neg Sandayo: A Suban-on Epic” in Kinaadman, Volume 4, 1982.

PALAISGEN From page 26

Before fighting, Palaisgen stayed on top of a coconut tree in front of Tigre’s house for five days and five nights. He invoked his father to watch over him that he might not be likened to him. He was seen by the daughter of Tigre who reported to her father what she had seen. Tigre just laughed aloud and ordered his slaves to sound the gong.

At the sound of the gong, the warriors of Tigre came. This angered Palaisgen. He rotated his golden shield and became invisible. What could only be seen was the tip of his spear. Each time he leaped, he killed fifty, and each time he went down he killed fifty, too. Having witnessed the battle, the daughter of Tigre asked her father to reconcile with Palaisgen but her father did not heed her.

Meanwhile, Baybaynen, older brother of Palaisgen, ordered his slaves to sound the gong to call Piyamituunan. When Piyamituunan arrived, Baybaynen told him that they would look for Palaisgen. Baybaynen would sail while Piyamituunan and Magundali-dali would fly. Having learned about this, Tubod requested Magundali-dali to give areca nut and tobacco for Palaisgen.

Baybaynen ordered his slaves to sound the gong once more to summon the slaves that would pull his boat. The slaves came at once. After eating, the slaves went to the seashore. Fifty slaves held each outrigger but the boat did not move. The slaves returned to Baybaynen, reporting that they could not pull his huge boat.

Having learned what had happened, Baybaynen commanded his slaves to sound the langguway to call his pet woodpecker. When the woodpecker arrived, it proceeded with its task at once. It alighted at the tip of the pole of Baybaynen’s boat and pulled it easily as if it was just a feather.

Baybaynen sailed for five days and five nights until reached the island of the powerful maiden. The maided ordered her pet bee to bring areca nut and tobacco to Baybaynen which he refused. Baybaynen also copped the wings of the bee. Consequently, the maiden became furious and vowed that Baybaynen could not go on sailing. She summoned the typhoon and strong wind. At once, a strong typhoon came which rocked Baybaynen’s boat. It could almost touch the stars every time it was tossed by the waves.

The slaves cried aloud fearing that it would be the end of their lives.

Tagal Namansalan, the expert sailor of Baybaynen, manipulated his golden rudder with all his might. They drifted along the sea until they returned to the harbor of Baybaynen.

Determined to go on sailing, Baybaynen ordered his servants to call for Paraparampo, his eldest brother. Paraparampo came and talked to the

maiden in the island to let Baybaynen continue sailing. Afraid that Paraparampo might punish her, the maiden obeyed him.

Meanwhile, Piyamituunan was attacked by strong typhoon so he stopped at the island of Mali-Wali where everything was erroneous. After some time, Baybaynen also reached the said island.

On the other hand, Magundali-dali reached the kingdom of Tigre.

When the daughter of Tigre saw him, she begged her father again to reconcile with Palaisgen but Tigre did not listen to her.

When Magundali-dali saw Palaisgen, he thought Palaisgen was an enemy. Magundali-dali grabbed his weapons—golden shield, kris, spear, huge dagger—and got ready to fight. Afterward, a fight ensued between Palaisgen and Magundali-dali. Their fight lasted for five days and five nights until they reached the island of a powerful maiden. When the maiden saw them fighting, she ordered her pet bee to pour oil on them since they were brothers-in-law. When it was done, Palaisgen and Magundali-dali recognized each other. Then Magundali-dali gave Palaisgen the tobacco and areca nut from Tubod kat Bulawan. They rested first before they helped each other in fighting the warriors of Tigre.

Several years passed by before Baybaynen reached the kingdom of Tigre. There he saw the head of his father whose hair was like rice poured out when the wind blew. When the daughter of Tigre saw him, she repeated her request to her father but she got the same response.

When all his warriors were dead, Tigre grabbed his weapons and got ready to fight Palaisgen and his brothers. He rotated his shield once. Palaisgen, Baybaynen, Piyamituunan and Magundali-dali surrounded him but he could not be defeated. He just mocked them and threatened them that he would eat them all.

Palaisgen and his brothers fought Tigre for several years but he was still alive. Side by side they struck him but he just laughed at them. When they became weak, they stopped to confer about what to do in order to defeat Tigre. They called the east wind and it became dark. Thinking that it was about to rain, Tigre looked up the sky. Meanwhile, Palaisgen ordered his dagger to hit Tigre. This put an end to Tigre’s life.

Having killed the giant, Palaisgen and his brothers entered the house of Tigre and they took the head of Biyarung-barungan. Inside the hosue, they saw Maru Pandayanen. Not knowing who he was, they surrounded and fought him but he was also an expert warrior. Several years passed by until they reached the island of the maiden. Having seen them, the maiden told her pet bee to pour powerful oil on them. Afterward, Palaisgen and his brothers recognized that Maru Pandayanen was their half-brother. Hence, they decided to bring him home.

Then, Baybaynen told them that it was time for them to return to their kingdom. Palaisgen, Piyamituunan and Magundali-dali flew while Baybaynen sailed. After a long time, Baybaynen reached the island of Mali-Wali. He rested there for five days and five nights. He continued sailing only when Tagal Namansalan reminded him that it was time to go home.

When they reached their kingdom, Palaisgen told his brothers that he would go home first to see his wife. He was welcomed by his wife who was very glad that he came home safely.

After some time, Palaisgen and Tubod kat Bulawan went to the bronze palace. Paraparampo, Baybaynen, Piyamituunan and Ray Antengagen were there, too. Afterward, each went home. Palaisgen and Tubod kat Bulawan went home, too.

When they were home, Tubod requested Palaisgen to stop fighting but Palaisgen did not want to follow her. Afterward, Palaisgen returned to the bronze palace. Baybaynen and Datu Ilu-ilo welcomed him gladly. Then, Baybaynen told his servants to sound the gong to call his other siblings for they would confer about what they would do with the head of their father.

Piyamituunan and Ray Antenganen came. Palaisgen told them that he did not want his father’s head to be buried. Thus, they fixed the head of their father, put it a golden chest and placed it in a beautiful room.

When this was done, Palaisgen went home. Tubod kat Bulawan repeated her request but Palaisgen insisted that we would still help and save his people. —Jonalyn B. Villarosa, translated from the transcription in Filipino by Dr. Paul Jagmis, Sr. (Making Literature Alive: A Closer Look at Pala’isgen, a Tagbanua Ethnoepic, masteral thesis at the Palawan State University, March 2004).

32 Agung • Number 4 • 2016

Passing on the Power

By Roel Hoang Manipon

Stories must be told and retold. It is in this way that their powers are unleashed and that they live on. From the earliest times, people have been creating and telling stories, which have myriad functions— as modes for instruction and entertainment, as expressions of imagination and creativity, as transmissions for cultural values, as vehicles for community cohesion, etc. Stories are always being created and retold from ancient chanters to modern-day writers. However, the old stories, which likely started and were transmitted orally, and are mostly folk ones shared by a community, are slowly vanishing or going out of circulation among communities.

“In my lectures on the indigenous literatures of Mindanao around Mindanao, I found out that today’s generation is not familiar with the island’s folk material or other indigenous material,” related poet and professor Christine Godinez Ortega.

In these stories we can glean the sensibilities of our ancestors, and chart the evolution of native values and imagination.

More than that, “reading the folk tales of Mindanao from several ethnic groups has been a journey to understanding many of the island’s mysteries and complexities,” she further said.

In an effort to contribute in keeping the folk stories of Mindanao alive, the Iligan Citybased professor compiled and edited Mindanao Harvest 3: An Anthology of Retold Tales of Mindanao, published in 2014 by the Mindanao State University-Iligan Institute of Technology (MSU-IIT)and the NCCA. The latest installment in Mindanao Harvest series of anthologies on Mindanao writings focuses in retelling fourteen folk stories by eleven writers and researchers. Ortega believes that one potent and necessary way to keep these stories alive is to be retold by modern-day storytellers.

One of the contributors in the book, Macario Tiu of the Ateneo de Davao University’s Research and Publications Office, in his introduction for the book, believes that “the traditional narratives should be shared with and enjoyed by all Filipinos as the stories also belong to the entire nation. Indeed, traditional materials should be preserved and ownership acknowledged but after doing that the writers and other artists should be allowed to be re-creative so that something new can be generated in a never-ending cycle of creation and re-creation. In that way, the arts develop and not stagnate.”

While it is necessary to preserve these stories in their earliest forms for its historical and anthropological importance, among others, they must be retold to engage the present generation. More than being vessels for the stories, the tellers contribute to the process of perpetuating stories. In each retelling, they incorporate, consciously or subconsciously, their own creative techniques in descriptions and narrations, their values, their sensibilities, their own ways of imagining things. As culture constantly changes, so do the stories, with additions and amendments brought about by ever evolving values, learning and community dynamics. These do not necessarily dimin-

ish the stories’ values, but add layers and layers of meanings making the treasuries of stories richer.

Contributors of Mindanao Harvest 3 include Jaime An Lim; Merlie Alunan; Carmen Ching Unabia; Jaybee B. Arguillas; Sittie Noffaisah B. Pasandalan; Macario D. Tiu, Maria Vinice T. Organiza Sumaljag, Felix Inantay; Servando S. Halili, Jr.; Zola Gonzalez Macarambon; Antonio Reyes Enriquez; Rita C. Tuban; Therese Padilla Abonales; Celeste Aida Abad Jugo; and Godinez Ortega.

The selections from Mindanao’s wealth of stories are satisfying enough. There are origin stories such as “Why the Rice Grains are Small” (Blaan) by Macario D. Tiu, Maria Vinice T. Organiza Sumaljag and Felix Inantay; “Legend of the Durian” (Bagobo Manobo) by Jaybee B. Arguillas; “The Princess Whom the River Claimed (The Origin of the Name of Cagayan de Oro)” (Higaonon Manobo and Meranaw) by Zola Gonzalez Macarambon; “Lovers’ Plunge: The Legend of Pulong Bato” (Zamboanga) by Antonio Reyes Enriquez; and “Mount Dahu” (Tausug) by Rita C. Tuban. “The Story of the Second Creation,” Jaime An Lim’s adaption of a Maguindanao legend, proves to be intriguing—engaging us with a domestic tale and surprising us with an end of how sexual intercourse began.

There are tales on everyday life that entertain us with cleverness as well as highlight values and virtues such as the fable-like “The Mosquito” (Meranaw) by Sittie Noffaisah B. Pasandalan; “Why the Solotan sa Agaymaniyog Did Not Die” (Meranaw) by Christine Godinez Ortega; and “Raga and the Pearls” (Meranaw) by Therese Padilla Abonales.

Love stories such “Two Tales of Taibun’s and Daugbulawan’s” (Suban-on) by Servando S. Halili, Jr. and “How the Little Boy Juan Married a Princess” (Bukidnon) by Carmen Ching Unabia show how love itself is an adventure.

And of course there are riveting tales of adventures and battles such as “The Siege of Nelendengan” (Livunganen-Arumanen Manobo) by Merlie M. Alunan, which is not much different from modern-day epic movies of action and fantasy; “The Salsila of the General Prince Salikala” (Tausug) by Rita C. Tuban; and “The Princess and Her Warrior Butterlies” (Maguindanao) by Celeste Aida Abad Jugo, which reads like a captivating story for children.

Mindanao Harvest 3 does not mean to be comprehensive but it gives us a glimpse of the rich treasury of folk stories Mindanao possesses for modern-day writers and readers to mine. “Let therefore this first offering of the retellings of folk tales from Mindanao be the beginning of a long journey of what Jane Yolen describes as the ‘reseeding and resowing of our fields of tales,’” Ortega rightfully exhorts. And those taking the journey will be richly rewarded.

2016 • Number 4 • Agung 33

Recent NCCA Publications Choral Works for Filipino Choirs: A Narrative

By Dr. Bienvenido B. Constantino, Jr. In this 2014 book, arranger and composer Dr. Constantino wrote new arrangements of Filipino folksongs that Filipino

choirs can perform, including Bontoc folksong “Chua-ay;” “Cuyo Balitaw,” Cyunon folksong from the book Makaranta Kita by Fe Tria Fernandez; Visayan folksong “Dandansoy;” Ifugao folksongs “Dogdogwe” and “Hi Banig;” Kalinga war song “Salidummay;” the Hiligaynon “Syatong;” “Tagu-Tago” in Cebuano, among others. Each song is provided with background information.

Mumunting Tinig: Children’s Choral Pieces of Maria Christine Muyco and Other Filipino Composers Edited by Maria Christine Muyco Through its variety of styles as articulated by different composers, Mumunting Tinig (2015) provides children’s choirs both in the Philippines and abroad with selected choral pieces that aim to provide a broad range of experiences in musical and vocal styles. In-

cluding compositions commissioned by the National Competitions for Young Artists (NAMCYA), the choral pieces present different approaches toward creative interpretation and expression. Among those who share their choral masterpieces, which reflect and promote the culture, nature and life of the Filipino people, include National Artist Ramon Santos, Maria Christine Muyco, Elena Rivera-Mirano, Verne Dela Pena, Marie Jocelyn Marfil, Mary Katherine Trangco, Jude Edgard Balsamo, Carlos Pizarro, and Alma Cabel Dytoc. Each piece includes an introduction to the composer and a description of the work. Mumunting Tinig is a substantial addition to the little body of works on choral music written for children.

Historical Bulletin, The Research Journal of the Philippine Historical Association (Volume XLVII, January-December 2013) Dr. Evelyn Songco, Executive Editor This 47th installment of the research journal of the Philippine Historical Association (PHA) contains the proceedings of the 2012 PHA National Conference, which has the theme “The Philippine in Asia” and was held from September 20 to 22, 2012, in Iloilo City. It aims to underscore the different challenges that the Philippines has to face, while the rest of the Asian countries closely monitor the waxing and waning phases of the country’s struggles.

The book compiles the different lectures made by experts and lecturers during the conference including “Trade and Growth Areas in Asia”

by Alvin P. Ang; “The Philippines in Asia” by Celestina P. Boncan; “Maritime and Underwater Archaeology in the Philippines” by Eusebio Z. Dizon; “The 2012 Scarborough Shoal Stand-off: From Stalemate to Escalation in the South China Sea Dispute” by Renato Cruz de Castro; “Shared History, Shared Destiny: Vignettes in Philippines-China Relations” by Teresita Ang-See; “ Terrorism in Asia and the

Philippines: An Assessment of Threats and Responses 11 Years After 9/11” by Rommel C. Banlaoi; “Identity and Cultural Tourism: The Case of the Archives of the University of Santo Tomas” by Regalado Trota Jose; Overseas Filipinos’ Search for National identity in Foreign Lands: An Agenda for Migration Historiography” by Jeremiah M. Opiniano; “Hands-On Asia: Lessons in Chinese Art” by Arnulfo N. Esguerra; and “Women’s Role in the Southeast Asian Maritime Transactions” by Maria Teresa de Guzman and Mary Jane Bolunia.

Historical Bulletin, The Research Journal of the Philippine Historical Association Volume XLVIII, January-December 2014 Dr. Evelyn Songco, Executive Editor The research journal of the Philippine Historical Association (PHA) has the theme “Gat Andres Bonifacio: Huwaran ng Katapangan, Sandigan ng Kabayanihan (Isang Paggunita sa 150 Taong Anibersaryo ng Kapanganakan ng Supremo ng Katipunan)” and contains the proceedings of its annual conference held August 22 to 24, 2013, in Puerto Princesa City, Palawan. It features “The Trial and Death of Andres Bonifacio: A Myth” by Dr. Luis C. Dery; “ Si Manong Andres: Stories About Andres Bonifacio de Castro” by Dr. Augusto V. De Viana; “Gamit ang Utak, Pluma at Armas: Isang Pagsusuri sa Buhay at Akda ni Emilio Jacinto” by Prof.

Jerome A. Ong; “Oriang: Lakambini ng Himagsikan” By PROF. Mary Dorothy Dl. Jose and Atoy M. Navarro; “Buhay at Kabayanihan ni Dr. Pio Va l e n z u e l a”

by Jonathan C. Balsamo; “Maynila at Kapaligiran noong 1896: Pagmamapa ng Himagsikan” By Dr. Celestina P. Boncan; “The Ilocos Region and the Philippine Revolution” by Dr. Estrellita T. Muhi; “ Ang Hangaway na Nasamaran, Ngadugang ang Kaisog: Isang Pag-unawa sa Stratehiya ng Pakikidigma ng Katipunan ni Gat Andres Bon-

34 Agung • Number 4 • 2016 ifacio “ by Dr. Vicente Villan; “Demystifying the Rizal-Bonifacio National Hero Controversy” by Prof. Oscar L. Evangelista; “Pana at Palaso, Kamote at Monggo, Anting-Anting, Dasal at Nobena: Mga Katutubong Pamamaraan ng Pakikipaglaban noong Panahon ng Himagsikan 1896-1897” By DR. ARLEIGH D. DELA CRUZ; “ Ang Mararangal na Sagisag ng Katipunan ng mga Anak ng Bayan” by Ian Christopher Alfonso; “Konstraktibismo, Transpormasyon at O.B.E.” by Dr. Evelyn Songco; and “ Ang Buhay ng Supremo: Isang Timeline Ukol kay Andres Bonifacio” by Michael Charleston B. Chua.

Manila: Selected Papers of the 23rd Annual Manila Studies Conference Edited by Bernardita Reyes Churchill Manila, the refereed journal of the Manila Studies Association (MSA), contains selected papers from the 23rd Annual Manila Studies Conferences held from August 7 to 9, 2014, at the Casa Manila in Intramuros, Manila.

Articles include “A Quarter-Century of Manila Studies: The Published Conference Papers of the Manila Studies Association” by Marya Svetlana Camacho; “The Mabini Shrine in Pandacan: A Hero in Search of a Home” by Lorelei D.C. de Viana; “Update on the Aarchaeological Excavation at Iglesia de San Igna-

Entrepreneurs in the Nineteenth-Century Provincia de Manila” by Marco Stefan B. Lagman and Jonathan M. Villasper; “The Ateneo and UST Museums: Groundbreaking Educational Facilities in Nineteenth-Century Philippines”

by Glenda Callanta Oris; “Early Philippine Cookbooks: Savors of Cultural Concern” by Felice Prudente Sta. Maria; and “Raising Mingwen: Tradition, Integration and Lineage in Contemporary Lion-Dance Troupe” by Jose Alain J. Austria.

Pinatubo at Iba Pang Tula

By Merlita Lorena Tariman Writer Merlita Lorena Tariman from Daraga, Albay, collects her poems in Pinatubo

considered as the oldest poerty group in Cebu founded on August 19, 1969.

at Iba Pang Tula (2014), most of which tackle life in Pampanga after the eruption of Mount Pinatubo in 1990s. Most of the poems were originally written in Filipino, and then translated into Bicolano.

cio Site, Intramuros, Manila Exposition of Archaeological Features and Retrieval of Artifacts and Ecofacts” by Angel P. Bautista, Alfredo B. Orogo, Amalia de la Torre and Mea Karla C. Dalumpines; “Sulyap sa Santatlo: The Iconography by the Santisima Trinidad as Depicted in Philippine Colonial Period Devotional Literature” by Martin Gaerlan; “The Female

Wanang Edited by Kei Valmoria-Bughaw, Anthony Kintanar, Genica Mijares, Karla Quimsing, Jeremiah Bondoc, Josua Cabrera and Gloria Sommer Wanang (2011) is a collection of poems and short stories written in Cebuano. It features poems by Anthony Kintanar, Charmaine Carreon, Cindy Vasquez, Genica Mijares, Gloria Sommer, Jeremiah Bondoc, Melquiadito Maambong Allego, Nancy Noel Nacua, Radel Predes, Romeo Nicolas Bonsocan and Russ Ligtas as well as short stories by Maria Victoria Beltran, Kei Valmoria-Bughaw and Josua Cabrera. Each poem and story comes with an English translation. The writers are members of the Bathalad-Ong Halad sa Dagang, Inc.,

The Other(Ed) Woman

By Hope Sabanpan-Yu The Other(Ed) Woman (2014) gathers writer and professor Hope Sabanpan-Yu’s literary criticism and essays, which offer a feminist survey of contemporary texts in Philippine literature. Merging culture and literary studies, it provides a critical look at representations of women and gender, including those often omitted in other readings. It offers readers the diverse portrayals of the Filipina in literature produced by women writers in the 20th century.

NCCA GALLERY 2016 • Number 4 • Agung 35

A Glimmer of Philippine Cinema’s Golden Years

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he exhibit “Alitaptap: The First Golden Years of Philippine Cinema” provided viewers with a glimpse of how Philippine movies were promoted in the 1930s and 1940s through Danny Dolor’s movie ads collection at the NCCA Gallery. This period was considered glorious years for Philippine cinema, known as the first “Golden Years,” with the rise of stars such as Rosa del Rosario, Carmen Rosales, Rogelio dela Rosa, Leopoldo Salcedo, Mila del Sol¸ Fernando Poe, Corazon Noble, Norma Blancaflor, Jose Padilla, Jr., Carlos Padilla, Fely

Vallejo, Mary Walter and Purita Sta. Maria, and movies such as Ibong Adarna, Mahal Pa Rin Kita, Ikaw Rin, Pagsuyo, Sa Iyong Kandungan, Dating Sumpaan, Singsing na Pangkasal, Mabangong Bulaklak, Paraluman, Ang Viuda Alegre, Hanggang Langit, Minda Mora, Libingang Bakal, Magpakailan Man, Patawad and many more. Philippine cinema was identified and believed to be the national “past time” of the Filipinos. In 1942, the glitz and glamour of Philippine movies had been put to a stop during the Japanese invasion. Looking back, the Phil-

Narrative of a Village

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he exhibit “Istorya ti LupLUPA” was about small stories and small people, tackling our use—or misuse—of our waters and land. The goal was to create awareness by giving a platform to the voices of those hardly seen and heard, for them to finally be able to

ippine movies as envisioned by Dolor may have been greatly providential.

The NCCA and Filipino Heritage Festival Inc. together with Security Bank Corporation and A.B. Leisure and Exponent, Inc., presented the collection of Philippine movie ads to reminisce the yesteryears for the appreciation of everyone. The exhibit was mounted from May 4 to 30, 2016. To complement the exhibit, Ibong Adarna and Pakiusap, two of the four remaining films that survived the post-war era were shown at the NCCA’s Leandro Locsin Auditorium.

tell their stories. Curated by artist and community worker and advocate Alma Quinto, soil paintings, storybooks, folktales on cloth, paper collages, photographs by children and volunteers, videos, and the documentary, Mga Kulay Sa Labas Ng Linya were mounted and shown.

The title was inspired from a story told by Chang-ag Sawad, a Kalinga elder in Luplupa, Tinglayan. It is a tale of caution, of how our actions can have terrible consequences, of how we will always be indebted to nature. It is also a tale of gratitude.

Participating groups and artists included students from Luplupa Elementary School; students and teachers from public elementary schools in Bauko, Mountain Province, through the Cordillera Green Network; River Warriors, residents and volunteers of Esteros de Paco, Pandacan and Santibañez for Kapit Bisig para sa Ilog Pasig; community members of Pook C.P. Garcia, volunteers of “Back to Square 1’s Off Site/Out of Sight” exhibit and its off-shoot New Build Zone Art Project under last year’s Project Bakawan; public high school students in Marikina and students from Pamantasan ng Lungsod ng Marikina; students from University of Asia and the Pacific; and young filmmakers Brian Sulicipan and Christelle Delvo.

“Kulay Dokyu: Screening and Directors’ Talk” was held on May 17. “Istorya ti LupLUPA” ran from May 12 to 30, 2016.

The creation of the NCCA Gallery dedicated to contemporary arts was a joint initiative of the National Committee on Visual Arts (NCVA) and the National Committee on Art Galleries (NCAG). Through the establishment of the gallery, both committees envision to help young artists get their much needed exposure without hampering their zest to explore new tendencies on the edge of current art making. The new gallery is outfitted to accommodate video works and movable panels for installation pieces. Contemporary artists are welcome to submit their exhibit concept along with their portfolio should they wish to exhibit at the gallery. The NCCA Gallery is at the ground floor of the NCCA Building, 633 General Luna Street, Intramuros, Manila. It is open 9 A.M. to 5 P.M., Monday to Friday. Visits on weekends and holidays are by appointment. For details, contact 527-2192 loc. 512 and look for Bryan Llapitan or Mimi Santos; or email nccagallery09@gmail.com.

Empowering the Filipino Imagination Send your comments and inquiries to The Editor, NCCA, Public Affairs and Information Office

633 General Luna Street, 1002 Intramuros, Manila. Tel. (+63 2) 527-2192 to 96 • Fax (+63 2) 527-2191/94 • E-mail: ncca.paio@gmail.com, info@ncca.gov.ph • Web site: www.ncca.gov.ph BUSINESS MAIL: Entered as third-class mail at Manila Central Post Office under Permit No. 3C-14-10-276, dated October 14, 2014. Subject for postal inspection