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The Literary Forms in Philippine Literature

by: Christine F. Godinez-Ortega

CHRISTINE GODINEZ-ORTEGA teaches creative writing and literature at the Mindanao State
University-Iligan Institute of Technology. She is a founding member and has served as chair for the
Literary Arts Committee of the CCP-Iligan Arts Council, and has served as regional coordinator for
literature for the CCP since 1992. Her works have appeared in numerous local and national publications.
She is a regular panelist at Iligan National Writers Workshop.

Introduction

The diversity and richness of Philippine literature evolved side by side with the country's
history. This can best be appreciated in the context of the country's pre-colonial cultural
traditions and the socio-political histories of its colonial and contemporary traditions.

The average Filipino's unfamiliarity with his indigenous literature was largely due to what
has been impressed upon him: that his country was "discovered" and, hence, Philippine "history"
started only in 1521.

So successful were the efforts of colonialists to blot out the memory of the country's largely
oral past that present-day Filipino writers, artists and journalists are trying to correct this inequity
by recognizing the country's wealth of ethnic traditions and disseminating them in schools and in
the mass media.

The rousings of nationalistic pride in the 1960s and 1970s also helped bring about this
change of attitude among a new breed of Filipinos concerned about the "Filipino identity.

Pre-Colonial Times

Owing to the works of our own archaeologists, ethnologists and anthropologists, we are able
to know more and better judge information about our pre-colonial times set against a bulk of
material about early Filipinos as recorded by Spanish, Chinese, Arabic and other chroniclers of
the past.

Pre-colonial inhabitants of our islands showcase a rich past through their folk speeches, folk
songs, folk narratives and indigenous rituals and mimetic dances that affirm our ties with our
Southeast Asian neighbors.

The most seminal of these folk speeches is the riddle which is tigmo in Cebuano, bugtong in
Tagalog, paktakon in Ilongo and patototdon in Bicol. Central to the riddle is the talinghaga or
metaphor because it "reveals subtle resemblances between two unlike objects" and one's power
of observation and wit are put to the test. The proverbs or aphorisms express norms or codes of
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behavior, community beliefs or they instill values by offering nuggets of wisdom in short,
rhyming verse.

The extended form, tanaga, a mono-riming heptasyllabic quatrain expressing insights and
lessons on life is "more emotionally charged than the terse proverb and thus has affinities with
the folk lyric." Some examples are the basahanon or extended didactic sayings from Bukidnon
and the daraida and daragilon from Panay.

The folk song, a form of folk lyric which expresses the hopes and aspirations, the people's
lifestyles as well as their loves. These are often repetitive and sonorous, didactic and naive as in
the children's songs or Ida-ida (Maguindanao), tulang pambata (Tagalog) or cansiones para
abbing (Ibanag).

A few examples are the lullabyes or Ili-ili (Ilongo); love songs like the panawagon and
balitao (Ilongo); harana or serenade (Cebuano); the bayok (Maranao); the seven-syllable per line
poem, ambahan of the Mangyans that are about human relationships, social entertainment and
also serve as a tool for teaching the young; work songs that depict the livelihood of the people
often sung to go with the movement of workers such as the kalusan (Ivatan), soliranin (Tagalog
rowing song) or the mambayu, a Kalinga rice-pounding song; the verbal jousts/games like the
duplo popular during wakes.

Other folk songs are the drinking songs sung during carousals like the tagay (Cebuano and
Waray); dirges and lamentations extolling the deeds of the dead like the kanogon (Cebuano) or
the Annako (Bontoc).

A type of narrative song or kissa among the Tausug of Mindanao, the parang sabil, uses for
its subject matter the exploits of historical and legendary heroes. It tells of a Muslim hero who
seeks death at the hands of non-Muslims.

The folk narratives, i.e. epics and folk tales are varied, exotic and magical. They explain how
the world was created, how certain animals possess certain characteristics, why some places have
waterfalls, volcanoes, mountains, flora or fauna and, in the case of legends, an explanation of the
origins of things. Fables are about animals and these teach moral lessons.

Our country's epics are considered ethno-epics because unlike, say, Germany's
Niebelunginlied, our epics are not national for they are "histories" of varied groups that consider
themselves "nations."

The epics come in various names: Guman (Subanon); Darangen (Maranao); Hudhud
(Ifugao); and Ulahingan (Manobo). These epics revolve around supernatural events or heroic
deeds and they embody or validate the beliefs and customs and ideals of a community. These are
sung or chanted to the accompaniment of indigenous musical instruments and dancing performed
during harvests, weddings or funerals by chanters. The chanters who were taught by their
ancestors are considered "treasures" and/or repositories of wisdom in their communities.
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Examples of these epics are the Lam-ang (Ilocano); Hinilawod (Sulod); Kudaman
(Palawan); Darangen (Maranao); Ulahingan (Livunganen-Arumanen Manobo); Mangovayt
Buhong na Langit (The Maiden of the Buhong Sky from Tuwaang--Manobo); Ag Tobig neg
Keboklagan (Subanon); and Tudbulol (T'boli).

The Spanish Colonial Tradition

While it is true that Spain subjugated the Philippines for more mundane reasons, this former
European power contributed much in the shaping and recording of our literature. Religion and
institutions that represented European civilization enriched the languages in the lowlands,
introduced theater which we would come to know as komedya, the sinakulo, the sarswela, the
playlets and the drama. Spain also brought to the country, though at a much later time, liberal
ideas and an internationalism that influenced our own Filipino intellectuals and writers for them
to understand the meanings of "liberty and freedom." Literature in this period may be
classified as religious prose and poetry and secular prose and poetry.

Religious lyrics written by ladino poets or those versed in both Spanish and Tagalog were
included in early catechism and were used to teach Filipinos the Spanish language. Fernando
Bagonbanta's "Salamat nang walang hanga/gracias de sin sempiternas" (Unending thanks) is a
fine example that is found in the Memorial de la vida cristiana en lengua tagala (Guidelines for
the Christian life in the Tagalog language) published in 1605.
Another form of religious lyrics are the meditative verses like the dalit appended to novenas
and catechisms. It has no fixed meter nor rime scheme although a number are written in
octosyllabic quatrains and have a solemn tone and spiritual subject matter.

But among the religious poetry of the day, it is the pasyon in octosyllabic quintillas that
became entrenched in the Filipino's commemoration of Christ's agony and resurrection at
Calvary. Gaspar Aquino de Belen's "Ang Mahal na Passion ni Jesu Christong Panginoon natin
na tola" (Holy Passion of Our Lord Jesus Christ in Verse) put out in 1704 is the country's earliest
known pasyon.

Other known pasyons chanted during the Lenten season are in Ilocano, Pangasinan, Ibanag,
Cebuano, Bicol, Ilongo and Waray.

Aside from religious poetry, there were various kinds of prose narratives written to prescribe
proper decorum. Like the pasyon, these prose narratives were also used for proselitization. Some
forms are: dialogo (dialogue), Manual de Urbanidad (conduct book); ejemplo (exemplum) and
tratado (tratado). The most well-known are Modesto de Castro's "Pagsusulatan ng Dalawang
Binibini na si Urbana at si Feliza" (Correspondence between the Two Maidens Urbana and
Feliza) in 1864 and Joaquin Tuason's "Ang Bagong Robinson" (The New Robinson) in 1879, an
adaptation of Daniel Defoe's novel.

Secular works appeared alongside historical and economic changes, the emergence of an
opulent class and the middle class who could avail of a European education. This Filipino elite
could now read printed works that used to be the exclusive domain of the missionaries.
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The most notable of the secular lyrics followed the conventions of a romantic tradition: the
languishing but loyal lover, the elusive, often heartless beloved, the rival. The leading poets were
Jose Corazon de Jesus (Huseng Sisiw) and Francisco Balagtas. Some secular poets who wrote in
this same tradition were Leona Florentino, Jacinto Kawili, Isabelo de los Reyes and Rafael
Gandioco.

Another popular secular poetry is the metrical romance, the awit and korido in Tagalog. The
awit is set in dodecasyllabic quatrains while the korido is in octosyllabic quatrains. These are
colorful tales of chivalry from European sources made for singing and chanting such as Gonzalo
de Cordoba (Gonzalo of Cordoba) and Ibong Adarna (Adarna Bird). There are numerous
metrical romances in Tagalog, Bicol, Ilongo, Pampango, Ilocano and in Pangasinan. The awit as
a popular poetic genre reached new heights in Balagtas' "Florante at Laura" (ca. 1838-1861), the
most famous of the country's metrical romances.

Again, the winds of change began to blow in 19th century Philippines. Filipino intellectuals
educated in Europe called ilustrados began to write about the downside of colonization. This,
coupled with the simmering calls for reforms by the masses gathered a formidable force of
writers like Jose Rizal, Marcelo H. del Pilar, Mariano Ponce, Emilio Jacinto and Andres
Bonifacio.

This led to the formation of the Propaganda Movement where prose works such as the
political essays and Rizal's two political novels, Noli Me Tangere and the El filibusterismo
helped usher in the Philippine revolution resulting in the downfall of the Spanish regime, and, at
the same time planted the seeds of a national consciousness among Filipinos.

But if Rizal's novels are political, the novel Ninay (1885) by Pedro Paterno is largely cultural
and is considered the first Filipino novel. Although Paterno's Ninay gave impetus to other
novelists like Jesus Balmori and Antonio M. Abad to continue writing in Spanish, this did not
flourish.

Other Filipino writers published the essay and short fiction in Spanish in La Vanguardia, El
Debate, Renacimiento Filipino, and Nueva Era. The more notable essayists and fictionists were
Claro M. Recto, Teodoro M. Kalaw, Epifanio de los Reyes, Vicente Sotto, Trinidad Pardo de
Tavera, Rafael Palma, Enrique Laygo (Caretas or Masks, 1925) and Balmori who mastered the
prosa romantica or romantic prose.

But the introduction of English as medium of instruction in the Philippines hastened the
demise of Spanish so that by the 1930s, English writing had overtaken Spanish writing. During
the language's death throes, however, writing in the romantic tradition, from the awit and korido,
would continue in the novels of Magdalena Jalandoni. But patriotic writing continued under the
new colonialists. These appeared in the vernacular poems and modern adaptations of works
during the Spanish period and which further maintained the Spanish tradition.

The American Colonial Period

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A new set of colonizers brought about new changes in Philippine literature. New literary
forms such as free verse [in poetry], the modern short story and the critical essay were
introduced. American influence was deeply entrenched with the firm establishment of English as
the medium of instruction in all schools and with literary modernism that highlighted the writer's
individuality and cultivated consciousness of craft, sometimes at the expense of social
consciousness.

The poet, and later, National Artist for Literature, Jose Garcia Villa used free verse and
espoused the dictum, "Art for art's sake" to the chagrin of other writers more concerned with the
utilitarian aspect of literature. Another maverick in poetry who used free verse and talked about
illicit love in her poetry was Angela Manalang Gloria, a woman poet described as ahead of her
time. Despite the threat of censorship by the new dispensation, more writers turned up "seditious
works" and popular writing in the native languages bloomed through the weekly outlets like
Liwayway and Bisaya.

The Balagtas tradition persisted until the poet Alejandro G. Abadilla advocated modernism
in poetry. Abadilla later influenced young poets who wrote modern verses in the 1960s such as
Virgilio S. Almario, Pedro I. Ricarte and Rolando S. Tinio.

While the early Filipino poets grappled with the verities of the new language, Filipinos
seemed to have taken easily to the modern short story as published in the Philippines Free Press,
the College Folio and Philippines Herald. Paz Marquez Benitez's "Dead Stars" published in
1925 was the first successful short story in English written by a Filipino. Later on, Arturo B.
Rotor and Manuel E. Arguilla showed exceptional skills with the short story.

Alongside this development, writers in the vernaculars continued to write in the provinces.
Others like Lope K. Santos, Valeriano Hernandez Peña and Patricio Mariano were writing
minimal narratives similar to the early Tagalog short fiction called dali or pasingaw (sketch).

The romantic tradition was fused with American pop culture or European influences in the
adaptations of Edgar Rice Burroughs' Tarzan by F. P. Boquecosa who also penned Ang Palad ni
Pepe after Charles Dicken's David Copperfield even as the realist tradition was kept alive in the
novels by Lope K. Santos and Faustino Aguilar, among others.

It should be noted that if there was a dearth of the Filipino novel in English, the novel in the
vernaculars continued to be written and serialized in weekly magazines like Liwayway, Bisaya,
Hiligaynon and Bannawag.

The essay in English became a potent medium from the 1920's to the present. Some leading
essayists were journalists like Carlos P. Romulo, Jorge Bocobo, Pura Santillan Castrence, etc.
who wrote formal to humorous to informal essays for the delectation by Filipinos.

Among those who wrote criticism developed during the American period were Ignacio
Manlapaz, Leopoldo Yabes and I.V. Mallari. But it was Salvador P. Lopez's criticism that
grabbed attention when he won the Commonwealth Literay Award for the essay in 1940 with his
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"Literature and Society." This essay posited that art must have substance and that Villa's
adherence to "Art for Art's Sake" is decadent.

The last throes of American colonialism saw the flourishing of Philippine literature in
English at the same time, with the introduction of the New Critical aesthetics, made writers pay
close attention to craft and "indirectly engendered a disparaging attitude" towards vernacular
writings -- a tension that would recur in the contemporary period.

The Contemporary Period

The flowering of Philippine literature in the various languages continue especially with the
appearance of new publications after the Martial Law years and the resurgence of committed
literature in the 1960s and the 1970s.
Filipino writers continue to write poetry, short stories, novellas, novels and essays whether
these are socially committed, gender/ethnic related or are personal in intention or not.
Of course the Filipino writer has become more conscious of his art with the proliferation of
writers workshops here and abroad and the bulk of literature available to him via the mass media
including the internet. The various literary awards such as the Don Carlos Palanca Memorial
Awards for Literature, the Philippines Free Press, Philippine Graphic, Home Life and Panorama
literary awards encourage him to compete with his peers and hope that his creative efforts will be
rewarded in the long run.
With the new requirement by the Commission on Higher Education of teaching of Philippine
Literature in all tertiary schools in the country emphasizing the teaching of the vernacular
literature or literatures of the regions, the audience for Filipino writers is virtually assured. And,
perhaps, a national literature finding its niche among the literatures of the world will not be far
behind.

This article is taken from this website:www.seasite.niu.edu/.../literary...

PHILIPPINE FOLKLORE

Philippine mythology and folklore include a collection of tales and superstitions about
magical creatures and entities. Some Filipinos, even though heavily westernized and
Christianized, still believe in such entities. The prevalence of belief in the figures of Philippines
mythology is strong in the provinces.

Because the country has many islands and is inhabited by different ethnic groups,
Philippine mythology and superstitions are very diverse. However, certain similarities exist
among these groups, such as the belief in Heaven (kaluwalhatian, kalangitan, kamurawayan),
Hell (impiyerno, kasamaan), and the human soul (kaluluwa).
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Filipino folktales are stories that form part of the oral tradition in the Philippines. They
have been passed on generation to generation by word of mouth rather than by writing, and thus
the stories have been modified by successive retellings before they were written down and
recorded. Folktales in general include legends, fables, jokes, tall stories and fairy tales. Many of
the folktales in the Philippines involve mythical creatures and magical transformations. Filipino
folktales reflect the traditions of Filipino people.

These stories may be broadly classified four groups:

1. PHILIPPINE MYTHS are about the creation of the universe, God (Bathala or
Maykapal), and
the origin of man, supernatural beings and native Filipino heroes.
2. FILIPINO LEGENDS (alamat) relate the origin of local phenomena, places, plants,
animals,
things and names. Examples: how did Kanlaon volcano came to be; why is the
Philippines made up of so many islands
3. FILIPINO FABLES are about animals and inanimate beings made to speak and act
like rational beings and pointing out morals.
4. FANTASTIC STORIES are about the unseen world or the underworld and with odd,
whimsical, or grotesque characters

A. Stories Of Creation:

Origin : From the Igorot

In the beginning there were no people on the earth.

Lumawig, the Great Spirit, came down from the sky and cut many reeds. He divided
these into pairs which he placed in different parts of the world, and then he said to them, "You
must speak."
Immediately the reeds became people, and in each place was a man and a woman who could
talk, but the language of each couple differed from that of the others.

Then Lumawig commanded each man and woman to marry, which they did. By and by
there were many children, all speaking the same language as their parents. These, in turn,
married and had many children. In this way there came to be many people on the earth.

Now Lumawig saw that there were several things which the people on the earth needed to
use, so he set to work to supply them. He created salt, and told the inhabitants of one place to
boil it down and sell it to their neighbors. But these people could not understand the directions of
the Great Spirit, and the next time he visited them, they had not touched the salt.
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Then he took it away from them and gave it to the people of a place called Mayinit. These did as
he directed, and because of this he told them that they should always be owners of the salt, and
that the other peoples must buy of them.

Then Lumawig went to the people of Bontoc and told them to get clay and make pots.
They got the clay, but they did not understand the molding, and the jars were not well shaped.
Because of their failure, Lumawig told them that they would always have to buy their jars, and
he removed the pottery to Samoki. When he told the people there what to do, they did just as he
said, and their jars were well shaped and beautiful. Then the Great Spirit saw that they were fit
owners of the pottery, and he told them that they should always make many jars to sell. In this
way Lumawig taught the people and brought to them all the things which they now have.

The Story of the Creation

Bilaan (Mindanao)

In the very beginning there lived a being so large that he cannot be compared with any
known thing. His name was Melu, and when he sat on the clouds, which were his home, he
occupied all the space above. His teeth were pure gold, and because he was very cleanly and
continually rubbed himself with his hands, his skin became pure white. The dead skin which he
rubbed off his body was placed on one side in a pile, and by and by this pile became so large that
he was annoyed and set himself to consider what he could do with it.

Finally Melu decided to make the earth; so he worked very hard in putting the dead skin
into shape, and when it was finished he was so pleased with it that he determined to make two
beings like himself, though smaller, to live on it.

Taking the remnants of the material left after making the earth he fashioned two men, but
just as they were all finished except their noses, Tau Tana from below the earth appeared and
wanted to help him.

Melu did not wish any assistance, and a great argument ensued. Tau Tana finally won his
point and made the noses which he placed on the people upside down. When all was finished,
Melu and Tau Tana whipped the forms until they moved. Then Melu went to his home above the
clouds, and Tau Tana returned to his place below the earth.

All went well until one day a great rain came, and the people on the earth nearly drowned
from the water which ran off their heads into their noses. Melu, from his place on the clouds, saw
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their danger, and he came quickly to earth and saved their lives by turning their noses the other
side up.

The people were very grateful to him, and promised to do anything he should ask of
them. Before he left for the sky, they told him that they were very unhappy living on the great
earth all alone, so he told them to save all the hair from their heads and the dry skin from their
bodies and the next time he came he would make them some companions. And in this way there
came to be a great many people on the earth.

Notes by Mabel Cook Cole:

1. Lumawig is the greatest of all spirits and now lives in the sky, though for a time his home was in
the Igorot village of Bontoc. He married a Bontoc girl, and the stones of their house are still to
be seen in the village. It was Lumawig who created the Igorot, and ever since he has taken a
great interest in them, teaching them how to overcome the forces of nature, how to plant, to reap
and, in fact, everything that they know. Once each month a ceremony is held in his honor in a
sacred grove, whose trees are believed to have sprung from the graves of his children. Here
prayers are offered for health, good crops, and success in battle. A close resemblance exists
between Lumawig of the Igorot and Kaboniyan of the Tinguian, the former being sometimes
called Kambun'yan.
2. This story is well known among the Bilaan, who are one of the tribes least influenced by the
Spaniards, and yet it bears so many incidents similar to biblical accounts that there is a strong
suggestion of Christian influence. It is possible that these ideas came through the Mohammedan
Moro.
3. Melu is the most powerful of the spirits and the one to whom the people resort in times of
danger.

B. Filipino Ethno-Epics

Centuries before the Spaniards came, the Filipinos already had their own cultural
traditions, folklore, mythologies and epics. Epic poems and songs about the exploits of
enchanted folk heroes were performed during festivities and proper occasions. Philippine epics
and folk tales are varied and filled with magical characters. They are either narratives of mostly
mythical objects, persons or certain places, or epics telling supernatural events and bravery of
heroes, customs and ideologies of a community. Most often, these epic poems (folk epics or
ethno-epics) were titled after the names of the hero involved, except for some which carry
traditional titles like the Kalinga Ullalim. Stories about folk heroes of long ago were described
as "Old Time History" because; they can be used to study the lifestyle and beliefs of the people
who produced them .
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Epics are stories that are written in poetic form. They are usually described to display
such tremendous vitality, color and imagination. Epic stories are tales about love and adventures
of native heroes. The heroes' adventures are usually about how they become endowed with
powers from the gods, battle monsters, triumph over formidable armies, ride the wind, travel on
flying shields and protect the earliest communities of the islands.

Some examples of ethno-epics (Summary)

Hudhud
(War Epic Of The Ifugao)

Hudhud,’ is one of the earliest epics ever written in the Philippines. It was believed to
have originally been written in an ancient Philippine script called ‘Alibata,’ and then later on
translated, upon discovery, into Tagalog . The ‘Hudhud’ was part of the earliest traditions of the
Ifugao tribal people. It was chanted among the natives whenever a prominent person dies in
their village, (or, recited during a harvest season.)

Summary:

Long had there been conflict between the two tribes that lived in the land of Ifugao. One
tribe was ruled by Antalao, and his son Aliguyon; and the rival tribe was ruled by Pangaiwan,
with his son Pumbakhayon. The conflict between the two tribes halted for some time, but once,
Aliguyan decided to continue his battle with his opponent Pumbakhayon.

Aliguyon prayed to the rooster, and to the Idao bird, which gave him a sign that he made
the right decision. Aliguyon, with his companions then, proceeded to the plains of Daligdigan.
There, he shouted, urging Pumbakhayon to do battle with him. Pumbakhayon instantly accepted
the challenge. They agreed to meet at a set date and time, and they would fight to the death.When
Pumbakhayon went home to prepare for the battle, unknowingly just like what Aliguyon did,
Pumbakhayon prayed to the rooster and the Idao bird.And the two heroes battled in the fields.
They possessed equal strength and cleverness in doing battle. The battle was amazing. Even the
ladies applauded.

In the middle of the fight, Dangunay, Pumbakhayon’s mother, arrived with

Pumbakhayon’s sister Bugan. Dangunay advised to stop the fight since it was obvious that the
two heroes were just equally brave. But the battle between Aliguyon and Pumbakhayon
continued. It continued and lasted until one and a half year, when, Aliguyon decided to visit his
home. He was greeted with a celebration; but a celebration that did not last for long, because
Pumbakhayon followed Aliguyon and their battle continued.
Just like their previous battles, Aliguyon and Pumbakhayon’s fight continued to be in the level
field. Aliguyan’s mother, Dumalao, arrived with Aliguyon’s sister Aginaya. Just like what
Pumbakhayon’s mother advised, Dumalao asserted to stop the fight since it was obvious that the
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two heroes were just equal in strength and cleverness. But the battle between Aliguyon and
Pumbakhayon continued. Their battle became well known throughout the land of Ifugao.

News of the battle reached Daulayan, steadfast suitor of Pumbakhayon’s sister Bugan.
But Daulayan received a news that Pumbakhayon, his would-be brother-in-law, was defeated and
killed by Aliguyon. Daulayan decided to take revenge, but was only surprised to see that
Pumbakhayon was still alive. Nonetheless, Daulayan still challenged Aliguyon. And Daulayan
was defeated by Aliguyon.

Pumbakhayon declared that Daulayan’s loss was a great shame. Pumbakhayon would not let him
marry his sister Bugan, and he announced that the rightful man to receive his sister’s hand in
marriage was no one else but Aliguyon. There was great joy and festivity. The two opposing
tribes achieved peace. Aliguyon married Pumbakhayon’s sister Bugan, and when Aliguyon took
Pumbakhayon with him to his home tribe, Pumbakhayon met Aliguyon’s sister Aginaya. And
their hearts were in agreement. Pumbakhayon took Aginaya to his home tribe and married.

Since then, there had been peace and joy between the two tribes of Aliguyon and
Pumbakhayon. Both tribes became known as great and honorable.

Darangan
(Maranao Epic)

There was a king in a faraway kingdom in Mindanao who had two sons. The elder was
Prince Madali and the younger one was Prince Bantugan. At a very early age, Prince Bantugan
had shown superior qualities over his elder brother Prince Madali. Their tutors would always tell
their father that Prince Bantugan was very intelligent. He was a fast learner, even in the use of
sword and bow and arrow. And he possessed such great strength that he could subdue three to
five men in a hand-to-hand combat.

The first indication that he would soon be a formidable soldier was seen when he single-
handedly killed a big and ferocious crocodile that had killed several villagers. The villagers
could not believe their eyes after the very short struggle.

He is so strong! an old man blurted out upon seeing the dead crocodile.

How could a man so young as he is can kill a killer crocodile? He must be possessed by the
gods! another villager said in awe.

Come on, let's thank the prince for killing the beast! The chieftain of theplace said to all
the villagers.
As years passed, Prince Bantugan reached to his manhood, he became the kingdom's
number one soldier. He always led their soldiers to the battlefield. And he always triumphed
over their kingdom's enemies. His name became a word of the mouth among the soldiers of the
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neighboring kingdoms. Soon no kingdom ever dared to conquer or make war with their
kingdom. No one would want to fight him. Peace and progress reigned in their kingdom
because they had gained the respect and recognition of their neighbors.

When their father died of old age, his elder brother, Prince Madali was named the new
king. There were silent protests among the ranks and their people. They wanted Prince
Bantugan to be the new king. Even the ordinary people were one in saying that Prince Bantugan
was the better choice between the two princes.

Prince Bantugan is brave and strong. He can really protect us from our enemies! an old
woman in the marketplace said to her listeners.

I agree with you, an old man answered.

This did not bother Prince Bantugan. He knew that his brother was the legal heir to the
throne because Prince Madali was the first sibling. He even vouched for his brother.My brother
deserves to be our new king because he had studied how to run the government, he told his
fellow soldiers and the ministers of the kingdom. He knows how to deal with foreign relations.
And he has several good ideas on how we can improve the life of everyone!The ministers and
the soldiers just nodded in agreement. However, a rift ensued between Prince Bantugan and
King Madali. Because Prince Bantugan was not only brave and strong but very handsome too,
several beautiful and young women in the kingdom fell in love for him, even the women whom
his brother, King Madali, wanted for himself, surrendered themselves under Prince Bantugan's
charm. Enraged and envious, King Madali proclaimed an order.I don't want anybody talking to
my brother, Prince Bantugan. Anyone who is seen talking to him will be put in jail or be
punished severely.

Prince Bantugan felt sad at his brother's order. He found himself like a person with
communicable disease. Everyone was staying away from him, even his women. Even the
people he loved. No one wanted to talk to him for fear of being jailed or severely punished by
the king. Unable to contain his grief, he decided one day to leave the kingdom and settled to a
faraway land where he spent the rest of his life

Textured Reading
 13

Intangible Heritage

Masterpieces of the Oral and Intangible Heritage of Humanity

On 18 March 2001, UNESCO for the first time awarded the title of "Masterpieces of the Oral
and Intangible Heritage of Humanity" to 19 outstanding cultural spaces or forms of expression from
the different regions of the world. In Asia, UNESCO honored six masterpieces, among them, the
Hudhud chants of the Ifugao of northern Luzon.

On November 25, 2005 the Maranao epic chant, the Darangen, was also proclaimed as another
Philippine masterpiece of oral and intangible heritage of humanity. The Darangan epic of the
Maranaos was proclaimed by the Paris-based United Nations Educational, Scientific and Cultural
Organization (UNESCO) as a "masterpiece of the oral and intangible heritage of humanity" in a
ceremony held recently at the UNESCO headquarters, according to a telex sent to the Department of
Foreign Affairs by the Philippine Permanent Delegation to UNESCO. According to Ambassador
Hector Villarroel, concurrent Philippine Permanent Delegate to UNESCO, the Darangen epic is one
of a bumper crop of 43 such masterpieces selected by an international jury headed by Princess
Basma Bint Talal of Jordan.

UNESCO Director-General Kolchiro MATSUURA proclaimed the masterpieces.

UNESCO defines oral and intangible heritage as: "The totality of tradition-based creations of a
cultural community, expressed by a group of individuals and recognized as reflecting the
expectations of a community in so far as they reflect its cultural and social identity; its standards and
values are transmitted orally, by imitation or by other means.

The NCCA Intangible Heritage Committee (NCCA/ICH) undertakes the inventory of Philippine
forms of intangible heritage; and the safeguarding of these. There are five categories: 1) oral
traditions and expressions, 2) performing arts, 3) social practices and festive events, 4) knowledge
and practices concerning nature and the universe, and 5) traditional craftsmanship.

http://www.unesco.org/bpi/intangible_heritage/index.htm
The Philippine Star December 13, 2005 Unesco proclaims Maranao’s Darangan epic as
‘masterpiece of intangible heritage’
 14

Sources:

AeDechavez Philippine Literature: Philippine Epics: Introduction, Review, Story, Summary of

‘Hudhud,’ a Philippine epic story of the Ifugao Province, Cordillera.

Mabel Cook Cole, Philippine Folk Tales (Chicago: A. C. McClurg and Company, 1916), pp. 99-101; 139-
140.

http://www.unesco.org/bpi/intangible_heritage/index.htm
The Philippine Star December 13, 2005 Unesco proclaims Maranao’s Darangan epic as
‘masterpiece of intangible heritage’