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The Political Biography of Dalama: From Binukot to Revolutionary

I would like to make a confession. Initially my motivation for writing the story of Dalama was purely academic. I was then a Political Science Instructor at the Social Science Division of University of the Philippines in the Visayas (UPV) in Miag-ao, Iloilo. I needed to come up with a research output to add to my points to get a permanent item or plantilla position.

Now, I am out of LIPV but I feel I have a social responsibility to write Dalama’s story. When I left the academe, I embarked on a series of exposure trips to the Tumanduk communities in Tapaz and Jamindan, Capiz. The exposure trips bore to fruition a project proposal for a functional literacy program for the Tumanduks.’ More importantly, those exposure trips have made me an advocate of the Tumanduk people’s right to self-determination.

I have to admit that during the initial stage of writing the paper, I was drawn to the exotic practice of binukot. A binukot is a girl cloistered by her family from the age of three to puberty. She is taught the Tumanduk’s oral traditions, and learns to chant the epics and dance the binanog. Keeping a binukot gives a family prestige because it means that it can afford to exempt a child from labor. As the repository of the community’s oral traditions, the binukot commands a very high bride price.

But I realized that my interest in the exotic was part of my bias as a lowland researcher, so I rejected this line of study.

I have chosen to analyze the binukot from a Marxist-Feminist perspective3 because of the influence of my primary storyteller, Luisa Posa-Dominado, who is a Marxist. Her accounts about Dalama, a binukot who became a revolutionary, entailed some analysis of the binukot from the Marxist standpoint. I provide the feminist perspective.

The Subject Position of My Storyteller

My primary storyteller, Ma. Luisa “Luing” Posa-Dominado, was a member of the New People’s Army (NPA)” during the Marcos dictatorship. A comrade, confidante, and friend of Dalama, Luing is qualified to tell Dalama’s political biography. Their friendship spanned eight years. It began in 1977 when they worked together as members of a unit of the New People’s Army (NPA). They were still single at that time. They again had another chance to work together in an auxiliary teams in 1980. By this time, they were already married and had children. From 1981 to 1985, they were assigned to different fields of work, but they met frequently and shared many stories. By 1985, Dalama was already leading an NPA platoon, while Luing was a member of the Instructor’s Bureau.

Luing and Dalama were more than comrades in the national liberation movement. On a personal level they were co-journeyers who saw each other go through difficulties as mothers and wives waging a national revolution. Having shared Dalama’s life and struggles, Luing has earned the right to be the keeper of Dalama’s story.

Storytelling as Research Tool

I chose to employ storytelling as method of gathering data because of my feminist consciousness. Storytelling as a research method was empowering to my research partner Luing. Storytelling allowed Luing spontaneity. We talked at the feeling level; we listened to each other, and laughed over anecdotes. Luing clarified matters when she shared her analysis of what she thought I was doing. She affirmed some points of my analysis and challenged some of them. In storytelling, we experienced an exchange of personal stories.

In storytelling, personal disclosures by the researcher and the research partner are inevitable. In the beginning, I had to clarify my subject position to Luing. At the end of our last storytelling session Luing told me that after hearing herself tell Dalama’s story, she felt that Dalama’s story was really worth telling and writing about.

Our storytelling sessions would begin with promptings like “Luing, ano ang istorya ni Dalama sang siya binukot pa (What was Dalama’s tale when she was still a binukot)?” Apart from this, we talked about common friends, and a sundry of topics. Storytelling as method is informal. The issue of power relations between researcher and the researched is blurred.

Truly, Luing is a partner in this research undertaking because she staked her own life story as a former NPA during the Marcos dictatorship. As a feminist conscious of the ethical issues in research, I am aware of the issue of confidentiality. I salute Luing for freely consenting to tell Dalama’s story.

In the oral tradition of the Tumanduks, storytelling is also the primary medium of transmission of knowledge. The choice of method hews to the Tumanduk tradition.

Imagery as Important Tool in Writing

My mentor Tomasito Talledo (Professor of Sociology at UPY Miag-ao campus) shared with me the imagery approach in writing. When I was writing about Dalama the imagery of the ubaran was a controlling image. The ubaran is a friendship bond of the Tumanduks made of the forest vine of the same name. I was actually weaving the story of Dalama as retold by my storyteller Luing. My analysis weaves the personal story of Dalama to the bigger story of the Tumanduk people’s strut: e for self-determination and the Filipino people’s strut: e for national liberation.

I feel I share a special bond with Luing and Dalama after the research. Just like the ubaran, our lives have become interwoven through our stories.

The Political Biography of Dalama
Dalama, The Binukot

When Dalama was born, her father Sardin named her after her mother who had also been a binukot. Her father chose Dalama as the binukot of the family because she closely resembled her mother. Dalama remained a binukot until she turned 15 years old.

Dalama told Luing that as a binukot her mobility was confined to the immediate vicinity of her home. Play was limited among her siblings and immediate family members. While growing up, she envied her siblings who were free to explore and play anywhere.

Since Dalama stayed at home most of the time, she performed household chores. She helped her mother cook, wash the dishes and clean the house. She learned to sew and to make jewelry by stringing colorful beads together.

Her mother taught her how to dance the binanog, a graceful depiction of the movement of the hawk to the beat of the native drums and gongs. Luing recounted that when Dalama danced the binanog it seemed that her aura would change. She danced as if possessed by a spirit-dancer. Luing recalled that compared to other binanog dancers, Dalama was the most graceful during her time.

Dalama was allowed to bathe in the nearby spring before sunrise provided that a sibling or her mother accompanied her. She washed her own clothes and collected a limited amount of drinking water. Although she did some housework she was prohibited from doing tasks that required much energy or exposed her to the blazing sun.

Luing noticed that a binukot always had a companion in the house. Usually, it was her mother or female sibling who accompanied her. The companion was to answer the call of visitors. When they have unannounced visitors the binukot has to go to her room. Otherwise, she is free to interact with the immediate members of her family.

Economic considerations necessitated Dalama’s decision to terminate her status as binukot. In 1968, Dalama’s father Sardin led a panambi, a bloody territorial war against the Akeanon. Sardin was incarcerated in Muntinlupa and the family needed an extra hand in the kaingin. Dalama told Luing that her family accepted her decision to participate in farm work. She was fifteen (15) years old when she ceased to be a binukot.

A Marxist-Feminist Analysis of the Practice of Binukot

In my conversation with Luing on the practice of binukot, I opened that Dalama must be empowered because she personally decided to terminate her status as binukot. Also, by her decision, she challenged her own cultural tradition. Luing explained that in the 1970s the practice of binukot was a dying tradition among the Tumanduks. The decline started in the 1960s due to the national economic crisis that also affected the mountainous areas of Capiz, home of the Tumanduks.

It had become impractical to maintain a binukot. In the case of Dalama’s family, their difficulties were aggravated by the fact that Sardin was imprisoned. And he was the principal food provider of the family.

Luing explained that the practice of binukot grew out of the relative economic abundance experienced by the Tumanduks in the past. Families were able to maintain a binukot because they had surplus yield in the kaingin and could invest in the binukot who commanded a high bride price.

Dalama’s decision to terminate her status as a binukot was borne out of the economic necessity to help in the kaingin. It was a practical decision made to answer a basic need of economic survival.

Luing observed that the practice of binukot changed through time. During the time of Lola Elena Gardoce, the oldest living epic chanter and binukot, a binukot was forbidden to have her bare feet touch the ground. She had to be carried by somebody when she left her house.

Maintaining a binukot in the family was very expensive. A binukot did not contribute to the generation of food and income for the family, and was therefore totally dependent on them. But she repaid them once betrothed as she was worth several farm animals and other material goods.

At first glance, it would appear that a binukot was a “bird in a gilded cage.” Her space was confined to the vicinity of her home. Her social relations were limited to the immediate members of the family. However, since she was taught and trained to chant their epic, lore and dance, she became a bearer of traditional culture and keeper of her people’s history. As such, her vistas expanded as she learned the beginnings of her people and the exploits of their heroes. She knew about the skyworld, the underworld, the middle world and all their inhabitants.

As a binukot, Dalama performed some household chores. She washed her own clothes and fetched a limited amount of drinking water. This runs counter to the accounts made by Prof. Alice Magos in her paper entitled “The Binukot (well-kept maiden) in changing socio-political perspective 1850s-1993” in which she states that the binukot was “treated like a ‘princess’ and did not perform household chores.”

Dalama’s limited interaction with the immediate members of her family was enough to expose her to the actual realities of life. She experienced poverty in like manner as her family. Her family accepted her decision to help in farm work because it was the pragmatic thing to do. They could have hastened Dalama’s marriage, which was an option if they had wanted to improve their economic standing. At 15 years old, Dalama was already eligible for marriage.

Dalama’s case points to the fact that it was her father who decided that she become a binukot. Sardin acted like a typical patriarch who determined the fate of her daughter. His decision exemplified the view of patriarchy in which a daughter is treated as property that he can sell to the highest bidder.

Dalama/Randa: From Binukot to Revolutionary

In the early 1970s, Dalama had initial contact with the NPA. According to Luing, in 1971, the NPA set up a revolutionary school near Dalama’s residence in Aglupacan, Tapaz, Capiz. Dalama attended the revolutionary school at the age of seventeen until she was eighteen years old. The revolutionary school taught the rudiments of writing, reading, and arithmetic. It was here where Dalama learned literacy and numeracy skills. As socio-political issues were discussed among the regular attendees, Dalama had her early politicization there.

In 1972, Martial Law was declared by then President Ferdinand E. Marcos. Many activists were forced to go underground, among them Luing, my principal storyteller. During this period Dalama started helping out in the NPA camp near their residence. She had a suitor, a lowlander, who was a member of the NPA. The suitor, one of those student activists who were forced to go underground went to the extent of performing the panga,gad. This is the Tumanduk custom where the groom-to-be does errands for days for the family of the bride-to-be before the wedding. Unfortunately, the groom-to-be was wounded in an ambush and was captured by the forces of the Philippine military when he sought treatment in Iloilo City.

In 1977, Dalama decided to join the New People’s Army. According to Dalama’s story to Luing, her mother discouraged her from joining the NPA because she was a woman. Her mother reasoned that she did not have the physical stamina of a man. Dalama argued that she was more adept than the men (members of the NPA) who came from the lowland who had to crawl clumsily when scaling the mountains. In Luing’s recollection, Dalama said that had she abided by her mother’s decision she would have remained in their kaingin. She told Luing how thankful she was to have studied in the revolutionary school because of the socially relevant education she imbibed.

Luing reminisced that it was in 1977 when she first met Dalama. They were together in a unit which was composed of four women. Luing was the only one from the urban area; the three others were Tumanduks of which Dalama was the lone former binukot. Luing and Dalama were of the same age at twenty-two.

Luing said that during this period in the national liberation movement, the women were confined to the camps. They had to convince their male comrades for them to join the mobile units. In the unit, there were some conflicts over certain policies. They were prohibited from wearing slippers while on the road. However, Luing insisted that the soles of her feet hurt and she would wear slippers during their hike. Dalama would consent but their two other companions resented this. Dalama had to explain to her fellow Tumanduks that Luing’s feet were not as callused as theirs so they should show more compassion.

In another instance, Dalama showed that she was more adaptable than her fellow Tumanduks in the matter of personal hygiene and grooming. Accustomed to using shampoo and bath soap, Luing complained against a policy making them use detergent bar only for bathing. Luing’s family provided for her personal necessities, including bath soap, shampoo, clothes, etc. In those days, her actuations were criticized as “binurgis.”’ Dalama explained to her fellow Tumanduks in the unit that they should not begrudge Luing these minor things. To resolve the matter, all four were given the liberty to use bath soap and shampoo for bathing. For Luing, this showed Dalama’s flexible character.

Luing helped Dalama improve her skill in reading comprehension. She tutored Dalama in writing. Luing described Dalama as a diligent and enthusiastic student. Painstakingly, she copied the Red Book and other revolutionary reading materials to practice her writing skills. Luing observed that with her diligence her handwriting greatly improved. Her penmanship was even better compared to Luing’s. In their correspondence later, Luing noted that Dalama would occasionally use some English terms. Luing considered this a major achievement as Dalama was mentored in reading comprehension and literacy in the I-Iiligaynon language.

According to Luing, Dalama espoused the official line of the NPA for expansion (organizing) in the Akeanon area. Dalama belonged to the Panay-anon people, and the two communities have a long history of panambi or bloody territorial wars. She helped broker peace between the two warring communities by explaining to the Akeanons that they must unite to fight  the common enemies of US imperialism, feudalism and bureaucrat capitalism personified by the Marcos Dictatorship. Although she helped settle the long-standing conflict between the Panay-anon and Akeanon, she remained extra watchful whenever she crossed the border to the Akeanon, being the daughter of Sardin, convicted of the panambi of 16 Akeanon.

Luing was first captured by the Philippine military in 1978. She escaped from detention in 1980 and rejoined Dalama as part of the auxiliary team of the NPA. They were together for seven or eight months during this period. The task of the auxiliary team was to do political mass work, which involved organizing and conducting propaganda. This was at the height of the “antifeudal campaign” of the revolutionary movement in southern Iloilo.

During this period, Dalama had assumed the nom de guerre Randa and had two children with Baran (the nom de guerre of the man she married), a fellow revolutionary who came from the lowland.

Luing related that in this antifeudal campaign, they succeeded in reforming the wage system in the countryside. Prior to the campaign, the peasant got the 10th canister of coffee beans, and the 86 bundle of palay as the prevailing wage/sharing system. As a result of the campaign, the peasant got the 8th canister of coffee beans, and the Oh bundle of palay.

From 1980-1981, Luing observed that the national liberation movement was reaping successes in recruitment and logistics (which included firearms and ammunition). The morale of the entire revolutionary movement was high. Periodically, Dalama experienced the dilemma of a mother wanting to be with her children. However, the high morale of the revolutionary movement helped ease her longing to be with her children.

Dalama would be assigned as Commanding Officer (CO) of a subteam when the NPA unit split into smaller units. As CO, she led them to escape from dangerous situations, deciding which route to take when they traversed Panay. By this time, Dalama was already an instructor of some courses taught inside the revolutionary movement.

Luing recalled that she was more comfortable in teaching Marxism, particularly dialectical materialism, when her partner was Dalama. Luing could explain dialectical materialism theoretically, while Dalama provided the illustrative example, which was closer to the experience of their participants. Luing remembered that Dalama used as analogy the river Pan-ay and its various streams to explain the concept of universality and particularity. I told Luing, in the course of looking for a term to describe Dalama’s intellect, that probably she was an organic intellectual.

In 1981, Luing had to be transferred to another area, and she and Dalama would be reunited for the last time in 1985. In 1985, Dalama was leading a platoon of NPAs (approximately 41) people). She was Commanding Officer (CO), her husband was the Political Officer (PO), and Luing was a member of the Instructor’s Bureau.

Luing related that Dalama was a veteran of a number of tactical offensives (ambuscades, encounters, raids, etc.). As CO, she carried the Browning automatic rifle (BAR) and was known as the BAR woman. Normally it was a man who carried this kind of firearm. A BAR, including several magazines of ammunition, weighs about 30 kilos and she had to carry a knapsack of equal weight.

Luing related that her male comrades described Dalama as a fearless “red fighter.” The men found it extraordinary that a woman could carry a BAR weighing 30 kilos in what was considered difficult terrain. There were instances when she displayed more courage than her male comrades in the platoon.

Dalama told Luing her problems concerning her children, in-laws and her husband. She longed to spend more time with her children, but she could not get them from her in-laws because her own parents were very poor.

Also, her parents-in-law feared for her children’s safety and so disapproved of the idea that they visit her in the countryside. They also reasoned that she had the option to give up the armed revolution to be with her children.

And so as time went by they grew far apart. Whenever she visited her children she felt at a loss. A source of anguish was accepting the disparate lives she and her children lived. She recognized the fact that her children were accustomed to a comfortable urban living. As a mother, Luing felt deeply for Dalama. She was luckier though as she had the liberty to be with her children as often as she wished.

Dalama almost succeeded in getting closer to her children when her parents-in-law relented and allowed the children to live with Dalama’s own parents for a time. However, Dalama’s in-laws did not like the way the girl was being made to work, and so, they took her daughter back with them. Dalama also had some conflicts with her husband Baran, and Luing would mediate between the two whenever the couple had problems. Luing described Baran as dominant, but he did not have Dalama’s ruggedness. Dalama’s complaint was that Baran would readily accept Luing’s explanation but would not accept her (Dalama’s) view even if it was the same as Luing’s. Luing described the couple’s marriage as difficult owing to their differences in upbringing and culture.

In 1987, Dalama was killed in an ambush in Maayon, Capiz. She was 32 years old. According to Luing this was a time of military adventurism9 in the underground revolutionary left. The NPAs were overstretched and they suffered casualties in military offensives.

Luing expressed admiration for Dalama’s military skills which equaled that of Nanav Waling-waling (Coronacion L. Chiva). Luing imagined that if Dalama were alive today she would have made a significant contribution in the Second Rectification Movement of the Left.

An Analysis of Dalama’s Political Biography

Dalama’s life and strum, e spanned more than three decades — from the early 1950s until the late 1980s. She was raised as a binukot in the 1960s when the practice was already a waning tradition among the Tumanduks.

As a binukot, she enjoyed more liberties compared to her predecessors. The traditional binukots were forbidden to set foot on the ground and had to be carried whenever they went out of the house, a tradition still followed by Lola Elena, the oldest living binukot in Panay who is in her 90s. Dalama, on the other hand, was allowed to leave the house to wash her clothes, or to fetch a small amount of drinking water. Compared to the other binukots, her transition from binukot to non-binukot was easier since she was used to doing some household chores, and occasionally going out of the house. As a binukot, she was not treated like a “princess” who shunned doing house chores.

The contemporary struggle of the Tumanduks concerns their right to self-determination. At the heart of this struggle is their legitimate claim to remain in their ancestral domain.

The Tumanduks, as they prefer to be called (which means native in Hiligaynon) are scattered in the mountainous areas of Panay. They build their communities along the headwaters of Pan-ay River and most of them are called Pan-ayanons.

In his thesis, noted anthropologist F. Landa Jocano refers to them as the Suludnons. He includes the indigenous communities in the mountains of Jamindan (Capiz), Calinog and Lanabunao (Iloilo) as part of the Suludnons. The Office of Southern Cultural Communities (OSCC) and academicians from UPV and Central Philippine University (CPU) list the Tumanduks as Suludnon-Bukidnon and/or Pan-ayanon-Bukidnon. But some Tumanduks find the classification derogatory and insulting, prefering to be known as Tumanduks.”

In 1962, President Diosdado Macapagal declared the Tumanduk ancestral land as a military reservation through Proclamation No. 67. Since then, the Philippine military has considered the Tuinanduk people as “squatters” and for years has deprived them of their rightful claim to their ancestral land. More than 33,000 hectares of Tumanduk ancestral land are being arrogated by the Philippine Army’s 3rd Infantry Division (PA 3ID) in Camp Peralta, Jamindan.

In March 1995, the army shelled the Mt. Danao area from their position in Mt. Dangula, Sitio Binuktutan, Jaena Sur. The shelling caused the evacuation of some 188 terrified families who sought refuge in makeshift huts in the forest. The others fled to nearby areas and stayed in the homes of relatives in Jamindan. Many children and adults got sick because of trauma and exposure to the elements.

I remember taking part in the Sulod Mercy Mission on 27 March -2 April 1995 as volunteer for the Children’s Rehabilitation Center (CRC). I documented the psychosocial therapy sessions with children who experienced psychological traumas from the artillery shelling and evacuation.

The military operations were directed to eject the Tumanduks from their ancestral land. Of the 33,000 hectares reserved for military war games and weapons testing, 20,366 are in Tapaz and 12,956.5 hectares are in Jamindan. At the height of the army’s drive to eject them, the different Tumanduk communities resolved to remain in their ancestral domain. To quote what a Tumanduk elder once said, “It is sweeter for us to be felled by bullets than to perish of hunger in a strange land.”

During Dalama’s time, the struggle for self-determination took the form of reduced land rent and the non-payment of land rent or tumado. As a result of Proclamation No. 67, some lowlanders including elements of the Philippine military were able to claim private ownership of portions of the Tumanduk ancestral land. They exacted tumado for the use of kaingin land. The Tumanduks were required to pay two sacks of rice for every sack of palay planted. When the farmers were unable to pay the tumado, they were obliged by these “fraudulent landowners” to render service like cutting brush for days depending on the amount of rice due. The practice of paying tumado persisted until 1992.

Lowlanders also exploited the Tumanduks in the form of a highly usurious system of payment. In case of poor harvest, the Tumanduks were forced to borrow rice for planting from the lowlanders. The usurer would demand one sack of rice for a loan of six gantas of palay. In the 1970s the term of payment was changed. A sack of palay borrowed was repaid with two sacks of rice. Later, the sagalky was adopted, whereby a sack of palay was paid back with one and a half sacks of rice.

The system of land rent was reformed due largely to the campaign launched by the NPA. Dalama was part of this campaign and the Tumanduks as a people benefited from these reforms.

It is ironic that the Tumanduks were made to pay rent on land owned by their ancestors long before the Spanish conquistadores colonized the Philippines. Given their exploited and neglected condition as a people, Dalama saw hope for the Tumanduks when she joined the NPA. But her concerns did not remain ethnocentric. She recognized that the struggle of the Tumanduks for self-determination was organically linked to the larger struggle of the Filipino people for national liberation. She directly experienced this when she took part in the anti-feudal campaign in Southern Iloilo. She asserted that the peasantry in the South was as exploited as the Tumanduks, who were mostly peasants.

Steeped in this class consciousness, she was instrumental in brokering peace between the Akeanon and Pan-ayanon to bring an end to a destructive aspect of their culture, the panambi. Her father Sardin had once been incarcerated for leading the panambi against the Akeanon. When she made peace with the Akeanon, she transcended her personal tragedy, and even her traditional cultural conditioning.

Admittedly, her comrades in the national liberation movement influenced her ideas. Luing expressed that during the resolution of conflict between the Akeanon and Pan-ayanon Dalama carried the official line of the NPA. Moreover, her consistent position about this matter was also reflected in her actions. She crossed the borders that separated the Akeanon and Pan-ayanon to bring this peace to fruition. In an article, Diosa Labiste, editor of The Visayan Examiner (a Community Newspaper in Western Visayas), writes about Dalama’s efforts to end the practice of panambi.

She apologized for the conduct and cruelty of the Panay-anons. (She was afraid that) the Akeanon would put poison in her food. And while at first she was ignored by the Akeanon, she was later well received and listened to. For a long time, these two communities respected the peace that Dalama helped institute. Even when Dalama’s father Sardin was released, the bloody territorial wars did not spark anew.

Later, the Philippine military exploited the traditional ethnic hostility and encouraged the formation of the Civilian Armed Forces Geographical Unit (CAFGU) on both sides of the mountain border. Her unwavering commitment to the struggle of the Tumanduks for self-determination and the Filipino people’s struggle for national liberation was unquestionable. She dedicated her life and made personal sacrifices to create a better future for the Tumanduks and the Filipino people.

My Advocacy

I chanced upon the story of Dalama when I attended an orientation for a trip to the First Sulodnon-Bukidnon Assembly on 25-27 October 1996. The gathering was organized by Task Force Sulod to “highlight the plight and culture of the Sulodnon-Bukidnon people and to foster stronger unity among the different Sulod communities. These are along the direction of empowering the Sulodnon as a people to enable them to be artisans of their own liberation and to partake in the struggle for transformation of society.”

I was present for this orientation because in the preceding year, I had participated in the Sulod Mercy Mission from 27 March to 2 April 1995. The purpose of the mission was “to give support to the Sulod in their resolve not to leave their ancestral domain; to render immediate material, medical and psychosocial assistance; and to gather data that can be used in information campaign in favor of the Sulod.” My experience during the Sulod Mercy Mission encouraged me to participate in the succeeding solidarity campaigns in defense of their ancestral domain claim. During that time I was a volunteer-worker of the CRC and we rendered psychosocial therapy sessions to the children who experienced militarization.

Since my participation in the various Tumanduk people’s assemblies, their struggle as a people has become a personal advocacy. When I left the academe I wanted to pursue cultural work with the Tumanduks. Writing the story of Dalama is part of this. It was in 1996 when I first heard about her story. Now, I have written part of her story. Thanks to Luing.

Today, the Tumanduks are facing a new challenge. Since the early 1990s, there have been talks about the construction of a hydroelectric darn in Pan-ay River. Foreigners have been surveying the river for the site. In 1999, then Representative Vicente Andaya (District II of Capiz) conducted a consultation with the people of Barangay Nayawan on building a road and planting trees for the protection of the watershed in relation to the proposed dam. The people agreed to the proposed road construction, but expressed their opposition to the dam.

Today, from 15 to 20 April 2002, a team of scientists from the Center for Environmental Concerns-Philippines, the media, and NGO and church workers are conducting an Environmental Investigation Mission (EIM) in Brgy. Nayawan in Tapaz and nearby barangays. It is in these barangays where the proposed hydroelectric darn is going to be constructed by a French dam builder.

The EIM aims to ascertain the potential danger that the proposed hydroelectric dam poses to the communities and the environment. It also attempts to know the consensus of the Tumanduks on the issue and express support for whatever actions they would take.

I would have wanted to be a part of the EIM. However, the schedule coincided with this paper reading. Let me take this opportunity to enjoin you to take part in this advocacy campaign for the Tumanduks: To assert their right to self-determination that they may live, practice and preserve their cultural heritage as a people.

You can express support by:
• demanding from government to respect the indigenous people’s right to ancestral domain;
• joining campaign activities promoting the indigenous people’s rights and interests; and
• contributing financial and material resources that they may use in their struggle.

You may forward your financial and material support to the Center for Relief, Rehabilitation, Education and Economic Development (CRREED) at Room 203 La Salette Building, Valeria St., Iloilo City.

Thank you and good afternoon.

The Subanen Buklog

This presentation is based on field research carried out by the writer among the Subanens in the Zamboanga peninsula; Zamboanga del Sur, Zamboanga del Norte, and in Misamis Occidental, over the period of some fifteen odd years, in an attempt to describe and document some important aspects of Subanen culture particularly their folklore. The project was generously funded by Toyota Foundation.

By folklore, I choose Archer Taylor’s broad definition and scope of the area which includes the whole of traditional culture — materials that are handed on by tradition either by word of mouth or by custom and practice. Folklorists are also particularly interested in other verbal subject matter like legends, myths and epics which reflect beliefs and value systems or those folk traditions which do not rely upon verbal communication in fixed forms such as folk medicine, food, festivals, taboos, folk aesthetics, etc.

Data for this paper were gathered from various places that still practice the buklog festival, although, I have also interviewed several informants in different places who have valuable information regarding the subject matter. Facts about the Subanen Buklog will be presented in this paper, some interpretations, to be sure, are unavoidable, but I have done it very objectively and sparingly Supporting information have also been gathered from LimpapaSiocon, Sindangan and Zamboanga del Norte Subanens. These areas have celebrated the buklog and this researcher had the opportunity to participate and also observe the activities.

The Subanens

The term is given to a group of Philippine ethnic community that inhabit areas in the Zamboanga or Sibugal peninsula, and the mountain areas of Misamis Occidental. The name means riverdwellers, from the word suba, river, and “nun”, “nen”, or “non” an adjective postfix indicating origin or inhabitation. This term was applied to the tribe and to the Moros and Christians of Zamboanga peninsula who are coast dwellers. Probably, the term was first applied to the Subanens by Christian and Moros, but it is now well known to the tribe and used by it . It is not, however, the only term applied by these people to themselves. A Subanen when asked as to who he is will often answer tau bukid, or tau buid, hill man.

Many years ago the coastal areas of Zamboanga peninsula and Misamis Occidental were home to the nomadic, timid and shy Subanen, but they were always harassed by other tribes particularly the dominant Moros who were inhabiting the nearby islands and were constantly marauding the shoreline inhabitants to capture and later sell them as slaves. Then, later the Islamized Moros were also trying to convert them to Islam. Folk oral history has it, that only one of the four brothers accepted Islam, the rest fled and settled somewhere else. The group is also continually being pushed farther into the interior by Christian settlers and their kaingins have been taken over by Christian homesteaders. These people had no recourse but to move deeper and deeper into the forest and stayed there for many generations. It was only when they were converted to Christianity or have been influenced by their Christian neighbors that they stopped their nomadic life and settled in places they found abundant with food and the soil is fertile. The Subanens are relatively friendly and peace-loving people, but because of the many years of constant harassment from the more dominant groups, they learned to fight back. Their epics and folktales have accounts of their ancestors being good swordsmen and fine warriors. Their men and women fought side by side to survive. Through the centuries they struggled to gain some form of identity as a people, to maintain their cultural heritage and also be able to continue practising the traditions handed down to them their ancestors.

A traditional Subanen in hsi lifetime would wish that he can sponsor or put up a buklog. But because of the cost involved in the festivities most Subanens die without having fulfilled their dream.

By and large, the Subanen Buklog is a socio-religious activity. Perhaps one can safely say that this is one of the few Subanen observances that involves the whole settlement or community. When word circulates around that a family is going to put up a buklog, the women prepare their fineries, i.e., clothes and ornaments, and the men hone their expertise in dancing especially on the platform where tournaments in the form of who can topple his opponent by tripping his feet while dancing around the pestle of puthaw. They also prepare their own contributions of gasi or rice wine. If they had experience death in the family, and wished to “send” goods to their dearly departed, they can also prepare clothes and signify to the main sponsor their desire to do so, provided that the Buklog is celebrated for the benefit of the dead. Most of the preparation goes to the sponsor.

While an average traditional Subanen will be able to verbalize some aspects of his culture, it is not easy to get him to talk about what he believes in. In most conversations one can infer that they acknowledge the existence of environment spirits who are either benevolent or melevolent, and who will have to be propitiated or appeased when on incurs their anger, or have trespassed their territory. Hence the Subanene observes the buklog for various reasons. According to my informant Thimuay Vicente Imbing, the buklog can be offered as fulfillment of a promise upon recovery from illness, a bountiful harvest of crops and most importantly, in memory of the dead. The said activity has also sub-categories, like a buklog can be for prestige purpose or when a Subanen assumes leadership in the community.

The festival was known to be regularly practised in Subanen country, but for some reasons or another onlt a few places now observe the buklog festival. An informant in Lapuyan told me that some places do not practice putting up the buklog because of their fear of binaloy curse or petrifucation, or turning to stone. They even have evidence to show for it. In Lapuyan, they still observe the buklog, but with much discussion and deliberation among the tribal leadership. Perhaps, this is brought abotu by the conflict of religious ideals, since most of the Lapuyan Subanens have been converted to Christian Alliance Protestantism, which has taken root or is now deeply rooted in the hearts of Subanens living in this area. The Lamassons’ were the first American Christian missionaries who worked with the Subanens as early as 1920. Lapuyan is even known as “little America” because you can communicate with the Subanen in English. The first time I visited these people in 1977 I was really caught by surprise when I went to the market to drink coffee when someone behind me asked if I wanted cream with coffee. I turned by back and was met face to face with a very old woman, who had wrinkled face, about two or three teeth remaining … asking me, if I wanted cream to go with my coffee. Anyway, this was my introduction to Subanen Country.  Linguistic communication with other groups of Subanens in other places was not at all difficult, in Sindangan for instance, they spoke Visayan quite fluently, in the Limpapa-Siocon area by they either spoke Visayan or Chavacano, and those who have resided in the lowland areas, speak Visayan, English or Tagalog. In other place Subanens are either Roman Catholics or Protestants.

While the festival of the buklog has been mentioned so many times in the epics, folktales and legends, it is, however, only in E.B. Christie’s, The Subanons of Sindangan Bay that the buklog is described in detail. His work has been of great help when I was doing my own field research in an effort to establish traditional Subanen customs, practices, oral literature and other form or folklore.

Generally, when a man or his family decides to give a buklog, for some reason or another, he begins to store rice, and to collect a large amount of chickens, pigs, and eggs. A festival of this sort lasts three to seven days, and is frequently participated by a large number of persons coming from the locality and nearby communities, so that consumption of food and gasi (rice beer) is enormous, relatively to Subanen resources. As the time for the feast approaches, friends and relatives from all the surrounding localities bring contributions of food and very frequently the guests at the festival bring with them some small contribution in the way of a chicken, several pieces of eggs or a measure or two of rice but in spite of aid rendered by friend and guests, it is safe to say that most of the food and drink are usually furnished by the hosts.

The buklog festival derives its name from the platform that is erected for this purpose. It is prepared as a structure some 10 to 18 ft. high, although in Limpapa the height was about 40 ft. above the ground, consisting of a highly resilient platform supported at the corners by upright beams. A beam passes through the middle of the platform which above extends like a maypole and below reaches to a short, thick log, laid on the ground. The log is hollowed out like a drum and is laid over a number of large earthen jars sunk in the earth which serve as resonators. A few leaves and sticks are interspersed to prevent the jars from breaking. A crosspiece which joins the long central pole of beam to the platform makes it go up and down with the latter as the Subanen dance around the pole. The long beam as it comes down strikes the hollow log and makes a loud booming sound which animates the dancers. This is actually their only music.

the materials needed for the platform have also been prepared and gathered months before the actual construction begins. In fact, my informant, Datu Agdino Andres from Sandingan, said that even during the gathering of the wood to be used for the platform, some ceremonial, offerings have already been made, and certain taboos are also observed. For instance, the log used for the mortar comes from the bayug. While it is being cut and carried down from the forest, the Memwati singer or chanter asks the bayug tree god to protect them from harm and that He be with them as they celebrate the buklog, this goes with the debalod, another type of wood which is used for posts and beams. The Memwati chanter addresses the tree god for their blessing and protection. The bayug becomes the impersonation of the god, the moment it is taken or cut down, and Subanens treat it with reverence and respect. The pestle could either be made of bakhawan (a certain tree species that grow in marshy places) or ilang-ilang, and should be felled or cut down together with the tree for the mortar. This, too, is also given some form of respect, i.e., the wood is carried, never dragged on the ground.

The buklog platform cannot be constructed until the idol (fetish or carved representation of Apo Asog) on one of the pots is carved. A series of purification rites are also done. After this is done, the men who earlier had dug eight holes for the posts that will hold the platform, will start mounting the posts. As in the previous activity, and as the poles are being put up, there is music and dancing. The pole with the fetish (idol) is the main post which is placed into the second hole facing north, the idol facing east. The posts are placed not straight up but radially, going outwardly. This is done so that the flooring made out of split bamboo swings sideward and forward as the dancing is done on the platform. During the placing of the posts into the hole, the out kitchen is also build. Balaba or bigger strips of rattan are used to hold the wood together. No nails are used in putting up the buklog.

The workers start digging the hole for the mortar or the hollowed out log. At this time they start to play music in their agongs, dancing this time is done by a female. The jars are also laid in their place. It is now late in the evening, the buklog structure has just been completed. Musical instruments and the Memwati singer continues singing, describing everything that is taking place. Her songs are extemporaneous compositions, based of traditional tunes, melodies that are exclusively used for buklog activities only.

The balian now prepares for the formal opening of the structure. Three chicken are brought in.  A female dancer starts dancing, she is joined by another female, music and dancing continues, the gasi or rice wine is also brought out and a table is decorated by palm fronds of pisa, cooked rice wrapped with the coconut leaves in the shape of a crocodile, the feet are represented with unripe banana fruit, and the tail, midportion and eyes, of boiled eggs. Music and dancing stops; the balian invites the elders to go up with him to the buklog structure after having passed incence on the table where the offering for the diwata is placed.  He passes incense on the gasi jars, prayers are said by the balian, then he puts on his bolo, and together they go up the ladder leading to the buklog platform. Prayers are said and everyone is invited to take a sip of the gasi. The chicken and pig is also brought up the platform, incense is also in place, a porcelain bown and two plates are placed in front of the Thimuay (or tribal leader), who goes up the platform with the balian, gasi jars are also brought up.

The pig and white chicken are tied tot he floor of the platform near the pestle. The blood of the chicken will be shed down the hole so that it will fall directly on the wooden or hollow drum, below the elevated platform. At one corner to the east and west of the buklog are altars, these are where offerings  are placed. Then the balian invites people to come up the platform, mostly elderly men and women, no young girls are permitted. They are made to dance, so that the hollowed drum underneath the platform will sound. The tied pigs gets loose, blood is flowing through his mouth and nose, it is permitted to run around the platform; after a while the pig is caught and tied to the floor again. The dancers have to continue dancing until they are able to produce a “good sound”. It is the balian who determined this. Finally a “good sound” is produced and another set of seven persons are invited to come up the buklog platform, and dancing continues.

The balian is ready to make the offering, gets out his bolo and hands it over to the sponsor of the Buklog, the rooster is killed, blood flows down the pestle and the pig is butchered too. With the white rooster and the pig killed, the buklog is formally opened. Everybody is enjoined to come up the platform and dance. Those who had been dancing and tired may sit on the benches on the sides of the platform provided for them. Those who are old and can no longer dance but want to participate can still go up and just sit on the side.

The activity goes on for three to seven days – for as long as there are people who would want to go up the buklog and dance. It is the obligation of the host to serve food and drinks. While the activity goes on, extemporaneous singing by the balian continues, gongs are beaten, stories are told, there is a renewal of ties ans friendship. Meanwhile the balian sits in a phintuan or a small hut just outside the house and he continuously beats the porcelain bowl. The buklog comes to a close with the balian going about the house with a lighted torch … and a piece of grass and leaves, putting them in a basket and upon reaching the hearth, puts out the torch. Lastly, the balian leaves the house with his assistants but the activity i.e., dancing, eating, socializing continues. Incense is burned and the chanter or Memwati sings describing what is going on. If for example the thimuay or datu observed unusual things happening then he informs the balian to pray more to avert the curse of the binaloy. If, signs of turning to stone is taking place then the datu will be forced to kill the balian and his blood will be sprinkled on the people to prevent them from turning into stone.

Concluding Remarks

The description gives some idea of the atmosphere in which the religious ceremonies of the buklog are performed. It is apparent that there is nothing that can properly be called solemnity. While the dancing, eating and drinking among the people go on, it is the balian and his assistants who carefully perform the ceremonies; for the Subanens the less they mix in the delicate matters of the supernatural world, the safer for them.

The buklog exemplifies man’s concerns for himself, his fellowmen and his environment. The very fact that when he or a member of his family gets sick, he makes a promise to put up a buklog conditional on the recovery of that sick member which he has to fulfill otherwise he will incur the ire of the diwatas; for a Subanen believes that become sick could be cause by an environmental spirits because one has displeased that spirit or an ancestral spirit has been neglected and to remind the living causes a member of the family to get sick. The buklog shows environmental concerns, especially so when the materials that are to be used for the platform are gathered. These are not cut down without a proper rituals and offerings.

The Myths of the Bagobo, Tagakaulo and Mandaya: An Ethnological Analysis

The great historian of religion, Mircea Eliade, said that myth defines itself by its own mode of being. It can only be understood in so far as it reveals something as having really happened, as in an event that took place in primordial times. Primordial time is not the same time as our historical time. In fact, it is timelessness. Mythical stories are usually one in which gods mingle freely with men who also have access to heaven or the abode of gods and divinities.

Mythical stories are always about explanations of mysteries such as how the world was created, or how men and women and the littles insects came to be. As such, myths reflect a people’s understanding of the whole reality of existence, and the individual’s place in it. The two most significant constituents of myths are the universal  and the exemplary. Myths do not treat of individual in relation to the total reality, or cosmos. Men’s individual problems are precisely caused by violations or deviations from their assigned roles and to resolve these problems one has to do through the correct or prescribed act of behavior the way it was done “at the beginning”. Many rituals fall in this functional category. The whole catalogue of oral literature of many traditional cultures, e.g. fables, legends. riddles, etc.. serve to remind the individual about the exemplary deed and right behavior, In myth, man is an integral part of creation but not necessarily the most important or distinguished.

Above all these, myth and myth-making have a deeply spiritual and religious dimension. The apprehension of a myth is considered as a very religious experience because it is a revelation of sacred reality. Eliade describes the phenomenon as “the irruption of the sacred into the profane”. That is to say that the human mind cannot of itself come to a realization of the whole cosmological reality. Those who have participated in myth-making were able to do so only because they have actually experiences a hierophany.

For this reason, it is very interesting to study the myths of other people for then one would be able to understand their own particular religious experience and how this experience is contextualized in their culture. The best way to understand a myth is to refer to the culture. The best way to understand a myth is to refer to the culture of those to whom the myth is the perception of total reality or cosmogony. We will now proceed to an ethnological analysis of the myths of the Bagobo, Tagakauolo and Mandaya.

An ethnological analysis has a number of cultural referents. The sociological structure of the myth is held to reflect the structure of the society or community to whom the myth belongs. In this wise, the web of relationship among gods and men would be very similar to, if not the same as those in human society. The motifs or elements would indicate the adaptations made by the local authors. Finally, encoded in the mythical story is the people’s ideology or belief system, the very foundation of the spiritual and religious experience of the people.

Bagobo Mythology

The bagobo believe that Tiguiama, a good god, created all things but other gods have their own specialized participation:

1. Mamale – created the earth
2. Macoreret – created the air
3. Domacolen – created the mountains
4. Macaponguis – created the water

An ancient ideology is encoded in the Bagobo ideology and belief system. The myth of a terrible god who lived in the volcano, and who demands, as well as devours human victims has animated Mt. Apo. This has enabled the Bagobos to structure a relationship and define a code of conduct towards a dominant and therefore significant feature of the environment. The myth of Mandarangan and Darago, husband and wife guardians of Mt. Apo, renders intelligible the practice of human sacrifice among the Bagobos. The myth conveys the Bagobo notion of evil as an inescapable part of reality and how it is dealt with.

The polytheistic belief system allows the worship of other gods. While Mandarangan permits the Bagobos to come to terms with the terrible reality of evil, Eugpamolak Manobo, another divinity, reflects the Bagobo’s appreciation of the good, which notion is equated with nature’s bounty. Pamolak is the word for plant as well as for flower, the harbinger of the fruits of the earth, and the placement of this deity in the Bagobo pantheon pays homage to nature and an agricultural existence.

The most eloquent abstraction of the Bagobo’s ineffable regard for nature’s bounty is found in the story of Tuglay and Tuglibong, the archetypes of the first man and first woman. The couple’s progeny would have all but perished were they not refreshed by a single stalk of sugarcane, a gift from the gods, growing lustily in the midst of a scorched plot of earth.

The memory of a scorching period is distinct in the origin myths, especially in the story of how Tuglibong, the first woman, along with the rest of the mythical figures of old, were said to have lived an intolerable existence because the sky and the sun hung low over the earth. The mythical people, known as mona, had to live in holes and crevices under the earth to protect themselves from the sun’s heat. Moreover, important activities were severely constrained, e.g. pounding rice was a difficult activity since one could hardly move one’s elbow, cramped as it were by a low hanging sky. All these changed when, finally, through Tuglibong’s sustained scolding, the sky, and with it the sun, bolted up to their present position thus ushering in a new epoch whereby the mona lived on the surface of the earth instead of underground. They were able to build houses, the temperature cooled, and nature and the human race were regenerated — the mona who were already old began to have babies!

The god Lumabat and his sister, Mebuyan, goddess of fertility (she is depicted as a woman with breasts all over her body) and guardian of a Bagobo Limbo for dead babies, were children of Tuglay and Tuglibong. The tale of Lumabat is the story of a culture hero who journeyed to the ends of the earth, i.e. the horizon, and after successfully avoiding a number of pitfalls reached the land of the diwata or gods. Lumabat himself became a god when the diwata divested him of his intestines after which he no longer was bothered by hunger. Lumabat’s journey to the sky country was fraught with a number of obstacles; he and his companions passed a region where one could be turned into a stone or a tree if one responded to any of these objects that could talk. This land was conceived as lying beyond the sea, the Gulf of Davao. The sky country itself was thought to be located on the other side of the horizon, the idea of which was construed as a pair of giant jaws which mechanically opened and shut to the peril of those who, like Lumabat, attempted to cross to the other side. Giant jagged teeth and kampilan (swords) fencing by themselves added to the dangers of the traveller.

Mebuyan’s myth was woven differently from that of her brother. Unwilling to go with Lumabat to the sky country, Mebuyan plummeted to the underworld by sitting on the rice mortar which began to spin downward as soon as Mebuyan sat on it. Mebuyan soon founded a kingdom of her own, Banwa Mebuyan, a place where she fed babies until they were weaned from her many breasts. She also personified death; by shaking a lemon tree people died according to the kind of leaves that fell from the tree. If old and yellowed leaves fell, old people would die, but if the leaves were green and newlygrown, young people would perish from this earth.

Human sacrifice, which the Bagobos practiced until the turn of the present century, was an offering to Mandarangan and Darago as well as to Malaki T’Olu K’Waig, which name literally means “man at the head of the river”. Malaki is also the mythological firstborn of Tuglay and Tuglibong and is the Bagobo word for man in the same way that Bia, Malaki’s sister, is the word for woman. In a sense, Malaki and Bia are even more appropriate archetypes of first man and first woman who became diwata or gods in the following legend of the founding of Sibulan.

The legend of Sibulan, the biggest Bagobo settlement in historic times, began with the passing of the Tuglay and Tugbilong an all the mona into the land of the diwata. Only the children of Tulay and Tugbilong were left in Sibulan. Then a long drought cam to pass upon the land so that the people could not plant their crops and famine soon stalked the Bagobo highlands. The children of Tuglay and Tugbilong began to leave their home and travel to other lands in pairs. As soon as any pair found a place to their liking, they settled there and begot progenies who became he ancestors of the other tribes in Mindanao.

One pair chose to remain in Sibulan even as the parched already could no longer provide for them. Then one day, as the man, too weak from hunger, hobbled across the barren fields in search of food, he saw a single stalk of sugarcane growing lustily in the midst of a scorched earth. As he cut the plant with his bolo (a long knife), fresh water gushed forth from its stalk and the fl w did not cease until both the couple’s thirst and the earth w re quenched and refreshed. From the plant’s abundant flow the rivers and the streams were once more filled with water until the rains fell to water the crops in the fields.

The palpable significance of the story lies in the mythological death and rebirth cycle: the passing of the mythical people as followed by the rebirth of new life in Malaki and Bia in Sibulan and by the other pairs of children of Tuglay and Tugbilong as founders of the other tribes in Mindanao. At the same time, a claim for some ethnic and cultural hegemony is implicit in the story which tells of the origins of the other tribes in Mindanao from the children of Tuglay and Tugbilong. The legend thus depicts an expansive stage in Bagobo mythological experience and a broadening of horizons from the confines of ethnic perspectives.

In the structure of Bagobo myth, the primordial ancestors, with the possible exception of the mona, were always represented in pairs Tuglay and Tugbilong, Malaki and Bia, and the children of the latter who departed from Sibulan, also in pairs, to become the heads of further progenies of the Bagobo. There are no androgynous figures in Bagobo mythology. The prominence of paired ancestors appears as a Bagobo valorization of the man woman tandem and the high value placed on the family and ancestors.

The differentiation of gender roles is strictly delimited as in the roles of Lumabat and Mebuyan. Fidelity to her chores made Tuglibong relentlessly scold the sun until it was offended and bolted away to unprecedented heights. Mebuyan’s refusal to go with her brother to the sky country underscores her own distinct role. Even as she plummeted in the opposite direction (to the land of the dead) she continued to perform her role, that of nourishing life.

The Myth of the Tagakaulo

The Tagakaulo are one of the native groups who inhabit the mountainous interiors of Davao del Sur province. They are said to have derived their name from their preferred type of settlement, i.e. the origins or headwaters of rivers and mountain streams. The rootword is ulo which means head. This was an explanation given by a missionary account in the 19th century and which in the course of modern day research we were able to validate.

In 1987, the fourth volume of Tambara, the Ateneo de Davao University Journal, was being prepared as a special commemorative issue for the anniversary of the missionary Fathers of the Foreign Mission Society of Quebec (PME). The PME Fathers have had a long history in Davao and for this special issue the editors of the Tambara were invited to Lanipao, one of the PME missions among the Tagakaulo. We were asked to document the mission and undergo a sort of immersion process that would give us a feel of the mission. The documentation of their missionary works was to be contextualized in the history of Davao, an exciting enterprise since we were about to merge the writing of religious and secular histories.

About an hour’s drive from the Malita Parish, the trail to Lanipao started from a small stream. Our party alighted at a lay leader’s house in Talugoy and from there we picked up the trail. For the first two hours we followed the course of the stream, walking sometimes on its banks but most of the time in the stream itself. After a while, the significance of the name Tagakaolo (dwellers of the origins of rivers) dawned on us; we were following the river or the stream to its source up in the mountains.

The PME Fathers follow a strict pattern of inculturation before beginning to work in a mission. They all have to learn to speak the native tongue. One of the Fathers was Fr. Gilles Belanger who was assigned to work among the Tagakaolo of Sangat, Malita. Fr. Belanger lived with a native Tagakaulo family for four months in order to learn the language. He said the the Tagakaulo responded easily when one talked to them about their native culture. The Tagakaulo culture, like any other native culture, is steeped in oral traditions which in turn are reflective of their collective experience or history as a people. In the last century, the Tagakaulo were said to have held the region between Malalag and Lais in the southwestern  part of the Davao Gulf. Being upland dwellers, they were barred from the sea by the Manobo and Muslims who lived along the coast, while in the mountains they had to contend with the powerful group of the B’laan, another indigenous group of the Davao Region.

In Fr. Pastell’s Mapa Ethnografico the Tagakaulo were described as being more or less the peers of the Bagobo in terms of industry, but without the cruelty of the latter, who were known to practice human sacrifice. In particular, the missionary account praised the Tagakaulo widowers who were known as brave warriors displaying much courage in the battlefield. This was because according to Fr. Pastell, being a good warrior was an index of male attractiveness and desirability. Tagakaulo widowers who were eager to be remarried had to demonstrate their prowess in the battlefield in order to obtain a new wife or wives. The missionary account also mentioned the sub-groups of the Tagakaulo: the Kalagan (Kagan) and the Loac, the latter being very primitive and described as cimarrones.

Sometime during the latter half of the 19th century, the heretofore scattered groups of Tagakaulo from Malalag to Lais were said to have united under one chieftain whose name was Paugok. This was ostensively due to inter-tribal conflicts with the Bagobo against whom they waged war successfully with the result that the Bagobo were driven from the rich valley of Padada and Balutakay. The establishment of Tagakaulo settlements in these valleys resulted in their prolonged exposure to Kulaman Manobo and Moro. They Tagakaulo had friendly relations with these two groups. They were probably friendlier with the Moro than with the Manobo for at the turn of the present century  the accounts of the Tagakaulo described their culture as being strongly influenced by the Moro or Muslim. The influence of the Moro among the Tagakaulo was so great that they not only adapted the Moro style of dressing but also substituted cotton for hemp in the manufacture of their garments. During this time, the Tagakaulo were recognized by their close fitting suits of red and yellow stripes from which the word Kagan was derived

In 1897, Malalag, together with two other reducciones, Balutakay and Piape, was being prepared for conversion into a pueblo or town status along the Kulaman coast. A census was taken of the houses in twenty-one reducciones in the area.  Here, the native Tagakaulo of Malalag used to engage the Moro in frequent and sanguinary conflicts. The arrival of the first Spanish colonists worsened the lot of the Tagakaulo who became the prey of the latter in the traffic of slaves. Eventually, because of these insufferable conditions, the Kulaman coast was depopulated of its native populations. In particular, the Tagakaulo fled to the interior and upland regions. Thusm the Christianization of the Tagakaulo of Malalg originally started from the uplands and not in the coastal areas. In 1891, the reducciones or resettlements of the Tagakaulo in Malalag and Malita were given pueblo status.

In the American period, the Kalagan Tagakaulo lived on the American plantations along the padada and Balutakay rivers. The Kalagan remained on friendly terms with their Tagakaulo kinsmen and, except for professing the Islamic faith were in every way like the Tagakaulo in language,custom, and oral traditions.

A tribal historian of the Tagakaulo has said that they were descended from Lakbang and Mengedan and their wife Bodek. At the beginning, the three lived on a small islang in the sea. Later, two children were born and they in turn becane the parents of two birds, the kalaw and the sabitan. These birds flew away to other places and returned with bits of soil which their parents patted and molded with their hands until they formed the earth. Other children were born and from them came all other people who came to inhabit the island.

Two powerful spirits, Diwata and Tiumanem, watched the formation of the earth and when it was completed the latter spirit planted trees upon it. Each year he spent the spirits Layag and Bangay as stars to tell the people when to prepare the fields for planting. Other spirits, less friendly than these two, also existed. One named Siling caused much trouble by confusing travellers, thus causing them to lose their way in the forest.

Spirits of the unborn known, as the Mantianak, were believed to wander through the forest crying “Ina-a” (mother) and often attacked human beings. The only defense was to run to the nearest stream and throw water on their abdomen. The spirit Larma owns the deer and the wild pigs and is kind to hunters who offer him the proper gifts. Failure to make such offerings could result in getting lost or injured. Mandalangan, the warrior god of the Tagakaulo, is identical with the Bagobo Mandarangan.

Kawe are the shades of souls of the dead, the chiefs of whom were the ones who created the earth. In life, the kawe live in the body but, after death they go to the sky. They return to earth at certain seasons, usually during times when the rice fields need to be protected and guarded.

The baylan or priestesses can talk to spirits and from them have learned the ceremonies which the people should perform at certain times of at crucial periods in life. The rituals for birth, marriage, and death are similar to those of the Kulaman Manobo. A slight variation was noted by the anthropologist Faye Cooper Cole after a rice planting at Padada when all the workers placed their planting sticks on an offering of rice and then poured water over them. Another difference was noted in the rituals following the death of a warrior. A knife lies in its sheath beside the body and can only be drawn if it is to be used for sacrificing a slave. If such an offering is made it is usually carried out in the same manner as among the Bagobo. If it is impossible to offer a slave, a palm leaf cup is filled with water and is carried to the forest. Here, the relatives dance and then dip the knife and some sticks in the water “for this is the same as diping them in blood:. According to custom, warriors must go to fight once a year when the moon is bright.

The Mandaya of Caraga

In the 19th century, Spanish missionary account identified the people of the eastern coast of Mindanao as the Caragans. They were described as “an honorable people, peace-loving, respectful, obsequious, docile, submissive, and patient.” Their complexion was brown and sometimes white and their noses were tall and even aquiline. The men grew the hair in their head as long as the women’s but they trimmed their long beards with pincers. Their kinglets were called Hari-hari or Tigulang and were said to occupy their social station on account of their wealth. The Hari-hari took precedence over the principal families who had their own followers or sacopes and was consulted and obeyed even by the gobernadorcillo and other Spanish officials in the locality. He alone had the power to declare war on others, demand satisfaction for insults to his ranch or famstead, and act as an arbiter and court of last appeal after hearing the opinion of the principales in the trials of subordinates. It appeared that the Caragans retained their traditions and native institutions up until the 19th century. The writer of the account attributed this to the close family ties among them. Relatives always sought to live close together. For this reason, they remained inseparable from their native beliefs and believed they would die if forced to abandon them to become Christians. Today, the Caragans are known as the Mandaya.

The Mandaya believe that Mansilatan, the principal god and father of Badla, descended from the heavens to create the world. Afterwards, his son, Badla, also came fown to protect and preserve the world against the evil spirits Pundaugnon and Malimbong (man and woman, respectively). A spirit known as Busao proceeded from Mansilatan and is said to animate fighting men or warriors known as bagani.

When the Mandaya wish to cure someone, priestesses known as bailan invoke Mansilatan and Badla in the religious sacrifice called balilic.

. . . Ten, twelve or more bailanes come together according to the speldor they want to give to the feast. A small altar of the diwata is previously erected in front of the house of the man who spends for the ceremony: the owner comes out with the huge hog and present it to the bailanes in the presence of 100 to 200 invited guest. The hog is set on the altar and bailanes, dressed meticulously for the occasion, immediately gather around it. The Mandayas next sound (the) guimbao music consecrated to the diwatas, as the bailanes keep time with their feet, dancing around the hog and altar, singing “Miminsad”, etc. Shaking from head to foot and swaying from one side to the other, they form several semicircles with their movements. They raise the right arm tothe sun or moon, depending on whether it is day or night, praying for the intention of the patron … All at once the chief bailan separates from the others and pierces with her balarao the victim on the altar. She is the first to share in tha sacrifice, putting her lips to the wound to suck and drink the blood of the animal … The others follow and do the same . . . They return to their place, repeat the dance, shake their bodies, utter cries … (and) converse with Mansilatan who they say has come to them from heaven to inspire them in what they later prophesy.

It could be that the Mandaya’s creation myth was strongly influenced, and hence modified or altered, by Christian mythology. Caraga is the oldest town in Mindanao and has a history of colonization that dates back to the 16th century. The myth of a principal god creating the world is very similar to the Christian story of creation. The notion of gods being exclusively male is also familiar. Moreover, Badla, the son of Mansilatan, also came or descended to the world to protect and preserce it from the evil pair Pundaugnon and Malimbong. Finally, a spirit called Busao, which also originated from Mansilatan, completes the triumvirate.

On the other hand, the bailan, priestesses who officiate in various rituals and ceremonies, appear to be a survival of a more authoctonous tradition and institution. Bailan are diviners, healers, and soothsayers. The description of their roles in rituals, in which they dance, go into a trance and speak in strange voices, believed to be God’s, is strongly evocative of the shamanic techniques of ecstasy.

…during his trance, the shaman seeks to abolish this human condition that is, the consequences of the “fall” and to enter again into the condition of primordial man as it is described in the paradisiac myths. The ecstacy reactualizes, for a time, what was the initial state of mankind as a whole except that the shaman no longer mounts up to Heaven in flesh and blood as the promordial man used to do, but only in the spirit, in the state of ecstacy.

Comparative Analysis of the Three Myths and Conclusion

Of the three mythological creators, only the Tagakaulo made use of an agent, a bird which initiated creation by bringing some bits of soil to the gods who later fashioned it into the earth or the world. All three myths have more than one divinity invilved in creation, and among the three, the Bagobo mythology is distinguished for having the most number of creators, each with its own special creation. Only the Tagakaulo creation myth has a participant who is clearly interested in the welfare of man on earth. Tiumanem, one of the diwata who watched the formation of the earth, came down and planted trees. This diwata also sent the man who was the teller of the myth called Tiumanem “our oldest”, thus ascribing direct kinship between men and gods.

The Bagobo myth is alone (exceot for a T’boli variant) in the myth of Tuglibong, she whose scolding made the sun angry and precipitated its bolting to the high heavens and its present position. The outcome of this mythological event is however, unique in the annals of mythology. All over Southeast Asia and Oceania many similar myths tell the story about the sky being previously close to the earth. This element is regarded as a paradisaic motif, i.e. an expression of lost paradise, of rupture between heaven and earth or the cosmic schism. On the other hand, the outburst of Tuglibong led to a new beginning and a regeneration of life and the world. After the sun rose to its present height, the first people began to build houses on the earth’s surface instead of living in holes under the earth and the mona (primeval ancestors), who were already old, began to have babies!

The Bagobo mythical figure Lumabat has Higaonon and Tagakaulo variants. In the former variant, Lumabat was a folk hero who left the earth (or died) and then became a god himself who continued to provide useful knowledge to his people. In Malita, Davao del Sur, the Tagakaulo have been urging me to visit a place called Lumabat to see for myself his tima-anan or landmarks.

The Bagobo Lumabat is paired with a sister, Mebuyan, who refused to accompany him to the sky country. So, Lumabat went alone. The journey was long, arduous, and full of dangers and followed the typical pattern of a shamanic flight, i.e. descent to hell and final ascent to heaven. Upon reaching the sky country, Lumabat came upon a group of diwata chewing betel nut. As he approached, one of them spat betel juice at his stomach and immedately, Lumabat’s  intestines disappeared. From then on he was never again bothered by hunger. Lumabat, of course, became a god himself. This, too, is a pattern of shamanism, Lumabat might have been a great shaman.

In the Mandaya mythology, the various rituals and ceremonies officiated by the bailan invoke the gods Mansilatan and his son, Badla. Although the Bagobo were also known to have the mabalian, priestesses who guard the secrets of their ancestors, their activities have not been described as prominently as have the Mandaya bailan. The bailan in Southern Borneo are acknowledged shamanesses or female shamans, who like the Mandaya bailan, invoke the gods through ecstatic techniques, fall into a deep trance and make prophecies.

Eliade considers shamanism as a great religious tradition among Asiatic peoples, although shamanic phenomena are by no means limited only to them. As a religious experience, shamanism pertains to the genre of “nostalgia for lost paradise”.

… the most representative mystical experience of the archaic societies, that of shamanism, betrays the Nostalgia for Paradise, the desire to recover the state of freedom and beatitude before the “the Fall”, the will to restore communication between Earth and Heaven; in a word, to abolish all the changes made in the very structure of the Cosmos and in the human mode of being by that promordial disruption. The shaman’s ecstacy restores a great deal of the paradisiac condition.

By means of special techniques, the shaman endeavors to rise above the present condition of man and to re-enter the state of primordial condition described in the paradisiac myths. Shamanism is the counterpart of Judeo-Christian mysticism.

From an ethnological perspective, the myths of the Bagobo, Tagakaulo, and Mandaya show a uniqueness adn distinctiveness which is significant considering a number of factors, e.g. interenthnic  or mixed marraiges among them and overlapping geograohical boundaries. Although the Bagobo and the Tagakaulo occupy contiguous areas in Davao del Sur and have been known to marry across cultural boundaries within the last one hundred years, their creation myths are clearly distinct from one another. The Bagobo has the most number of creators; the Tagakaulo creators consist of a family of two husbands and their wife, and children which are birds. The Mandaya creator is a father-god.

On the other hand, if we take a broader look at the religious pantheons, we will note some close similarities among the gods. Tiumamen of the Tagakaulo is identical with the Bagobo Eugpomolok Manobo while Lumabat has a Tagakaulo variant. This would seem to leave the Mandaya out of the picture, were it not for the bailan, the Mandaya shamaness. The bailan appears to be an indigenous substratum in the Mandaya tradition. As a pre-Christian institution, it has survived Spanish colonization and Christianization. Lumabat of the Tagakaulo and Bagobo might have been a great shaman. It would seem that shamanism is a unifying element in the religious experiences of the three. As an intensely religious experience, shamanism owes nothing to western mysticism although sharing in its spiritual and religious attributes. If we agree with Eliade, who said that the sacred never ceases to manifest itself, here then is a meeting point between pre-Christian and Christian beliefs.

In what way do these mythologies address ecological concerns?

In covert and sometimes overt terms, the myths of the Bagobo, Tagakaulo,and Mandaya tell us about the meaning and significance of nature in their lives and how they relate to it. The Bagobo gods are guardians of specialized creations, e.g. earth, mountains, water, etc. Each element of the natural environment is regarded as having deeply spiritual attributes and is in fact animated or held to have a life of its own. Spectacular features of the landscape, as in the case of Mt. Apo, exert a powerful influence in their lives, more so because the spirits who were supposed to dwell there were anthropomorphised. In this case, the relationship becomes institutional or social as between fellows in the same social group. The myth of Tuglibong and the sun is particularly interesting. Agricultural peoples commonly weave their myths around celestial bodies which, to a great extent govern their agricultural and economic activities. However, the story of Tuglibong reveals a perception of the sun as a not too benign entity. The Bagobos are known to worship the sun. Even the grim practice of human sacrifice has an ecological significance, nature’s bounty is not free. The Bagobo have to propitiate the gods of Mt. Apo with offerings of human victims in exchange for a bountiful harvest and valor in the battlefield.

The Tagakaulo construed the world as having been molded from bits of soil brought by a bird. Of the three myths, this is probably the most worldly or earthly. That the world as created is less than perfect may be inferred from the act of planting trees on it by one of the diwata that watched the formation of the earth.

Although the bailan experience is spiritual, a motif in the shamanic dance is particularly unusual. The Mandaya bailan calls upon the god to come down instead of her going up: “Miminsad, miminsad, Mansilatan”. (“Come down, come down, Mansilatan:) an insight to a most earthbound worldview.

The Maranao and Nature

If a Maranao would be asked to give one word that would best describe Maranao identity, chances are that he would say Darangen. It means “song,” the classical epic of Maranao which relates in beautiful language their customs and traditions. It is a key to culture of the Maranao.

According to Dr. Mamitua Saber, sociologist, quintessential Maranao, the Maranao ancestors were hardy and adventurous, classified among the Malays who crossed the landbridges and came to the Philippines centuries ago. Conquering all human and natural adversaries, they came to settle in what is today the Lanao region endowed with rich natural resources. Here they built and nourished their indigenous civilization which they defended against all foreign invasions. Indeed, one had to be strong to remain in such a homeland so attractive to external invaders.

Reputed as brave warriors, the past and recent Maranao ancestors were either defenders or invaders during struggles often retold through oral traditions as well as through historical accounts of foreign writers. As sea voyagers, they were known in other parts of the Malay archipelago as the Ilanun, a name derived from ranao or lanao which means “lake” as they used to start their trips overland from Lake Lanao and cross the open sea from Illana Bay thence to distant lands.

Using an efficient seacraft called the padau (corrupted to parau or prau), they traversed the high seas for trade or raids. The efficiency of their boats (not as big as the Spanish galleon) is attested to by the fact that their extensive voyages were reaching the coasts of Luzon in the North as proven by the presence of Moro watchtowers in the Ilocos provinces, southeast to New Guinea and westward to Burma. The sailors were guided not by the compass but by the stars.

Today, in one of the districts of Sabah called Tampasuk, there is a sizeable community of Ilanun who maintain their ethnolinguistic and cultural traits akin to Maranao of Lake Lanao and the Iranon of the Moro Gulf. According to Dr. Saber, all three belong to one tribe, the Maranao, People of the Lake (Ma = people + Ranao = Lake).

The Maranao once constituted an independent nation from their immediate neighbors, as well as from the Spanish regime. Their gradual subjugation came only during the early inception of the American regime; but not without offering ferocious resistance to such foreign rule. They once claimed as ancestral or traditional property a wide territory over which the present-day provinces of the two Lanaos and a part of Misamis Oriental have been superimposed by the modem government. If the Darangen were the basis of their claim, it would include all of Mindanao and a part of the Visayas.

They considered this territory as the ancestral jurisdiction of the Pat a Pangampong or Four Principalities (states) of Lanao. These are: Bayabao, Masiu, Unayan, and Baloi. Each principality (pangampong) is subdivided into districts (soko), townships (inged) and smaller villages (agama). These four principalities are not rigidly tied together by a central authority, of which they have none. They are, however, connected by their common adherence to native laws, their blood and kinship ties, and, today, their consciousness of the universal brotherhood under Islam which was introduced in the 14th century. Any foreign invasion upon their land would cause a war of defense. Maranaos, already good fighters, become fierce in defense against external invaders, which they consider a natural right, basing their belief on the “example” of the ecological system where nature has provided some plants with thorns and poisons as their defensive armor against any aggressor : another plant, animal, or man.

The Maranao fought off the Spaniards and were nearly subdued had not the Americans come to assert their sovereignty and finally subdued them. They also fought off the Japanese, and, until now, some of them are still fighting the government as members of the MNLF, MILF, BMA, or the Lost Command, a euphemism for bandits.

Among the Muslim minorities, three great tribes shine out: The Taosug, the Maranao and the Maguindanao. Actually the last two are close and so the rivalry is between the Taosug and the Maranao. Because of their introduction to the American educational system they hold education in high esteem and today, there are more Maranaos holding high office in government : in the judiciary, and in Congress, or in the ARMM. One also finds Maranaos as peddlers in many parts of the Philippines, in particular in Manila, where they have their stores in Quiapo.

The Maranaos are sticklers to tradition so that change comes slowly. Added to the fact that they are living in a naturally enclosed region, they were faithful to their customs and traditions until the Americans came and opened the door to change. Today, the present-day Maranao is either highly westernized or easternized. Most of the religious leaders have studies in Arab universities and are being supported by whatever embassy sponsored their theological studies. Even if they have no supreme religious leader, they are united by the kind of Islam they practice. The majority of Maranaos are Shiite Muslims.

To give a good picture of the Maranaos, and how they relate to nature, I thought it best to base this study on the Darangen for here we encounter the traditional Maranaos. Thus it would be easy to see the difference in today’s modern Maranaos.

Judging by the words used and the descriptions found in the epic, Dr. Saber concurs with the findings of Dr. Frank Laubach, the American Protestant missionary who first translated a part of the epic, that it dates from the 10th century. It certainly antedates the arrival of Islam because the end of the story tells about how Bembaran was burned and the people petrified, having been cursed by the first Sharief who came because they rejected Islam

The epic is made up of several books belonging to one cycle. There are Darangens meant to be sung by men, Darangen a Mama and those for women singers, Darangen a Babay. The Darangen  translated by the Folklore Division of the Mamitua Saber Research Center of the Mindanao State University is the second one. It is made up of 26 books published in 8 volumes. As of today, sbc volumes have been published through the sponsorship of the Toyota Foundation who provided a five-year-grant.

Geography and Genealogy

The setting of the epic is not just Lanao but all of Mindanao and the Visayas. The main characters, made up of five brothers and one sister, settled all over Mindanao, e.g. Iliyan, a Bembaran, is in the East, as its name implies, where the eldest brother, Diwata Ndaw Givon, settled. The Visayas is mentioned due to the so-called “Moro raids” where the king and his men went all around conquering territories because it was a question of who could capture which kingdom first. After Volume One had been published, a letter dated April 25, 1986, came all the way from Aklan, from Mr. Jose V. Macavinta, who informed us that his province has several towns carrying the names of some of the important characters of the epic, like Panay (from Paganay), Lawan, Achaeani Gibongon (Asalan i Gibonen – descendants of Gibon), Iliyan, Gibong, Odiongan (from Ka Adiongan), and Nalupa (the full name is Aya Diwata Mokom sa Kaddiyong a Lopa) – ancestor of the clan of Bembaran. Mr. Macavinta’s name itself is the name of the cousin of Bantogen, Madali, Macabengkas, and he thinks that Bembaran is Aklan. 1 think that Aklan is probably the place of the first wife of Gibon, Aya Paganay Bai of Minangoaw a Rogong, whom he met as he went sailing around looking for beautiful rich princesses to marry.

Other places in Mindanao pointed to are Agusan, the Rio Grande, Davao, Cotabato, and Jolo. Lanao is not mentioned but at the end, when the place was burned, only three people were saved because they were out hunting: the first was a prince, Batuanen Kalinan, a cousin of Bantogen and two of his men: Domalandelan Lena and Milidilid Pamaloy. Kalinan reached the Gamat River in Panalawan, now known 3S Bobong, Lanao del Sur, where he settled and became the ancestor of the royal house of Mala a Bayabao. Domalandelan Lena reached Cotabato but nothing is known about the third man.

Today, whenever I go to Balabagan and take the banca from Karomatan, I always look at the top of some mountains in Karomatan full of white stone figures of people, animals and houses. Even the big lamin (princess tower) of Minoyod is claimed to be there. These stone figures are found all over the place. In fact, it is said that one of the big stones near the Maria Cristina Falls is supposed to be the big magic boat of Bembaran, the Rinamentaw Mapalaw.

Cosmology

Heaven is called Daridayan a Langit, which literally means “flower or child of the sky.” The langit is a vast place called the Skyworld and has several regions. Immediately below it is Antar a Langit, which is just above the clouds. Next is the Aloyanan a Gabon, which is a movable place, being made up of clouds, where Walain sa Lekepam takes care that no one may enter except those allowed by the tonong. She is one of the five sisters in the Skyworld: Walain Katolosan, Walain sa Lekpan, Walain sa Poregan, Magaraay , Anonen, and Mataragandang Oray. There are also places between the earth and the sky. One is Oraonan a Lantoy, a garden of flowers and vegetables with a lamin for the princess and her ladies when they come to visit. Another is Magoyeda Selegen where the lamin of Walain sa Letingan (princess of the sky), the sole meeting place of Walain sa Letingan and Walain sa Doniya (princess of the earth) can be found. In the lamin are kept some of the royal heirlooms of Bembaran like the magic kampilan, etc.

The people who live in the Skyworld look like human beings; they can go up and down by using the rainbow. This rainbow is also used as a passageway of royalty, although it is more often the jinns, who live in the space between the sky and the earth, who use it. The jinn or genii (apparently of Arabian origin) are a sub- celestial category of creatures, created of fire and credited with superhuman powers. They punish men who do wrong either by bringing sickness or by beating them. Jinns cannot be seen but they see men. It is said that they eat the bones and skin of animals and like to eat the palay from the fields. They also sometimes marry human beings, hence some of the descendants of Gibon are half-jinns, having had jinns for fathers. These descendants have the privilege of going up and down the Skyworld, stay there for a while, and learn all the arts and skills of the tonong. This privilege IS granted to all those who have been bathed in the Dimalapang Dimasar, the river in the sky.

God is called Kadenan a Da Paeyag, literally, “Lord who has not been seen or felt,” uncreated, unseen, unrevealed, almighty, creator. The story of the creation is taken from the Makesod, the book of Beginnings, but I question its authenticity because of some Islamic beliefs inserted. God is presented as a lamp whose uniqueness is due to his wholeness. He decided to create because He was alone and as such no one would know about him. The first being was called Nur or light. For him, God first created Ho, a spirit or his soul, and taking his sacred sweat he joined it to Ho and made Nur. Then, on the great night of power (Islamic Lailatul Kadir), he created the angels, specifically Michael, Gabriel and apael. Nur died after seven days and his body perspired pro fusely. From the sweat on his head came the sky and all it contains. The sweat from his two feet brought about the earth and all It contains. The sweat from his five senses made him aware again and the resurrected Nur was told by God to go to the earth but he refused because it would mean separation from God. But God promised him that they would always be united, especially through prayers because God would always be present in his soul as his body would not be able to contain him. Nur then went down and lived on earth.

Tonongs are spirits created to serve, guard, and protect man. There are several kinds: 1) those who live in the waters are called diwatas; 2) each person has a twin spirit called inikadowa who guards his ward from danger and gives advice and instructions to him; 3) those who stay in the sky. Man, however, is free to obey his guardian or not.

The devils, saytan, are male and female who live by the sphere, or inhabit the balete tree. The balete tree is called nonok locally and is believed to be the favorite abode of the spirits, good or bad. According to the grandfather of H. Lawa Cali, our primary re source person, as soon as the balete tree, still small, has six leaves, it should be uprooted because when it has seven leaves, the spirits come to live in it. He also said that this tree was first identified by Radiya Indarapatra whose boat was stopped by something in the middle of the sea. Upon investigation, he found that the sudden stop was caused by a tree growing from under the sea. He then sent a diver to get some of its leaves which he brought along with him- in his journey until, upon reaching Constantinople, he found a tree whose leaves resembled the one growing in the sea. This was the balete or nonok tree, which is a killer tree, since it is parasitic and chokes the host plant or tree as it grows.

The devils are bad spirits sent to punish men or to tempt them, sometimes to play jokes on them. They are used to test a man’s character.

The earth and all in it have been made for man. As such, man is responsible for all creatures.

Animals are treated with respect as shown in the special relationships related in the epic. Even today, when an animal is slaughtered for food, its pardon is asked. A story told about Bantogen relates about his way of taming animals. He would fight them — lions, tigers, eagles — and as soon as he would see them weakening, he would stop fighting and give them a drink of water. Thus he would earn their gratitude and they would serve him always.

The nori, a species of the parrot family, has a tonong because this bird is kept as a pet of the royal family who sends her on errands and whose advice is asked when problems come. The nori appears in all the books of the Darangen.

The bolawan datomanong, or the golden two-headed lizard, is a treasure of the Skyworld, given as one of the posaka or heirlooms of Gibon. Its two heads are found, one at the usual place but the
other at the end, and its tail so that it moves only in circles, like the sagayan dance. Hence it is also called Somagayan a Oray. It can assume other shapes, such as that of a snake, a golden living doll
about a foot long. Whoever keeps this treasure will become rich because gold is attracted to it. It can also foretell the future. This treasure cannot be kept long on earth for its proper place is the Skyworld where it is kept by Magaraay Anonen. Whoever needs it may just call on her and she would come down to bring it. As soon as it is no longer needed, it just disappears. This is always part of the dowry asked of the Asalan i Gibonen to prove that they are really Gibonen.

The crocodile is described as mountain-high because it is really a tonong, a guardian of the kingdon of Bembaran, guardian spirit of Diwata Ndaw Gibon. When Gibon was born, he received two gifts: this crocodile called Pinatola i Kilid, in the form of a lizard and the magic boat, the Rinamentaw Mapalaw, given as a small boat. Both gifts grew as Gibon grew. The word Pinatola means “many colors” because of a varicolored belt worn around his body. This tonong assumes many shapes: on sea it appears as a crocodile; in the air it becomes a garuda or eagle; on land it becomes a giant. He is the chief of the guardians of Bembaran.

The two major kingdoms of the epic have each a guardian spirit who both appear as crocodiles. The crocodile of the other kingdom, Kadaraan sa Ndaw, is Masagolaing a Regatwhom Pinatola defeats when they fight.

The patola kaorayan means “belt which look like gold.” It is a magic belt embroidered by Magaraay Anonen and given to Gibon. Its wearer cannot be killed by a weapon and he can become invisible. The belt can fly by itself, can move in water and can multiply itself. When worn by any other person, it turns into a cobra and strangles him. When anyone in the family of Gibon needs this belt, he calls on Magaraay Anonen by turning to the left and makes his request soundlessly. A tonong is sent by Magaraay with the ongkop, a square brass container with four locks and its keys where the belt is kept, with the injunction to return the box and the keys after use.

Any abuse or disrespect shown to animals is severely punished. A legend of a mountain range in Lanao, which is called by modern Maranaos as the sleeping lady, a good example of folklore, tells that the people living in that place used to have lavish feast. Tiring of their long festivals, they decided to hold a banquet  where all of them would come dressed as animals. As soon as they had all arrived, a big storm roiled the lake. There was rain, lighting and thunder and the waves rose to flood the whole place. After the storm, a huge mountain range was found in its place with all the people burried inside.

Respect is paid to plants, trees, mountains and nature in general. Some places are deemed sacred, like  the Sacred Mountain of Marawi, a virgin forest there  where folklore has succeeded in frightening men to keep them away and thus save the mountain from illegal loggers. The caves in the mountains are used by the tonongs to keep the weapons for war their respective royal families when not in use.

Plants are used for food and shelter. Some are used to identify rank and social status, e.g. the kilala plant, a beautiful ornamental plant with red-green leaves and bright pink ones on top is planted in from of a torongan, the royal palace, to identify the king.

One can plant crops anywhere because land, like air and water, is for all men as created by God. This is the crux of the problem of so-called land grabbing in Mindanao where there used to be no fences, no titles, for everything was communal. Anyone may plant anywhere and everyone may enjoy one’s harvest as long as it is for food, not commerce.

Nature is so bountiful because the soil is rich so that many a housewife can easily pick up tonight’s supper by the roadside since there is for all. A note of warning: No one may take a stray chicken; but if the chicken comes to your place, it is yours.

The resin or fragrant gum oozing from a trunk is deemed sacred and it is used as witness to a pact of treaty between two kings. The two swear allegiance to each other over a piece of rattan cut into two to signify what would happen to the one who would go against his friend. To mark the solemnity of the promise, it is sworn while the sacred resin is burning.

The rainbow, as mentioned earlier, is used by the tonongs as a bridge. When it appears, it means something bad will happen to royalty. When it is used as a metaphor to describe the face of a person, he is usually so angry that he is ready to kill anyone.

Water is a very powerful agent of the tonongs. The waters from the Dimapalang Dimasar, the river in the sky, give magic powers to all who bathe in them. These magic powers include the ability to fly on one’s shield; invisibility; the power never to be hit or wounded in battle; being blessed with a character that always demands respect; invulnerability to attack because of protection from the tonongs; the skill in speech and reason that cannot be challenged; the privilege to go up and down the Skyworld and stay
in the Antar a Langit by using the rainbow; the power to bring the dead back to life by sprinkling the face with water from this same river; and the power to change one’s appearance at will.

When the sea is calm and clear, it means everything is well and the clear water can be used to prophesy or foresee future events. When a spell is being intoned and an enchantment is coming. the waters are disturbed; waves are so high they reach the clouds and bring destruction. Another way of punishing is to flood the place by making the rivers run upstream or by changing the water into blood. When water changes color, it is being enchanted and anyone caught in it will remain there forever.

In all these trials/enchantments, all the characters in the Darangen ask the help of their personal/clan tonong. Prayers are always intoned before a big battle, a journey, an adventure and all throughout the incident, they pray. The relationship between tonongs, and man is very close. In fact, the proper place of the tonongs and man is very close. In fact, the proper place of the tonong is said to be the left shoulder of a person, near the left ear, to make it easy to whisper advice, technique, skill, etc. What happens then is a royal battle between tonongs.

However, tonongs may be rendered powerless by the character of the one praying. For example, in Book 3, the young boy, Madali, completely defeats the queen of Danalima a Rogong, a powerful enchantress who had succeeded in imprisoning all the datus of Bemberan, including the king, in huge stones on the shore of her kingdom. The king and his princes were defeated by this queen because thy were imprudent. But the queen, in turn, was defeated by a mere because, as the tonongs told her:

” O Walain sa Danangkap,
If you feel sad and tired of life,
Forget your anger and plans for
Revenge and put away bad thoughts.
Rather begin thinking of good
Things, make a new study, change your
Ways and be at peace with yourself,
For that is why you could never
Win in calling tonongs over
Prince Ladald a Madalil,
For you were ruthlesses in your ways,
You had no pity for others,
For Inayohan o Kampong
Of Iliyan a Bembaran.
Then, instead of negotiating,
You immediately imprisoned
Him, forgetting that all of us
Belong to the same family,
Yes, all of us, ourselves, indeed!”

Man, then, as the highest creature of the universe, is responsible for the earth. He is favored by tonongs, given an inikadowa i.e. special privileges, with special guardians for the family, the clan, the kingdom. On top of these privileges are duties and responsibilities and corresponding punishments. Man’s biggest punishment is to be exiled from his family and dearest relatives and made to wander in a foreign place; the biggest shame is the loss of honor or fame by being turned into stone. Thus is man punished by becoming that which he has abused.

Death is the end of all men. When a man dies, he is at once brought to Dadalian Karegan, the abode of death, where a dark river is found. Here he is examined by two judges: Nakir and Mongkar. He is then assigned to be punished in hell for all his wrong deeds. After the last judgement, he goes to heaven. In the meantime, his soul is kept by Inirandang a Baya in a beautiful bottle placed on the shelves in his house. As long as the soul is kept there, he can still be brought back to life. Otherwise he remains there until sentence is served and he goes to heaven. Only Kadenan Da Paeyag knows the time of death or where the soul will stay in the Skyworld. All his good works will be weighed agains his bad deed which will be the basis of the length of his stay in hell. Man thus is given this time on earth to do as much good as possible with the help of all the creatures God has made for him.

Today, what has man done to his environment? In Lanao, the mountains are bald, the lake heavily silted with all the good soil from the mountains running down into it, and the lake loses part of its waters yearly. Today, man is still punished in the same way by whatever it is he has abused. For cutting down trees, he is inundated with floods, the earth turns dry due to lack of rain, and what used to be described as enchantments are just natural calamities. However, in Lanao del Sur, the situation is not so bad because we still have some virgin forests. For the Maranao is understandably possessive of his natural resources, as witness the fight he put up to stop Agus 1 from being opened. His community spirit prevailed for the greater good of all.

With the entry of Islam, the Darangen has been forbidden, due to too much mention of spirit and superstitious beliefs. What a pity that this generation does not know the Darangen! They would have read about the special relations between man and nature and the respect owed to all creatures of God. They would have heard the beautiful stories of the great ancestors, not so much to bring back the pagan beliefs and practices but to remind them of their rich heritage : that once upon a time, they were men who cared for the creatures God had created for all their needs; that once they were very close to nature, exercising love and care for the beautiful world given to them; that they were a religious people, in the true meaning of the word, always relying on the help of the tonongs who Kadenan Da Paeyag had given to them and on whom they were always calling for help.

In fact, one priest has remarked that it was pity the the present religious leaders of Islam were committing the same mistakes as the early Christian missionaries who wiped away all that they thought were vestiges of pagan culture, including their songs and stories, thus destroying a rich culture instead of using the same as foundation to the building up of a truly dynamic Islamic faith it would have been based on what is truly their own.

This is one reason why we of the Folklore Division of the Mamitua Saber Research Center of the Mindanao State University have translated and published this great epic, because it is a beautiful way of looking back in order to reach our destination, gathering the jewels, the moral values, the fundamental characteristics that make up what is beautiful in a people. For what is literature but the rendering into language of what is held as true and precious by a people. Such is the Darangen.

Worldview, Community and Lumad Poetics

Take note. Ehhrm. (Pause) Here we are gathered to talk about Philippine poetics, and my topic is about Lumad poetics. What/   will do is present some Lumad story-telling conventions, some myths and legends, and some new Lumad literary productions in order to show the relationship between literature, worldview and community. Finally, I will present the ethnokinship theory of literature and explore its implications to Philippine national literature.

You have probably noticed that I have just used a Lumad literary convention. This particular verbal convention comes from the Arumanen Manobos of North Cotabato. To catch the attention of listeners, the storyteller always opens with an obligatory “Hane” (Take note), followed by throat clearing and a pause.

Compare the Manobo verbal opening convention with modem storytelling convention. As we do not have the luxury of face-to-face storytelling, and we must compete for the attention of the literary editor, we have to do a lot textual acrobatics in our very first paragraph. Otherwise, our work will be thrown into the waste basket.

Another verbal convention involves the introduction to the setting of each scene. If the action occurs near, the phrase to use is “Here we are.” If far, the phrase to use is “There we are.” Here we are, talking about Lumad poetics.

The rest of the introductory paragraph above is pure Jesuit. It is Jesuit pedagogical convention for the speaker or writer to tell the audience what he is going to tell them, then he tells them, then he tells them that he has just told them.

But to go back to our topic. Because of the vast body of unrecorded Lumad oral literature, Dr. E. Arsenio Manuel’ had long ago advised folklore researchers to go on a collecting and archiving mission to preserve folkloristic materials, which include folk literature. Famous anthropologist H. Otley Beyer’ had made a similar suggestion. Fay-Cooper Cole who made ethnographic studies of Davao and Bukidnon tribes in the 1910s pioneered attempts to reconstruct past society and culture thru folklore, which involved a lot of literary materials. Dean Fansler who collected folktales from Christianized areas was interested in speculating about the origins of the tales and how they are diffused.

Indeed, apart from the verbal conventions, the study of folk literature of which Lumad literature is a part, can yield many other interesting information useful to sociologists, anthropologists, ethnographers, psychologists, historians and many others. Current interests, at least in our school, focus on the values embedded in Lumad poetics for use in values education.

Other interests seek to discover Lumad spirituality, or even systems of governance. Others yet again only seek inspiration from the oral narratives for story materials in theatre productions, including copying of music, chanting patterns, dance steps and costumes.

It is therefore appropriate to ask: Why does Lumad literature allow for such diverse approaches and provide fruitful results in various disciplines?

Folklorists will tell us that Lumad literature has several functions. It is entertainment; it is an educational and instructional tool; it serves to justify rituals and institutions; and it guides the members of the community to follow certain patterns of behavior.

In effect, take note. Ehhrm. (Pause.) Lumad literature embodies the Lumad’s worldview, and as such it is the very record of the life of the community, both its past and its present.

Let us recount a Lumad creation myth.

“When the world first began there were one man and one woman and they lived on Mt. Apo near Sibulan. The man was Tuglay and the woman Tuglibong The place had many fruits; the forest was filled with game, so it was easy for them to get food. After a while, they had many children, both boys and girls who, when they grew up, married.

“One day, Tuglay and Tuglibong told their oldest boy and girl to go far away across the ocean, for there was a good place for them. So the two left and were riot seen again. Later their descendants, the white people, would come back to Davao.

“When Tuglay and Tuglibong died, they went to the sky where they became spirits. Shortly after their death the country suffered a great drought. No rain fell for three years, so that there was no food in the land. The people said: ‘Manama is angry and is punishing us. We must go to a new place where there is food or we shall die’

“Two started on the way toward the sunset, carrying stones with them from the Sibulan river. They settled in a good land where there were water, plants, pigs and deer. Since then they have become Maguindanaos because of the stones which they carried with them when they left Sibulan.”

Let us quicken the story now, to use another convention…

“One pair brought a basket—biraan–and so the children are now called Blaans. Another pair brought a doll, and the children are now the Atas. The other pairs went in other directions. Finally, only one pair remained at Sibulan. They wanted to go away, but were so weak from hunger and thirst that they could not walk far. One day, the man crawled out onto the fields and saw a single stalk of tubo – sugar cane. He cut a piece and water began to flow so the couple finally had a drink. Because of this they called the place Bagobo (Bagong tubo) and the people have since borne that name.”

What do we have here? First I draw your attention to the fact that Tuglay and Tuglibong who were the ancestors of all human beings, but particularly of the Bagobos, became spirits, thus establishing the kinship between the said tribe and the spirit world. Another point is the abode of the ancestors, Mt. Apo, and the home of the tribe itself, Sibulan.

To us these are trivial literary matters, but to the Bagobos these constitute sacred literature that affirms their worldview and establishes their claim to their homeland. Anthropologists and other social scientists would probably be able to trace the origin of the Bagobos prior to reaching Davao. That would be interesting, but what is more important is that they have staked a claim on Mt. Apo and Sibulan. By naming these places, they came to own them. These places that didn’t have a meaning before acquired a meaning and entered Bagobo history.

The land, the spirits, the people and their worldview define and create the community. You cannot imagine the Bagobos without Mt. Apo, Sibulan and Tuglay and Tuglibong and Manama.

When the Spanish Jesuit missionaries encountered the Bagobos in the late 1860s, they were able to record an eight-level genealogy among these people. In 1911 American ethnographer Fay-Cooper Cole found that both the young and the old still knew Saling-olop who begat Bato who begat Boas who begat Basian who begat Lumbay who begat Banga who begat Panguilan who begat Manib who begat Tungkaling. Manib was contemporaneous with Jose Oyanguren who conquered Davao Gulf in 1848, while Tungkaling lived during the American colonial period.

Indeed, a teal community can and should trace its origins all the way back to its very first ancestors. It is what binds them together. The past continues to live and is continually relived. Storytelling in verse or in prose, whether chanted or narrated recreates and reaffirms this link. We will find many ,examples of origin myths and legends that mark out the parameters that define the community, drawn from a common worldview. Lumad poetics then not only performs a constitutive function, creating meaning and reality; but its retellling also recreates the meaning, and reestablishes and reaffirms a real sense of community.

Observe how this operates among the other Lumads in the simple act of naming places.

Places are usually named after certain landmarks, or they could be named to commemorate events or to memorialize an ancestor or hero or deity.

Mamacaw is a tree and is the name of several barangays located in Davao del Sur and Davao del Norte. Kadaatan refers to a place where there are many daats or the triangular-stem grass. Here is an example of a place named to commemorate an event:

“Once upon a time, there was a male giant named Agasi who terrorized the Arakan Manobos. He cooked his captives in a big kawa (wok). One day, Apo Agio one of the greatest Manobo ancestors, fought and killed Agasi by piercing him with a poisoned spear. This made Agasi stomp and dance in terrible pain. The earth shook as he fell to the ground. The place on which he danced is now called Sinayawan. One of his feet landed in Nassut (which means foot), and his palms fell in Mahapalad.”

Hane. Ehhrm. (Pause.) His penis and his balls fell in… guess where?

Among the Dulangan Manobos, there’s a barangay named Lagubang derived from the oldest resident of the area, while a nearby sitio bears the name of his wife, Kapatagan. Barangay Midpanga was named in honor of a certain datu who went hunting in the forest one morning and never returned. His family and relatives searched for him and found him dead under a big tree. Since then they have called the place Midpanga. Among the Blaans in South Cotabato, they have a sitio named Mali named after a creek called Malo which means diwata (or guardian spirit). They say the creek is like the diwata who is sometimes there and sometimes not there. The creek has water flowing in some portions, but has no water in other portions. But eventually the water emerges and empties into the Silway River.”

Another motif in place name legends is death by drowning of an important person in the community. The Tran River was named after Datu Tran of the Teduray”, and the Kulaman River was named after Datu Kulaman of the Dulangans.” These rivers are located in the province of Sultan Kudarat, itself named after a fierce Maguindanao sultan.

All of these legends have the function of making things around the community familiar to the members. They are in intimate relation with their surroundings. The land, the caves, the mountains, the rivers, the creeks, the forests — they belong to the community. The act of naming is an act of appropriation, an act of community ownership.

It is not only in the land that the naming occurs. Even the sky is “owned” by the community. We are familiar with the Greek zodiac signs and such legends as Castor and his twin Polydeuces17 forming Gemini. What are these but attempts to make sense of the cosmos by making the heavenly bodies familiar to the Greeks. Among the Bagobos, they will point out the Balatik, which is shaped like a trap in the sky. When it appears at a certain angle, it signals the planting season.” Among the Atas, there Is Dawa, a cluster of stars as plentiful as millet.19 The Tedurays will point out three bright stars that make up Seretar, the hunter, and two smaller ones nearby making up the jaw of a pig that Seretar had killed. There is another bright star identified as Fegeferafad, a man known as a brave defender of his family’s honor. With him are his three cousins.’ Lumad poetics then is an act of communitization whereby what is strange or alien becomes familiar to the community.” The earth, the sky, the water, the forest, the people, their ancestors, their heroes and the spirits all have a place in the community worldview and are understood intimately. All these establish, foster and strengthen distinct ethnokinship ties. By ethnokinship I mean the organization of people according to certain ethnic identifiers such as race, ancestry, language, traditions, beliefs, customs, rituals, practices and history. The more elements of identity people have in common, the stronger their bond and attachment to each other. The family, clan, tribe and nation constitute the levels of ethnokinship communities.

Hane. Ehhrm. (Pause). In an ethnokinship community there is no gap between storyteller and listeners because the storyteller draws his or her vocabulary, imagery, symbols, and themes from a worldview shared by the entire community. Or to borrow from Saussure,23 the storyteller and the listeners possess a common langue, so that the storyteller’s parole or individual utterance is immediately grasped by the listeners.

The act of imagining is always a community act and has a recognizable community stamp or brand. This is what makes a specific Lumad poetics unique, helping define the identity of the community, as reinforced by rituals and other cultural and traditional practices.

But it should not be understood that Lumad poetics is fixed nor static. New materials are being created as the community members encounter new experiences and integrate them into their common langue. Most members can do extemporaneous compositions. A welcome chant created on the spot will greet visitors. They may use traditional forms, but the content will be new. New stories and their variants are created as new heroes are born, sometimes shared only in secret among themselves.

One such case involves the exploits of Mangunlayon, the Tagacaolo tribal ward assistant leader. He assassinated the first American politico-military governor of Davao District, Lt. Edward C. Bolton, in 1906 in the Malalag area, Davao del Sur. This was at the height of the Lumad unrest caused by the entry of American settlers who set up plantations in Davao in the early years of American occupation. While some Lumads can already talk about it, those closely associated with the assassination are not so open. The reason us that the Americans are still present — that is, their descendants still own some of the plantations in the area. As American hegemony prevailed in the entire country. Mangunlayon became villain instead of hero, and was lost in obscurity instead of becoming famous. However, underground heroic legends about Mangunlayon circulated among the Lumads of Davao del Sur.

As we all know, the Lumads today have been effectively minoritized, marginalized and excluded in mainstream Philippine society. Oftentimes, they are caught in the crossfire between government and insurgent forces, and there are reports of genocide perpetrated against them. It is the sad end of a once proud people who resisted foreign subjugation, only to find themselves subordinated in the present political set-up. In Lumad conferences therefore, we will usually hear Lumads lamenting their fate. The more politicized will speak with angry voices as they recall a bygone era when the community was whole and supreme in their own land.

If they say that Lumad literature is a record of community life itself, will we find this new situation of the Lumads reflected in their new artistic creations?

In 1989, the Development Education Media Services where I was executive director produced a song tape album if authentic Mandaya songs and music as part of our program to preserve Lumad culture. The four Mandaya artists, which included an old baylan (priestess), had a free hand in choosing their repertoire. What came out was a revelation, since it was the first time I noticed the theme of community lament in Lumad literary creation.

As you may be aware, an important aspect in the scholarly study of folk literature is establishing traditionally of folk materials by subjecting them to the so-called vertical and horizontal tests. Traditional means old, to put it simply. The vertical test or the three-generation test seeks to know if the informant has learned the material from his or her grandparent(s), as the very least. The further the genelogical line that is can be traced to, the better. The horizontal test meanwhile seeks to find several versions of the same tale, which would also attest its age. However, in the album production, the Mandaya artists chanted many materials that show their present plight as marginalized people. The theme of lament comes out very strongly. The baylan chants: “… Our situation as natives/ As Mandaya / We were all so soon forgotten / O we have become outcasts / Because of the evil ones / The rapacious exploiters / They told us / You will not improve / You will not progress / Just give them (arts/designs) to us / Give us your gold / Give us your most precious things.”

Another Mandaya chanter laments: “All our lands are gone / O, gone is out pristine world / O, caused by strangers / Those foreigners.”

The significance of the chants is that it affirms the view that literature is a community record, the community’s past and present life. Literature is ethnokinship worldview and record. While the traditionality of materials may be very important, and in fact it is being used as evidence for establishing ancestral domain claims of the Lumads, that should not make new Lumad literary productions less important, for these are the continuations of their life as a community.

Using Aristotelian mimetic, we can say that the object of imitation in these new literary outputs is the community’s lament of the loss of their land, and the threat of disappearance of their worldview and ultimately of their identity as a culture and as a people. This is not an imitation of an individual ‘s lament alone, but an imitation of the lament of the entire community.

Later I would also find echoes of the same theme among the Tbolis of South Cotabato. According to the legend, Lake Sebu was owned by Boi Henwu. When the goddess ascended to the sky, she decreed that only the Tbolis would be the stewards of the lake. But today, we hear this lament from The Dream Weavers-. “This lake of Sebu/ Other people claim it/ Other people lord over it/ The Thai have no place to go/ The outsiders have prevailed/ They rule over the Tboli/ Do you understand my song?/ There is nothing you can do/ We have lost everything that we had/ They are the only ones who benefit…”

It is lamentable indeed that the community of the Lumads is being threatened. It is not the scope of this paper to discuss the reasons for this, except to observe that the world of the Lumads is shrinking, and could be lost in another generation or so. While we, who belong to the majority have our own Bohol province, Tagalog region or Ilocano region that ensures our survival as a community, the Bagobos, the Tbolis, the Subanons, have no such secure home bases because of massive intrusions by foreigners.

With the subordination of their community to the majority community, their culture and worldview are also being subordinated to the majority culture and worldview. This situation has the effect of a double alienation. They are alienated from their own world, and they are alienated from the majority world. Hence the lament. Hence the anger. The theme of heroism of past heroic legends and epics has been replaced by the theme of despair. To be sure, some of the Lumads are not taking this passively and have began to assert themselves. Some have even launched occasional paggaws or wars to defend their land, but this is subject of another paper.29What interests us here for the moment is their literature and its place in their community.

Based on the discussion above, I now present the general features of the ethnokinship theory of literature. This theory advances the view that literature serves the entire community. The myths, epics, legends and other artistic creations are community acts of imagining and appropriating. They are entertainment, instruction, justifier of rituals, both sacred and secular history, social guide and control. That is, literature is the community worldview that unifies the community and strengthens community identity and loyalty. All aesthetic expressions are community-based and are therefore familiar and understood by the entire community. Literature seeks to build and rebuild community.

Now while we are witness to the marginalization and minoritization of Lumad culture and worldview, and even the possible extermination of the Lumads as a people, how do we, as the majority, fare? We have survived physically as a people, but how about our literature and worldview as a community?

First, an observation. After 100 years of existence as a country, we still talk of nation-building or forging a national identity as a task not only of literature, but also of the other arts and other cultural and political institutions. My theory as to why it is taking us so long to have a so-called national identity is that we are composed of many different communities, or ethnokinship identities. In effect, we are many nations, some big, some very small. These vertical ethnokinship splits practically make it impossible to create a single national identity.

Apart from the multiethnokinship character of the majority, we will find that our worldview is truncated as an effect of conquest and subjugation, so that the worldviews of our conquerors had been grafted into our very thought processes. Three hundred years in a Spanish convent, 50 years in Hollywood — this is the colorful description of our condition. As we all know, grafting is good practice in agriculture, but in social engineering this results in a monstrosity — the bifurcation not only of. personality but also of community. We have an educated elite heavily influenced by the conqueror’s worldviews and languages, and the vast masa with their own worldviews and languages. These horizontal splits within communities complete the fragmentation of the national community, which incidentally, makes us easy prey to other more powerful ethnokinship systems.

As a complex society with many communities, we will necessarily find many literatures in our country. Instead of reflecting the worldview of a single community, our fragmented literatures present many competing worldviews and loyalties. Within the context of Philippine society, literature has become a site of struggle because the processes of political and cultural integration and assimilation are also being resisted by counter processes of ethnokinship, as well as class, assertion. Instead of being a site of unity to fight external battles, literature has become a site of internal struggles. We are a national community continually at war with itself, which translate, at the political level, into a weak, unstable state.

This condition also afflicts many former colonies all over the world, offering many interesting challenges for poets and storytellers, nationalists or otherwise. Let us mention the responses of some of the better-known African writers.

Nigeria, like most former colonial countries, is composed of many nations which were forcibly brought together under one colonial rule, in their case, by the British. Since it became independent in 1963, it has experienced at least two secessionist attempts. The secessionist Biafran Republic was crushed in a brutal two-year civil war. Apart from this problem of multiethnic composition, there is also the question of an English-speaking elite. Within this context, Chinua Achebe, an Ibo acclaimed for his novel Things Fall Apart, asks: “Can a writer ever begin to know who his community is, let alone devise strategies for relating to it?”” Achebe has always problematized his use of the English language, but ends up justifying its use because of the “unassailable logic of its convenience.” But in his works he attempts to construct a new English by imitating the speech patterns of the Ibo community.

Wole Soyinka, the first African Nobel Laureate does not concern himself with the language issue. Writing in English, he worries more about how the African world can be understood in terms of African cultural concepts and categories. He does this by making “mythic or ritual concepts” relevant to modern Africa. For example, he identifies the Yoruba deity Ogun, god of iron and war, with electricity, thus combining Western culture with African traditions.

Meanwhile, Ngugi wa Thiongo of Kenya makes clear his decision with regard to the relationship between language and culture. He states that “the choice of language and the use to which it is put is central to a people’s definition of themselves in relation to their social environments.”  Awarded a British Council Scholarship, he was the first African member of the University College in Nairobi, Kenya where he pushed for the study of African literatures at a time when they were virtually unheard of Having identified his community, Ngugi converted to the use of Gikuyu and has been writing in his own language ever since.

Ngugi’s complete return to his community actually reenacts the solution of some European countries confronted with the problems of fragmentation and identity. In the 18th century, Germany was a confusion of more than 20 independent states. As the Romantic Movement swept Europe, a new nationalist mood also began to rise, represented by the Sturm and Drang in literary circles of which Johannes Gottfried von Herder (1744-1803) and Johann Wolfgang von Goethe (1749-1832) were the more prominent members.

Herder encouraged the study of folklore because it is “not only a view of the past, but a means to create a unique and characteristic formal literature of its own.” He pushed the idea of a “world of nations defined by vernacular and by folk culture.” He is credited with the adoption of the German language as the medium of literature in Germany which during his time was considered inferior to French and Latin.

Goethe, meanwhile “freed the German language from clumsiness and foreign literary domination in a vast output of easy, natural and personal lyrics …” His dramas, of which Faust is his masterpiece, and novels have influenced German literature for generations.

Folk literature likewise preserved and developed nationalism in Finland. Under Sweden for 700 years, and under Russia for 100 years, the Finns were perhaps more confused as a people than Filipinos are today because their subjugators were powerful neighboring colonizers. Their elite, and the entire reading public, were Swedish-speaking. But once the nationalists made a decision as to who their community was, there were no ifs and buts, no equivocation whatsoever, in their choice of language. Kalevala, the Finnish epic reconstructed by Elias Lonnrot from oral traditions of rural folks and published in 1849, helped spread the fire of nationalism, and the crude Finnish of peasants, servants and tradespeople, would later become the language of the entire community, elite and masa. And that was how the Finnish worldview and community were finally restored after almost a millennium of subjugation and marginalization.

Confronted by the plurality of traditional communities in our country our political and cultural leaders sought and continue to seek unificatior by trying to transform all the communities into a new community of English speakers in the image of the colonizers.” The subordinating processes to unite all the ethnokinship systems operated and continue to operate in all fields. After one hundred years, this new imagined community’s is still non-existent. What has been created instead is an intelligentsia whose members are recruited from all the communities, but who have become divorced from their very own communities. They have become a separate community whose borrowed worldviews have become dominant, but whose loyalties are suspect. Having identified themselves with the colonizers, they couldn’t care less about their own masa, their roots. Other well-intentioned elite seek to uproot the masa and reshape them into their own borrowed image. All political and cultural apparatuses, chiefly the educational system, have been used to achieve this end. And speaking in the parole of a foreign worldview, the chanters and storytellers of the elite are no longer understood in the ethnokinship langue. The symbols and the images are no longer familiar to the community.

What is tragic in all this is that the majority culture is the product of subjugation, and therefore it has a negative self image of itself While it has subordinated the Lumads, the majority culture is in turn subordinated by foreign cultures. Many analysts have already taken note of the tendency of the subjugated to efface the defeated self and put on the mask of the colonizer to hide the sense of national inferiority complex. Ashamed of themselves, many Filipinos, particularly the educated, would rather be Americans, or Japanese or British rather than be Filipinos, the worst form of colonial mentality.”

I suggest that a lot of us, myself included, belong to this new community which has no roots, and whose worldview is neither here nor there. I am sure a lot of us have asked ourselves this question: Who is my community? Well, who among us have gone the Achebe or Soyinka way? How many of us have gone the Ngugi way? And how many of us are simply lost on the way…?

Although our problems are complex, there is no need to lose hope. Our multiethnic and multireligious composition may be the source of our weakness now, but it can be the source of our strength if we reimagine a new community that will respect the differences and know how to give full play to the energies of the various ethnokinship systems in the country. Perhaps the bigger problematique is the horizontal split—how the disjointed elite and masa can reclaim each other and restore the community. For only then can the community become whole again and face up to the challenges of a highly competitive world.

In this regard, it may be appropriate to borrow the image from a Japanese animated TV series—the popular Voltes 5. This machine is composed of separate independent units, but when faced with a threat, they “volt in” to create an invincible superhero. It is my view that the Filipino elite and masa need to volt in to become an invincible ethnokinship unit.

In the meantime, in Lumad poetics there is no gap between poet or storyteller and his/her listeners. They speak the same language; they have common symbols drawn from the same worldview. The poet or storyteller is capable of new and fresh expressions, but these are always within the context of a familiar world. Threatened by more powerful forces, Lumad poetics has taken on a note of lament and of anger.

The Mandaya chanter issues this call: All those who can hear/ Ye all our friends/ Let us all awake/ Let us not sleep in unconcern/ Lest our race be gone/ Let us help each other/ Let us unite!”

Somewhere some war drums are being sounded, and the balyans are summoning the spirits for help in expelling the evil forces who are stealing their land, their gold, their arts and craft.

What will happen to the Lumads as a people and as a culture? Where will they go? Only the future can answer that, but for the Kulaman Manobos of Davao del Sur, they know where they want to go. To the skyworld, to paradise.

And when it was time to baloy (go to heaven), so a legend says, the tinayok or airship appeared and Lomabot gathered his seven wives, his son, and his rooster. His favorite wife and the most industrious among them, Wolispo, asked permission to gather camote for the trip. Lomabot said yes, but for her to hurry, instructing her to stop gathering camote when she reaches the part of the camote vine that has yellow leaves because it is the signal that the Tinayok is leaving And so Wolispo went to the camote patch. So intent was she about filling her buon (head basket) that she forgot his warning to stop after reaching the yellow leaves. She continued gathering camote, only stopping when her buon was filled. She hurriedly went to the tinayok, but it had taken off and was now cruising the sky She ran after it, calling Lomabot’s name. She stumbled and fell, and stood up and ran again. But the tinayok was already very far. And so she stopped by the river, sat on a stone and wept. Lomabot happened to look down and saw Wolispo. He took pity on her and transformed her into stone. Today, you will see a weeping stone figure in Lapuan, Don Marcelino, and people will tell you it is Wolispo who was left behind during the baby. Lomabot likewise saw his faithful dog Tuyang chasing a deer! He transformed both dog and deer into stone, and today you will see Tuyang chasing a deer in Caburan, Don Marcelino.

When the busaws (evil spirits) saw the tinayok, they were angry. They took a long bamboo pole and maneuvered it to hook and pull the tinayok down, but the tinayok was too far up they could not reach it anymore. One busaw blew his nose at the tinayok, and a huge glob of phlegm stuck to the back of the airboat, causing it to shake vigorously and to tilt precariously. Lomabot’s whetstone fell, and now you can see this giant whetstone in Santa Cruz, Davao del Sur. The rooster crowed, saying: “Scrape it off; scrape it off!” And Bengit, one of the wives, used the tuwg shell which is for mixing with betel chew, to scrape off the phlegm. The pieces fell on the busaws who ran in all directions. The tinayok regained its balance and went on.

In desperation, the busaws threw huge stones at the tinayok. One stone hit Mt. Apo, splitting its peak. Today you can see this huge scar on the east side of the mountain. The tinayok continued its flight northward to the skyworld without further incident. And so Lomabot and his family reached paradise. It is said Lomabot will come back again and bring his entire community with him to paradise.

Hane. Ehhrm. (Pause ) I know that our own journey in search of worldview and community will be as exciting and as perilous as Lomabot’s trip.