AKDA: ISSUE ONE— PAGES 81-92
ABSTRACT. This essay, delivered as a keynote at the second national conference on the sugidanon (epics) of Panay at the University of the Philippines Visayas (Iloilo campus) in December of 2015, inquires into the broadly creative affordances offered by mythological material to artists in general, and to writers in particular. It uses as examples the first few volumes of the Panay Bukidnon’s epic series, whose insights into non-dualistic thinking and transcendence echo the paradoxical procedures of poetic creativity on one hand, and urge translations into present-day national narrativities on the other, in light of the country’s increasingly cloven and agonized realities. Finally, as a way of fortifying its central argument, it discusses recent mythopoeic works by Filipino writers, that demonstrate in a variety of ways the generativity—and the usefulness—of this kind of creative project.
Myth and the Creative Imagination1 81
Keywords: myth and writing, functions of myth, sugidanon of Panay, Tikum Kadlum, Amburukay, Derikaryong Pada, myth and pedagogy, mythopoeia, myth and science, mythopoetic retellings
J. Neil C. Garcia teaches creative writing and comparative Press published its own international edition of his Philippine literature in the University of the Philippines-Diliman, where Gay Culture (1996). Between 1994 and 2014, he coedited he serves as Director of the university press and a fellow for the famous Ladlad series of Philippine gay writing. Another poetry in the Institute of Creative Writing. He is the author important anthology that he edited is Aura: the Gay Theme of numerous poetry collections and works in literary and in Philippine Fiction in English, published in 2012. His most cultural criticism, including The Sorrows of Water (2000), recent books are The Postcolonial Perverse: Critiques of Kaluluwa (2001), Performing the Self: Occasional Prose Contemporary Philippine Culture, Homeless in Unhomeliness: (2003), The Garden of Wordlessness (2005), Misterios and Postcolonial Critiques of Philippine Literature, and Myth and Other Poems (2005), and Postcolonialism and Filipino Poetics: Writing: Occasional Prose. He is currently at work on “Likha,” Essays and Critiques (2003). In 2009, Hong Kong University his seventh poetry book. MYTH AND THE CREATIVE IMAGINATION
UniversityUniversity administrators, administrators, fellow teachers writtenOur people’sword. While epics are,the of course,technologizing forms of and cultural workers, students, friends, lovers of the spoken word can’t help but reify and and cultural workers, students, friends, lovers native mythological knowledge, and it would do of literature, ladies and gentlemen: a pleasant transform it—away from the provisionality of literature, ladies and gentlemen: a pleasant us well as a nation to preserve and cherish them morning to you all. of performance into the stasis of print—these morningWith tomuch you all. trepidation I took over as booksin the hopefully modern mediumdocument of something the written of word. the DirectorWith of much the University trepidation of I the took Philippines over as originalWhile theexperience technologizing of this native of the community’s spoken word PressDirector back of in theJuly Universityof 2011. As of I count the Philippines down my primevalcannot help and butmythic reify world. and transform Needless it—away to say, remainingPress back months in July in of this 2011. office As II countfind myself down mythologyfrom the provisionality is a form of spiritualof performance orature ,into which the lookingmy remaining back on monthsthe past four in this years o andce the I onend hasstasis provided of print—these human booksbeings hopefully one of the document oldest hundredmyself lookingand sixty back excellent on the titles past that four we yearshave pathssomething to the ofdivine. the originalMyth represents experience in ofritual, this thusand far the published—in 160 excellent creative titles that writing we haveand narrative,native community’s and symbolic primeval forms and intuitions mythic ofworld. the scholarship, both. spiritual realm, and it has done so from the thus far published—in creative writing and Needless to say, mythology is a form of spiritual Without a doubt among the titles that earliest times. scholarship, both. orature, which has provided human beings one of I’m proudest of are the books that we are The basic theme of all myths is that featuringWithout here a doubttoday. among The product the titles of that decades I am therethe oldest is an pathsinvisible to the reality divine. that Myth supports represents the ofproudest painstaking of are research the books and that translation we are featuring work by visiblein ritual, world. narrative, Mythology, and symbolic in formsthis sense,intuitions is ahere team today. of researchers e product from of decades the UP of painstaking Visayas— fundamentallyof the spiritual mystical realm, and in character, it has done rendering so from admirablyresearch andheaded translation by Professor work by a Emeritus team of intothe earliestimages times. the amorphous essence of all Aliciaresearchers P. Magos—this from the UP epic Visayas—admirably series marks a things, e through basic theme which of it all can myths be experienced is that there singularheaded bymoment Professor in Emeritus the history Alicia of P.Philippine Magos— andis an known. invisible We reality may that then supports see myth the visibleas a publishing,this epic series for marksit presents a singular in textual moment form in the creativeworld. Mythology, and “imaginal” in this fieldsense, whoseis fundamentally referent, irreplaceable wisdom and communal lore of the in the ultimate sense, is transcendent. Its history of Philippine publishing, for it presents mystical in character, rendering into images the Panay Bukidnon people. This is the first time purpose is to enable us to experience the world 82 in textual form the irreplaceable wisdom and amorphous essence of all things, through which that such a substantive oral corpus has been that opens to us the spiritual dimension that recovered,communal transcribed, lore of the Panay translated Bukidnon into people. three enfoldsit can be it. experienced Myths make and us known. realize Wethe maymystical then languages, is is the and rst timesubsequently that such published,a substantive in oralour presencesee myth inas aevery creative one and and “imaginal” in every thing,eld whose for country.corpus has been recovered, transcribed, translated accordingreferent, in to the their ultimate deepest sense, insight, is transcendent. we have all Its intoI’m three very languages, happy to and be subsequentlywith you today, published, as you beenpurpose poured is to outenable of theus tocreator’s experience eternal the worldSelf; 2 holdin our this country. Second National Conference on the wethat are opens all manifestations to us the spiritual of the dimensionone divinity. that SugidanonI am very of Panay.happy toI am be withparticularly you today, enthused as you enfoldsHence, it. Mythsmythology make elicits us realize in us the a mystical sense tohold celebrate this Second and acclaim National with Conference you the on first the ofpresence wonder in and every awe: one we and come in everyto realize thing, the for three volumes of this landmark series: Tikum mystery of our selves, and of the universe we Sugidanon of Panay. I am particularly enthused according to their deepest insight, we have all Kadlum, Amburukay, and Derikaryong Pada, live in—the mystery implicit in all the forms of to celebrate and acclaim with you the rst been poured out of the creator’s eternal Self; we which we had the pleasure of launching at the creation. Reading and experiencing myths,2 we Performaturathree volumes Festival of this in landmark the Cultural series: Center Tikum of comeare all to manifestations see that our actualof the onesituations, divinity. like the theKadlum Philippines, Amburukay early , last and month. Derikaryong Pada, differentHence, situations mythology of the elicits characters in us a of sense these of whichOur we people’s had the epics pleasure are, of of launching course, atforms the stories,wonder andare awe:underpinned we come toby realize a transcendent the mystery ofPerformatura native mythological Festival at the knowledge, Cultural Center and ofit truth.of our selves, and of the universe we live in— wouldthe Philippines do us well early as lasta nation month. to preserve and theBut mystery mythology implicit in allalso the formsevinces of creation.other cherish them in the modern medium of the functions. Like science, myth describes for
11 Keynote givenKeynote at the given Second at the National Second ConferenceNational Conference on the Sugidanon on the Sugidanon of Panay, Decemberof Panay, December 10, 2015, University10, 2015, University of the Philippines of the Philippines Visayas, Iloilo City. 2 Visayas, I source Iloilo this definitionCity. of myth—as well as its functions—from the numerous books of Joseph Campbell, most especially the following: 2 The Hero with I sourcea Thousand this definition Faces (New of York:myth—as Pantheon well Books,as its functions—from 1949); The Power the of numerous Myth (New books York: ofAnchor Joseph Books, Campbell, 1991); mostand Thouespecially Art the That:following: Transforming The Hero Religious with a Thousand Metaphor Faces (Novato,; The CA: Power New of World Myth; Library,and Thou 2001). Art That: Transforming Religious Metaphor.
AKDA J. NEIL GARCIA
Readingus the various and experiencing shapes and myths,textures we of come reality; to notis that only they recognizes remain duality,expressive but ofalso—and this people’s more seeunlike that science, our actual however, situations, it more like easily the diaccedes erent importantly—yearnsprofound aspirations, to whichtranscend include it. the vision situationsto the realization of the characters that what ofis real these is stories,ultimately are thatIndeed, not only in recognizesthese stories, duality, the “sky-world” but also—and and underpinnedunknowable. byAnd a transcendent then, we may truth. also say that themore “earth-world” importantly—yearns are not divided, to transcend but actually it. myths serve a didactic or pedagogical purpose, But mythology also evinces other functions. interpenetrateIndeed, in one these another, stories, their the creatures “sky-world” freely as well: they provide individuals residing in and the “earth-world” are not divided, but Like science, myth describes for us the various tra cking across the non-absolute and proximal their specific communities guides or “manuals” actually interpenetrate one another, their shapes and textures of reality; unlike science, realms—of the present and the non-present on how to live under whatever conditions. creatures freely trafficking across the non- however,Finally, mythit more also easily serves accedes to to legitimate the realization the (eitherabsolute the and past proximal or the yet-to-be), realms—of as thewell present as the thatsocial what order, is realas it is exists. ultimately It’s inunknowable. this sense Andthat abodesand the of non-present the deities (either and supernatural the past or forces the then,myths we are may culturally also say thatbound myths as servewell asa didactic place- andyet-to-be), of ordinary as well people. as the abodes Resurrection of the bridgesdeities orspecific: pedagogical they are purpose, entirely asthe well: products they of provide their theand chasm supernatural between forces the living and of and ordinary the dead, people. and individualsown time residingand circumstance. in their speci Thec communities problem becauseResurrection time inbridges this world the chasm is experienced between asthe a guidesof literalism, or “manuals” which onis what how the to livescientistic under cyclicalliving and seasonality, the dead, it happensand because over andtime again in this in dismissal of myths typically enacts, is precisely whatever conditions. Finally, myth also serves to theseworld heroic is experienced tales. Even asthe a distinctions cyclical seasonality, of gender its reduction of these age-old tales to this literal it happens over and again in these heroic tales. legitimate the social order, as it exists. It is in this and “enmity” prove to be typically mutable: level, this specific descriptive or “sociological” Even the distinctions of gender and “enmity” sense that myths are culturally bound as well as femaleness shifts into maleness if it must, and function, to the neglect of everything else. prove to be typically mutable: femaleness place-speciBy contrast, c: they the are moment entirely we the understand products of theshifts enemy into ormaleness the “other” if it ismust, actually and inextricablythe enemy theirthat our own stories time and about circumstance. God are myths—thee problem partor the of the“other” “same”—is is actually even, inextricablyshockingly, its part blood of ofmoment literalism we is preciselysee that itsour reduction religions of mythsproffer to relation—ifthe “same”—is only youeven, allow shockingly, yourself to lookits blood more thisnot literalliteral level, truths this butsociological rather function,symbolic to andthe closelyrelation—if (these onlyplot “twists”you allow happen yourself in these to epicslook 83 neglectspiritual of ones—then everything else. our faith can be set free tomore precisely closely confound (these andplot “twists”nally collapse happen these in fromBy the contrast, cultural the prisons moment of fundamentalist we understand onerousthese epics binaries). to precisely Finally, confoundevil can be and good, finally too, ethnocentrism and literal-mindedness. The that our stories about God are myths—the oncecollapse you theseintuit onerouspast the binaries).surface of the apparent comparative study of myth makes us see that Finally, evil can be good, too, once you moment we see that our religions pro er into the hidden and implicit depth. We may, for the various myths—actually, all religions—are intuit past the surface of the apparent into not literal truths but rather symbolic and example, consider of the villain, the monster- at once false and true. False because what they the hidden and implicit depth. We may, for spiritualgive us are ones—then mere symbolic our faithimages can or bemetaphors set free womanexample, Amburukay,think of the whose villain, actions the monster- emerge from(which the by culturaldefinition prisons cannot of be fundamentalist facts, cannot entirelywoman outAmburukay, of her maternal whose benevolence. actions emerge In like ethnocentrismbe literally true), and but literal-mindedness.true precisely because e manner,entirely thereout of is her really maternal no con benevolence.ict between theIn comparativethese very same study metaphors of myth gesture makes ustoward see thatthe bodylike manner, and the there’sspirit, asreally can beno intuitedconflict frombetween the theone varioustranscendent myths—actually, mystery. all religions—are waythe bodythese andstories the perceive spirit, as and can present be intuited the “truth” from at onceAll thesefalse insightsand true. are False in full because and splendorous what they ofthe human way these sexuality: stories namely, perceive that itand is present nature’s evidence in the sugidanon, whose epic and give us are mere symbolic images or metaphors entirelythe “truth” beautiful—indeed, of human sexuality: its preciously namely, eecythat mostly coastal and oceanic world stands in it is nature’s entirely beautiful—indeed, its (which by de nition cannot be facts, cannot be and altogether golden—gift. Astonishingly, this contrast to the Panay Bukidnon’s everyday preciously fleecy and altogether golden— literally true), but true precisely because these “sex-positivity” is an insight that we may glean physical reality: a clear reminder that like gift. Astonishingly, this “sex-positivity” is verymost sameother metaphorsindigenous gesturepeoples toward in our country, the one froman insight the story that of we the may theft glean of the from luminous the story and transcendentthey must have mystery. been seaside inhabitants once belovedof the strandtheft of grislythe luminoushirsuteness—a and violationbeloved uponAll a these time, insights who were are indisplaced full and splendorousand driven thatstrand actually of grisly gives hirsuteness—athis villain her own violation memorable that evidenceup- and inland in by the successive sugindanon waves, of which conquest are “hero’sactually journey” gives this (consisting villain her of own a ritualistic memorable and descriptiveand Christianization. not so much Thisof the may Panay be Bukidnon’s the most genitally“hero’s journey” “self-agellating” (consisting quest of a ritualistic to regain and her everydayobvious reference physical realityto something as expressive empirically of their sacredgenitally treasure), “self-flagellating” as well as inaugurates quest theto journeyregain descriptive about these myths, whose value aspirations, chiefest of which is the vision that ofher one sacred of the treasure),sugidanon ’sas primary well asprotagonists. inaugurates
AKDA MYTH AND THE CREATIVE IMAGINATION
the Moreover,journey of in one Tikum of the Kadlum sugidanon and Amburukay’s primary, exceptwhich thatabide they fully have inside the tendency their natural to stand contexts apart protagonists.we can see the mythical motif of the “one fromeven ascreation, they come which to embodyis not the realities case with that theserefer forbiddenMoreover, thing,” in that Tikum resonates Kadlum with the storyand naturalto truths and glimmering meaning-endowed beyond their objects, shapes. which Amburukay, we can see the mythical motif Given this form of “mystical mnemonics,” of the Edenic garden and its mortally fateful abide fully inside their natural contexts even as of the “one forbidden thing,” that resonates we are reminded of the psychodynamics tree. In the rst book the datu’s enchanted black they come to embody realities that refer to truths with the story of the Edenic garden and its of oral consciousness, which is situational, mortallydog warns fateful his master tree. against In the cutting first bookdown the glimmeringsympathetic, beyond and theirparticipatory, shapes. rather than datu’ssacred enchanted bamboo in black the middledog warns of thehis magicalmaster abstractGiven and this individualistic. form of “mystical Moreover, mnemonics,” evident againstforest. In cutting the second, down Labawthe sacred Donggon’s bamboo parents in the wein theare languagereminded ofof thesethe psychodynamics epics is the fact of thatoral middlewarn their of sonthe notmagical to carry forest. out hisIn planthe second,to steal consciousness,oral thinking is—inwhich theis situational, words of the sympathetic, historian, Labawthe forest Donggon’s hag’s glittery parents pubic warn hair their (to useson asnot a andWalter participatory, J. Ong—immediate, rather than practical, abstract “close and to carry out his plan to steal the forest hag’s to the life-world,” and at once “copious” and replacement for the broken string of his heirloom individualistic.3 Moreover, evident in the language glitteryguitar), forpubic such hair an (toact usewould as asurely replacement bring about for ofvoluble. these epics Which is the is factto say:that oralthe thinkingplenitude is— of the broken string of his heirloom guitar), for their adjectives, epithets, and thought-pictures disaster. Of course, the moment something is in the words of the historian, Walter J. Ong— such an act would surely bring about disaster. helps keep the listener focused and attentive, explicitly forbidden in a myth, we can expect immediate, practical, “close to the life-world,” Of course, the moment something is explicitly on one hand; and on the other, the3 structure of forbiddenit to be transgressed, in a myth, forwe thiscan isexpect precisely it to how be andtheir at epic once utterance, “copious” as and with voluble. the other Which examples is to transgressed,the plot of powerful for this isstories—ancient precisely how theas wellplot ofas say:of folklore,the plenitude rests of theiron additive adjectives, and epithets, iterative and powerfulmodern—may stories—ancient be said to unfold. as well asen modern— as now, a thought-picturessentence patterns helps (obviously, keep the theselistener exist focused for mayperfect be paradisesaid to unfold.has little Then or no asnarrative now, a interest.perfect andthe purpose attentive, of on easier one hand;recall, andrepresented on the other, best paradise e stasis has and little equanimity or no narrative of the ordinary interest. world The thein the structure sugidanon of their’s ritualistic epic utterance, formula: as with“Where the stasiswill need and toequanimity be disturbed, of ifthe the ordinary heroic journey world otherwe ended/ examples Was of where folklore, we paused”).rests on additive Of course, and 84 willshould need commence. to be disturbed, if the heroic journey iterativewhat these sentence self-same patterns qualities (obviously, finally these tell exist us should commence. is that oral cultures are living and dynamic Perhaps the most interesting idea in these for the purpose of easier recall, represented best Perhaps the most interesting idea in social formations, in their own right. Despite epics is that of the tuos or sacred pact, embodied in the sugidanon’s ritualistic formula: “Where these epics is that of the tuos or sacred pact, being pre-analytical, orality is a mode of embodiedin this pre-literate in this pre-literate world not inworld any writtennot in weconsciousness ended/ Was that where is weeminently paused”). capable Of course, of anycontract written but rather contract in actual but tangible rather things,in actual that whatgenerating—as these self-same well qualitiesas nurturing—its nally tell usown is tangibleare thereby things, invested that withare thereby spiritual invested potency with and thatprofound oral culturesforms of are thought. living and dynamic social spiritualincalculable potency worth. Inand the incalculable absence of writing, worth. this In formations,In fact, in theirthe ownideas right. of Despite harmony being pre-and theancient absence and oral of peoplewriting, found this aancient way of indicatingand oral analytical,unification—between orality is a mode humanity of consciousness and nature, that peopleand pinning found down a way memory: of indicating through and the pinningworldly isor eminentlythe worldly capable and the of generating—asdivine, on one well hand; as downobjects memory:that signi throughed beyond the their worldly physical objects forms, nurturing—itsand between ownthe profound conflicting forms interests of thought. of that signified beyond their physical forms, different groups of human beings on the and whose radiance su used their everyday In fact, the ideas of harmony and and whose radiance suffused their everyday other—are priceless bequests that these stories existence. Most certainly, the act of investing uni cation—between humanity and nature, or existence. Most certainly, the act of investing would seem to particularly wish to offer us, meaning into their world was of a piece piece with theespecially worldly now and that the they divine, have on been one transcribed, hand; and this people’s people’s reverential reverential attitude attitude toward toward nature, nature, betweentextualized, the and con translated, icting interests and therefore of di madeerent that they knew waswas animatedanimated by thethe samesame SpiritSpirit groupsnewly abstract of human and beings categorical. on the In other—are the face dwelling inside themselves. It’s important to pricelessof a fractious bequests and that divided these storiescountry, would these seem are remember that written words are signs as well, well, toinsights particularly that Filipinos wish to all o needer us, to especially embrace nowand except that they have the tendency to stand to champion, more and more. apart from creation, which isn’t the case with This is especially true now, when so many these natural and meaning-endowed objects, of our lumad brothers and sisters in Mindanao
3 See Ong, Orality and Literacy: The Technologizing of the Word. 3 Walter J. Ong, Orality and Literacy: The Technologizing of the Word (New York: Methuen & Co. Ltd., 1982)
AKDA J. NEIL GARCIA
thatare theybeing have imperiled been transcribed, by militarization textualized, and coursestory, foris ostensibly instance, about we mightthe activity now of consider reading translated,armed insurgency—the and therefore made mineral newly resources abstract and of andtaking understanding our students literary through texts, the we process may wish of categorical.their ancestral In the domains face of abecoming fractious andthe dividedobject tostory consider telling, how by we,not assimply literature enumerating teachers, canits of corporate avarice and state-sponsored elements, but by letting them experience these country, these are insights that Filipinos all need best instill the love of reading in our students. capitalist exploitation. By becoming more on their own: with our guidance, they can make to embrace and to champion, more and more. Whatever the language of instruction, in teaching deeply aware of the rich oral traditions of our up plots, think up characters and dialogue, indigenous is is especiallypeoples, and true by now, learning when about so many and imaginethe short story,settings, for instance,play around we may with now points consider of actualizingof our lumad their brothers mystical and sistersrealizations in Mindanao about view,taking contemplate our students ideas through or themes. the process In teaching of story ourare spiritual being imperiledOneness as by a nation, militarization Filipinos and in poems,telling, byon not the simply other enumeratinghand, the teacher its elements, might generalarmed insurgency—thewill be able to recognize mineral resourcesand respect of wishbut by to letting end orthem emphasize experience certain these onlessons their own:with theirthe “difference” ancestral domains of our becoming indigenous the brethren,object of witha poetic our exerciseguidance, that they may can or make may upnot plots, eventuate think corporatewhose well-being avarice andand state-sponsoredinterest we will capitalistnow see upin the characters writing andof a poem, dialogue, but imagineat least presents settings, exploitation.as being ultimately By becoming inseparable more from deeply our awareown, playa demonstration around with of points certain of poetic view, skills: contemplate poetic and whose identity coincides with the vital description or metaphor-making, for instance, of the rich oral traditions of our indigenous ideas or themes. In teaching poems, on the other otherness living inside ourselves. the correct use of other figures of speech, or peoples, and by learning about and actualizing hand, the teacher may wish to end or emphasize These epics remind us that we were even an illustration of certain rudiments of alltheir lumad mystical, once realizations upon a abouttime. ourBecause spiritual of versification.certain lessons with a poetic exercise that may theirOneness enduring as a value nation, as Filipinosgifts of the in creative general or mayIn short,not eventuate we can inencourage the writing them of a topoem, tell imagination—throughwill be able to recognize which and empathy respect theor stories—forbut at least presents yes, poems a demonstration also tell stories, of bycertain way solidarity“di erence” becomes of our indigenouspossible and brethren, may finally whose be ofpoetic imagery skills: and poetic figurative description expression. or meta¬phor Rather well-beingrealized as anda collective interest truth—the we will now sugidanon see as making,than alienate for instance, them from the correct literature, use ofwe other can beingalso tell ultimately us that right inseparable in the frommarrow our of own,our enjoingures ofour speech, students or even to anactively illustration participate of certain in 85 andmythic whose bones, identity despite coincides the epistemic with theviolence vital rudimentsits production of versi by writingcation. texts, and not merely and ruptures of our history, the luminous chant passively reading them. After all, creation is otherness living inside ourselves. In short, we can encourage them to tell still croons that we are lumad, still and all… the highest form of literary appreciation. ese epics remind us that we were all lumad, stories—for yes, poems also tell stories, by way of A particular activity we may deploy once upon a time. Because* * * of their enduring value inimagery our classroom and gurative is what expression. literary Rather scholars than as gifts of the creative imagination—through callalienate mythopoeia them from. This literature, word weisn’t can as enjoin scary ouras whichAllow empathy me, orat solidarity this point, becomes to sharepossible some and itstudents sounds, to activelybecause participate it simply in refersits production to the thoughtsmay nally beon realized the aspossible a collective pedagogical truth—the creativeby writing appropriation texts, and not merelyof folkloric passively material, reading affordancessugidanon also of tell these us thatmyths, right in in relation the marrow to the of them.for whatever After all, purpose creation isin thewhichever highest formgenre. of teachingour mythic of bones, literature despite in our the schools,epistemic especially violence literaryThe Philippines appreciation. abounds in folkloric sources, inand view ruptures of recent of our curricular history, the revisions luminous and chant the originallyA particular oral, although activity wea number may deploy of them in wholesale structural shift into the K to 12 have already been transcribed. There exists an still croons that we are lumad, still and all… our classroom is what literary scholars call System. abiding interest in these materials among local Allow me, at this point, to share some thoughts mythopoeia. is word is not as scary as it I am thinking, in particular, of the readers, as evidenced in the fact that folklore deploymenton the possible of pedagogicalcreative writing a ordances strategies of these in anthologies—ofsounds, because myths, it simply legends, refers tales, toriddles, the themyths, teaching in relation of literatureto the teaching courses, of literature especially in proverbs,creative appropriationepics and songs—are of folkloric still, for material,decades inour the schools, High especially School inand view early of recentCollege curricular levels. now,for whateverthe bestselling purpose titles in of the whichever UP Press. genre. Insofarrevisions as and a literature the wholesale course structural is ostensibly shift about into eWhy Philippines we are aboundsseeing a in preponderance folkloric sources, of the Kactivity to 12 System. of reading and understanding originallymythopoeia oral, in although contemporary a number Philippine of them literaryI am texts,thinking, we inmight particular, wish ofto the consider deployment how haveculture—from already been films, transcribed. TV shows, ere theatrical exists an we,of creative as literature writing teachers, strategies can in best the teachinginstill the of abidingproductions, interest to in thesebooks—can materials partially among localbe love of reading in our students. Whatever the explained by the “cultural simultaneity” of literature courses, especially in the High School readers, as evidenced in the fact that folklore language of instruction, in teaching the short Philippine society, where oral and textual, and early College levels. Insofar as a literature anthologies—of myths, legends, tales, riddles,
AKDA MYTH AND THE CREATIVE IMAGINATION
pre-rationalproverbs, epics and and rational songs—are forms still, of forknowledge decades youngthe sex writers. lives of While elementals some and of these aswangs works (who are blissfullynow, the coexist. bestselling The titles persistence of the UPof folkloric— Press. ironic—forare frantically instance, searching in this year’sfor the batch, “last a campy male also called “superstitious”—beliefs in an age of virgin”). Also, Will P. Ortiz’s prospective series Why we are seeing a preponderance of novel about the lost and 5somewhat inept son of global digital information is probably one of of young-adult novels, in Filipino as well, mythopoeia in contemporary Philippine culture— two superheroes, a magical transgender shokoy, the areas in which the syncretism of our local about Aya Aquiling, an awkward twelve-year- from lms, TV shows, theatrical productions, to and a cast of colorful characters drawn from cultures is most obvious. And indeed, young old girl who discovers that she is, in truth, the Filipinobooks—can writers partially seem be particularlyexplained by receptivethe “cultural to bothreincarnation contemporary of the andwell-known ancient mythologicaland beloved thissimultaneity” dissonance, of and Philippine are thematizing society, where it in their oral references—thenature goddess, bulk Mariang would Makiling. still be of the serious works—inand textual, horror, pre-rational fantasy, and and rational the “speculative” forms of or evenBecause poetic myths sort. are O handmetaphorical I can bring figures up sub-genres.knowledge blissfully coexist. e persistence of Mayettefor transcendent M. Bayuga’s mysteries, novel, Sa myAmin suggestion sa Dagat- 4 folkloric—alsoThere are, calledto my “superstitious”—beliefs mind, two kinds inof dagatangto writers Apoy who, aboutwish theto undertakesex lives of elementalstheir own mythopoetican age of global projects—really, digital information aesthetic is probably modes. andrespective aswangs mythopoetic (who are frantically projects searchingis, first and for Weone mayof the refer areas to thein which first mode the syncretism as ironic, and of thisour theforemost, “last maleto bear virgin”). in mind Also, that Will a metaphor, P. Ortiz’s treatment is typically exemplified by parodic being a figure of speech about resemblance5 local cultures is most obvious. And indeed, young prospective series of young-adult novels, in narratives involving mythological heroes (as and paradoxical unity, is composed of two Filipino writers seem particularly receptive to Filipino as well, about Aya Aquiling, an awkward well as villains). An example that immediately elements: a vehicle and a tenor. While the comesthis dissonance, to mind is and Carlo are Vergara’sthematizing uproariously it in their 12-year-oldformer is easy girl enough who discovers to identify, that shewe is,must in funnyworks—in graphic horror, novel, fantasy, Zsazsa and Zaturnnah the “speculative”, whose truth,remember the reincarnationthat the latter, of being the well-known the very heart and storysub-genres. implicates both the native belief in belovedor message nature of goddess,the myth, Mariang is always Makiling. a matter of amulets ere and are, the to modern my mind, mythos two of kinds comic- of interpretation.Because myths are metaphorical gures for book-generatedmythopoetic projects—really, big-breasted aesthetic superheroines modes.. transcendentIt is in this mysteries, sense that my mythopoetic suggestion retellingsto writers OnWe the may other refer hand, to the ready rst examples mode as ironicof earnest, and whowill always wish to be undertake subjective: their the own message respective or 86 mythopoeticthis treatment workis typically are commonly exempli ed seen by parodic in the mythopoetic“truth” of the projects myth being is, rstutilized and foremost,is always, in to fantaseryes on primetime television or the fact, an intimate and personal one. It’s crucial, narratives involving mythological heroes (as well bear in mind that a metaphor, being a gure heroic fantasy films—mostly historical, but however, for the writer to also realize that it as villains). An example that immediately comes of speech about resemblance and paradoxical sometimes also futuristic. is precisely this message that ultimately takes to mindAs a isregular Carlo panelist Vergara’s in uproariouslythe University funny of unity,precedence is composed over the of contingent two elements: vehicle, a vehiclewhich thegraphic Philippines novel, Zsazsa National Zaturnnah Writers, whose Workshop story andindeed a tenor. can beWhile adapted, the former revised, is easyrewritten, enough and to forimplicates a couple both of the decades native beliefnow, Iin can amulets say thatand identify,transformed. we must Thus, remember for example, that the inlatter, the being case mythopoeticthe modern works, mythos typically of comic-book-generated as fiction or verse, theof Ortiz,very heart because or message the Makiling of the myth, myth is alwaysis (to arebig-breasted being carried superheroines out by more. On and the more other of hand, our aher) matter really of interpretation.about the importance of human youngready examples writers. ofWhile earnest some mythopoetic of these work works are accountabilityIt is in this sensein the that face mythopoetic of nature’s imperiled retellings arecommonly ironic—for seen ininstance, the fantaseryes in this onyear’s primetime batch, willbeauty, always keeping be subjective: this firmly the in message mind she or indeed“truth” a campy novel about the lost and somewhat could elect to transfer the setting of the gentle television or the heroic fantasy lms—mostly of the myth being utilized is always, in fact, an inept son of two superheroes, a magical and nature-caring native goddess away from historical, but sometimes also futuristic. intimate and personal one. It’s crucial, however, transgender shokoy, and a cast of colorful the mountainous fastness of Laguna to the charactersAs a regular drawn panelist from inboth the contemporary University of forcontemporary the writer tocityscape, also realize and that even it isto preciselyportray andthe ancient Philippines mythological National references—the Writers Workshop bulk thisher not message as a thatself-assured ultimately maiden, takes precedencebut rather wouldfor a couplestill be of the decades serious now, or even I can poetic say sort. that overas a theconfused contingent pubescent vehicle, girl, which who indeedwill grow can Offhandmythopoetic I can works, bring typically up Mayette as ction M. Bayuga’sor verse, beinto adapted, her own revised, “goddess rewritten, self ” and and have transformed. a heroic 4 novel,are being Sa Amincarried sa out Dagat-dagatang by more and Apoymore, of about our adventureus, for example, in the present-day in the case urbanof Ortiz, world. because
4 Mayette M. Bayuga, Sa Amin, Sa Dagat-Dagtang Apoy (Quezon City: University of the Philippines Press, 2014). 54 The first Seeof these Bayuga, books Sa Amin,was launched Sa Dagat-Dagtang last month Apoy. in UP Diliman. See Will P. Ortiz,Ang Pagbabalik ni Mariang Makiling (Quezon City: University of the Philippines, Diliman, Quezon City, 2015). 5 The first of these books was launched last month in UP Diliman. See Ortiz, Ang Pagbabalik ni Mariang Makiling.
AKDA J. NEIL GARCIA
the Allow Makiling me myth at this is (to point her) reallyto pose about a few the suppose,remotely for reduced me, I will to have the tobrain’s begin gray by reminding matter), importanceof the questions of human that accountability I believe ourin themyth- face myselfthe singularity that as a sourcethat lies of knowledgeat the heart mythology of the ofinclined nature’s writers imperiled should beauty, ponder. keeping Thesethis rmlyare remainsBig Bang, valid, the despite finely the tuned ascendancy universe, of science, black also opportunities for them to make more holes and their event horizons, dark matter in mind she indeed could elect to transfer the which itself can only o er provisional and “self- purposive decisions about their use of this and dark energy, quantum superpositions and setting of the gentle and nature-caring native rectifying” explanatory narratives for the nature type of allusion. entanglements, the Planck scale, and all the goddessWhat away should from thethe mountainousFilipino fastnesswriter’s ofother reality. imponderables As we may that have scientists heard, the have best been and offundamental Laguna to attitude the contemporary toward mythology cityscape, andbe? mostconjuring honest forth, practitioners of late. of science as a method evenIs it tosimply portray material, her not oras isa self-assuredit rather a distinctmaiden, of inquiry acknowledge reality as essentially butframe rather of asmind a confused or perspective, pubescent that girl, bidswho onewill mysterious, still and * all.* * We may think, for growto see into and her acquiesce own “goddess to the self uncertain ” and have and a example, of the “hard problem” of consciousness heroicthe numinous adventure inin theour present-day midst, the urban mysterium world. (theMyth qualia does or innernot really experience compete that with cannot science, be tremendumAllow me et atfascinans this point? Related to pose to a thisfew ofis the remotelyfor its functionreduced toisn’t the brain’sprimarily gray explanatorymatter), the question of whether the stance of thorough- or even descriptive of the physical universe. questions that I believe our myth-inclined writers singularity that lies at the heart of the Big Bang, going irony is even appropriate in our case, We can compare the “value” of myth to the should ponder. ese are also opportunities for the nely tuned universe, black holes and their when it’s quite possible that the multo- experience of watching a film, which we know themfearing, to maketabi-tabi-po more -murmuring, purposive decisions horoscope- about eventto be make-believe—a horizons, dark matter production and dark that’s energy, been theirconsulting, use of thisfeng-shui type of-abiding, allusion. and church- quantumcaptured superpositionsin a medium, and replayed.entanglements, And yet,the goingWhat present-day should Filipino the is Filipino still very writer’s much Planckthe experience scale, and elicits all the an other affective imponderables response fundamentalliving in mythological attitude toward times? mythologyAnd then: might be? Is thatand scientistsencourages have our been “playing conjuring along” forth, with of late. its itthere simply be material,an ethical or isdimension it rather a distinctto the frameissue depictions,Myth does thereby not reallyeliciting compete our semi-credulity, with science, of mindcenter-based or perspective, writers that bidsappropriating one to see andthe fora provisional its function “suspension is not primarily of disbelief explanatory ” and 87 acquiesceancestral tostories the uncertain of cultural and minorities, the numinous many in oracceptance even descriptive of the illusion of the physicalthat the universe. movie ourof whommidst, thehave mysterium been literally tremendum dispossessed et fascinans by? Weoffers, can while compare it lasts. the “value”Myths ofprovide myth guides to the the cruel inflictions of the national reality to—rather than depictions of—the world. As Related to this is the question of whether experience of watching a lm, which we know that blatantly privileges their status as urban such they express hopes and aspirations rather theartists? stance And of lastly, thorough-going why must ironywe promote is even tothan be direct make-believe—a representations production of reality. that has appropriatethe “fantastical” in our case,mode when of writing,it is quite when possible it beenFinally, captured mythology in a medium, remains and relevant replayed. in And our thatpossibly the amountsmulto-fearing, to little tabi-tabi-po more than-murmuring, escapism, yet,time the because experience it is intertwined elicits an a withective creativity response horoscope-consulting,especially in the face offeng-shui the urgent-abiding, realities and of anditself, encourages so much so our that “playing the former along” is with really its church-goingour everyday lives? present-day Filipino is still very depictions,the loftiest thereby that the eliciting latter ourcan semi-credulity,ever wish to muchThe living answers in mythological to these questions times? Andare many, then: abecome. provisional In other “suspension words, all ofliterature, disbelief all ” andart, mightand different—from there be an ethicalone writer dimension to the next— to the acceptancefinally aspires of the to illusionturn into that myth, the moviefor myth o ers, is issuebut I ofsuppose, center-based for me, writers I will appropriating have to begin the whilenothing it lasts.if not Myths narration provide wielding guides to—ratherpowerful by reminding myself that as a source of and transfigurative magic over the communal ancestral stories of cultural minorities, many than depictions of—the world. As such they knowledge mythology remains valid, despite psyche that invents it, providing not so much ofthe whomascendancy have beenof science, literally which dispossessed itself can by expressexplanations hopes asand experiences aspirations ratherof its thaninnermost direct theonly cruel offer in provisionalictions of the and national “self-rectifying” reality that representationsdepths, its uppermost of reality. visions, its intuition of blatantlyexplanatory privileges narratives their for status the natureas urban of artists?reality. the Finally,transcendental, mythology without remains which relevant it would in our be AndAs we lastly, may why have must heard, we promote the bestthe “fantastical” and most timequite because impossible it is intertwined for any us withto grieve, creativity to judge, itself, modehonest of practitioners writing, when of itscience possibly as amountsa method to soto muchlove, and so thatbe fully the formera person is inreally this the world. loftiest littleof inquiry more thanacknowledge escapism, realityespecially as inessentially the face thatThe the lattervital placecan ever and wish enduring to become. relevance In other of ofmysterious, the urgent still realities and ofall. our We everyday may think, lives? for words,such “intuitions all literature, of all the art transcendental” nally aspires to haveturn example, e answers of the “hard to these problem” questions of consciousness are many, and intobeen myth, acknowledged for myth isby nothing thinkers if notand narration writers (the qualia or inner experience that cannot be across the millennia, even by critical theorists di erent—from one writer to the next—but I wielding powerful and trans gurative magic over
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6 thelike communalGayatri Chakravortypsyche that invents Spivak. it, providing Indeed, peopleof his unfathomablewho have fashioned sense of them sadness out andof their loss, notrecognizing so much the explanations value of mythological as experiences thinking of its communalwhat we nowimaginations. recognize We as must the believe living that and innermostdoes not mean depths, denying its uppermost or even visions, remotely its thislimpid continues world. to be the case, even as this very overlooking the hard and gritty realities of same people recognize that these are stories intuition of the transcendental, without which it According to this myth, we came out of the literal, of the “here and now.” Even as we that come from what is already an increasingly would be quite impossible for any us to grieve, to a god’s mourning for his lost love. In my gather here today to celebrate the sugidanon superseded past: the simple truth is, since the asjudge, exemplary to love, andworks be fullyof ancestral a person inimagination, this world. arrivalmythopoetic of AM retelling radio—and, I wanted its soap to say operas—epic something thisTo does conclude, not in Iany would way likemean to that read we one are of chantingselse, and have maybe practically it is this: vanished Alunsina among is the denyingmy mythopoetic the Panay retellings—in Bukidnon the this right case, to tell of tumandokimplicit, uid,(another, and darkmore principlelocalized inname all for of 7 theira “cosmogony own contemporary story” coming stories, from about the Panaytheir thiscreation, people) without of Central whom Panay. nothing vital would Bukidnonown contemporary themselves, realities, as the whatever anthropologist form or exist.Moreover, According we to thismust myth, remember absence is that also Felipeshape theseLanda stories Jocano may rst take. recorded and adapted thea form Panay of presence,Bukidnon, and including creation is even nothing their if 6 it. LetIt featuresme be theunivocally interesting clear, characters hence: ofin elderlynot the epic restless chanters, “ lling” have and for “healing” many decades of the discussing the mythic virtues of these ancient now almost all of them been Christians— Tungkung Langit and Alunsina (in the Elemental Gap sighing inside all of us—a oral works, I am not remotely suggesting evangelical, even. The story I personally heard, sugidanon, her name is probably the older yawning and in nitely cavernous Gap whose that they are to be taken as the only possible of Professor Magos’s interesting exchange 8 representation,Laon Sina), the primordialthe only conjugalpossible couple source in withother themname isabout Desire. the “One True God,” just ofthis knowledge primordial we Visayan should world. ever have In revisiting of this now comes to mind: asked about what they increasinglyand revisioning imperiled their story, community. I decided Inspired to keen thought of their remote ancestors’ animistic byinward the intowork its of metaphysical folklore comparatists, depth, where my I and polytheistic faith (as revealed in the epics), insistencediscovered itson astonishingvaluing these insight ancient regarding stories’ the the chanters expressed their belief that their spiritualproliferative powerinsights—their of grief and longing.mythological forbears must’ve intuited the truth of the 88 “nature”—comesBefore I could out setof a out recognition to begin that my Supreme Being, or the Ultimate Principle, scientific7 materialism has all but effectively only that “their imaginations could only reach retelling, I needed to recall the original version displaced and delegitimized the empirical value so far…” It is interesting, hence, to learn that of this tale, which I realized tends to discredit of myths, which indeed means they cannot be these chanters recognize the transcendent expectedAlunsina to altogether, tell literal thinkingstories (of her dispossession, a frivolous tenor of the sugidanon, for which their various orand whatever jealous else) wife anymore, who does given nothing precisely to help the adventures and characters are but temporal ascendancyTungkung Langit of science put in order our intotime. the chaos of vehicles—and as such, as they themselves have the In rst centralizing universe. But the what allegorical this original approach story realized, must finally fall short. toleaves the entirelyreading toof thethese listener tales, toI am contemplate therefore As Spivak’s recent interventions urge us, insistingis just how on it their is Alunsina “relevancy”: herself despite who setsor there is certainly theoretical room to discuss preciselythe inexorable because wheels they of are creation now turning,considered by transcendence in the various fora of liberative “limited” or downright “false” as descriptions of discourse—for instance, the postcolonial disappearing from Tungkung Langit’s life. reality—being about the magical adventures of or even the decolonial—precisely because Because of this wise goddess’s brave and bold heroes and heroines, sorceresses and monsters, the respect of faith and “spiritualities” is an godsdecision, and the duendes otherwise, set self-absorbed in the fantastical Creator integral and unavoidable part of any discussion landscapesis made to and forswear seascapes his ownof the ego primordial and look of human dignity, equality and justice. In andoutside mythological himself—in past—these the process epics begetting, continue out this regard, we need to remember that in to embody the dreams and aspirations of the many locations in the Global South, colonial
6 Gayatri This Chakravorty version was Spivak, included The Post-Colonial in the compendium Critic: Interviews, edited by Strategies, the late Professor Dialogues Emeritus,, ed. Sara DamianaHarasym (London:L. Eugenio. Routledge, See Eugenio, 1990), ed., 12. 7 Philippine Tikum Folk Kadlum Literature:, Federico The CaballeroMyths. (Chanter), Teresita Caballero (Chanter), Alicia P. Magos (Translator), Quezon City: University of the Philippines Press, 2014 s, 23. 78 From aI firstpersonal recounted conversation the genesis with Professor of this poem Alicia in P.my Magos, essay, December “Of Legends 9, 2015,and Poetry.”University It wasof the republished Philippines in Iloilomy Postcolonialism City campus. and Filipino Poetics: Essays and Critiques (322-58).
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violencethe Makiling had disrespected myth is (to and her) displaced really about native the inwardsuppose, into for me, its I metaphysicalwill have to begin depth, by reminding where I mythologicalimportance of systems, human accountabilityafter all. On inthe the other face discoveredmyself that itsas astonishinga source of knowledge insight regarding mythology the hand, in my own recent interventions, I have proliferative power of grief and longing. of nature’s imperiled beauty, keeping this rmly remains valid, despite the ascendancy of science,11 beenin mind insisting she indeed on couldreclaiming elect touniversalism transfer the whichBefore itself I couldcan only set outo er to provisional begin my retelling, and “self- as a postcolonial “good,” for it is in granting setting of the gentle and nature-caring native Irectifying” needed explanatoryto recall the narratives original for version the nature of subalterns and minoritized peoples the goddess away from the mountainous fastness thisof reality. tale, which As we I may realized have heard,tends theto discredit best and ability (nay, the right) to aspire to it—and to Alunsina altogether, thinking her a frivolous of Laguna to the contemporary cityscape, and most honest practitioners of science as a method escape the ethnographic prison of empirical and jealous wife who does nothing to help particularity—thateven to portray her notwe canas a self-assuredproperly begin maiden, the Tungkungof inquiry Langit acknowledge put order reality into asthe essentially chaos of taskbut ratherof imagining as a confused a more pubescent livable girl, and who more will mysterious, still and all. We may think, for 9 the first universe. But what this original story equalgrow world. into her own “goddess self ” and have a leavesexample, entirely of the to“hard the problem” listener ofto consciousnesscontemplate heroicFinally, adventure it needs in the to present-day be said: reducing urban world. the is(the just qualia how or it inneris Alunsina experience herself that cannotwho sets be questionAllow of me indigenous at this point people’s to pose sufferinga few of theto theremotely inexorable reduced wheels to the ofbrain’s creation gray matter),turning, theby talkquestions of their that materialI believe ourneed myth-inclined alone is levelling writers disappearingsingularity that from lies at Tungkungthe heart of Langit’sthe Big Bang, life. at them the ultimate insult. Like all the should ponder. ese are also opportunities for Becausethe nely of tuned this wise universe, goddess’s black brave holes and theirbold world’s disenfranchised and downtrodden them to make more purposive decisions about decision,event horizons, the otherwise dark matter self-absorbed and dark Creator energy, poor, indigenous communities do not only is made to forswear his own ego and look their use of this type of allusion. quantum superpositions and entanglements, the have needs. They can and do also desire. Like outside himself—in the process begetting, out everyoneWhat else, should the tumandok the can Filipino look up writer’s at the ofPlanck his unfathomable scale, and all sense the otherof sadness imponderables and loss, imponderablefundamental attitude vastness toward of the mythology night sky, be? and Is whatthat scientists we now recognizehave been asconjuring the living forth, and of limpid late. askit simply ineffable material, and existential or is it rather questions. a distinct frame world.Myth does not really compete with science, of mindAnd so,or perspective,yes: as their that ancestral bids one stories to see stilland for According its function to is this not myth, primarily we explanatorycame out 8789 haveacquiesce the power to the to uncertain remind them and the(and, numinous hopefully, in ofor a even god’s descriptive mourning offor the his physicallost love. universe. In my us):our wemidst, all canthe mysteriumdream of transcendence…tremendum et fascinans? mythopoeticWe can compare retelling the, I wanted “value” to of say myth something to the Related to this is the question of whether else,experience and maybe of watching it is athis: lm, Alunsina which we is know the * * * the stance of thorough-going irony is even implicit,to be make-believe—a fluid, and dark production principle in that all hasof creation, without whom nothing vital would appropriate in our case, when it is quite possible been captured in a medium, and replayed. And To conclude, I would like to read one of exist. According to this myth, absence is also mythat mythopoetic the multo-fearing, retellings—in tabi-tabi-po this-murmuring, case, of ayet, form the of experience presence, elicitsand creation an a ective is nothing response if ahoroscope-consulting, “cosmogony story” comingfeng-shui from-abiding, the Panay and notand the encourages restless “filling” our “playing and “healing” along” with of the its Bukidnonchurch-going themselves, present-day as the Filipino anthropologist is still very Elementaldepictions, therebyGap sighing eliciting inside our semi-credulity,all of us—a Felipe Landa Jocano first recorded and adapted much10 living in mythological times? And then: yawninga provisional and infinitely “suspension cavernous of disbelief Gap ”whose and it.mightIt therefeatures be anthe ethical interesting dimension characters to the otheracceptance name of is theDesire. illusion that the movie o ers, ofissue Tungkung of center-based Langit writersand Alunsina appropriating (in the the while it lasts. Myths provide guides to—rather sugidanon, her name is probably the older ancestral stories of cultural minorities, many than depictions of—the world. As such they Laon Sina), the primordial conjugal couple in express hopes and aspirations rather than direct thisof whomprimordial have Visayan been literally world. dispossessed In revisiting by andthe cruelrevisioning in ictions their of story, the nationalI decided reality to keen that representations of reality. blatantly privileges their status as urban artists? Finally, mythology remains relevant in our And lastly, why must we promote the “fantastical” time because it is intertwined with creativity itself, 9mode Garcia, of J. writing, Neil C. “Reclaiming when it the possibly Universal: Postcolonial amounts Readings to of Selectedso much Anglophone so that Poems the by former Filipino Poets,”is really Humanities the loftiest Diliman (July-December 2014) 11:2, 1-30. 10little This more version than was includedescapism, in the especially compendium in edited the by face the late Professorthat Emeritus, the latter Damiana can L. Eugenio.ever wish See Damianato become. L. Eugenio, In other ed., Philippine Folk Literature: The Myths, Quezon City: University of the Philippines Press, 1994. 11of the I first urgent recounted realities the genesis of ourof this everyday poem in my lives?essay, “Of Legends andwords, Poetry.” Itall was literature, republished allin myartPostcolonialism nally aspires and Filipino to turn Poetics: e answersEssays and toCritiques these (Quezon questions City: University are many, of the and Philippines Press,into 2003), myth, 322-58. for myth is nothing if not narration di erent—from one writer to the next—but I wielding powerful and trans gurative magic over
AKDA J. NEIL GARCIA
Legend of the Seafoam
In the beginning there was always mist shrouding and blurring the edges of things: untouched by clovenness, water and sky knew nothing of horizons; land and air lay languidly, caught in the grip of shared rootlessness and sleep. In the beginning the void stirred awake from itself, remembering all it could of its mist-borne soul as it began to dream of di erence. Out of this wish 8990 two beings churned loose, and arose: Tungkung Langit, omnipotent lord of the sky, and his wife, Alunsina. She was his lilting consolation as he was her all: at sunrise, he returned from his labors at creation to nd her singing beside a pond which had been her desire turned into water. He loved her enough to bequeath her this one power: a gift of crystal grief and pain that grew lucent in her breast and owed shimmering to her lips. As she sang, she strummed the water’s anxious skin with her ngers, and he felt the cool touch of ripples spreading faintly from his brow to his mind’s very bottom. But still, Tungkung Langit alone wielded heaven’s towering sta , for he was lord over all that cowered in its shadow. Alunsina thought little of the massiveness that was his shape, but of what hid there: while he was not looking, she had mastered
AKDA MYTH AND THE CREATIVE IMAGINATION
the trick of seeing the space between his stares as he searched for more emptiness to ll, more black regions to banish from his sight that craved light and more light. She had felt the doubt in his limbs as they tore apart ancient waters from their springs, had heard the mu ed sigh in his breath as it blew out heaving mist like a candle whose ame was darkness. And so, when he told her in the brilliant clasp of sunlight how her songs tired him so, how darkly woeful he found them as depths that lurked wanton under the formless worlds that he despised, she knew more than he did of the folly inside his heart. While Tungkung Langit was stern-eyed blowing re into the sun’s roaring furnace, Alunsina disappeared from the sky which had been her home. At rst he thought it refreshing not to listen to her songs, not to nd her lying 9091 on her side by crystal ponds that cooled the air of celestial places. But soon, he was weary of the heat sputtering from within his fervent imaginings. Soon he craved her ngers to put out the ame on his brow, to heal the gap leering at him from within the blinding magni cence of his mind. In his solitude her absence spoke to him more loudly than any creation he could ordain! Fired frantic by her loss he sought her from the bottom to the surface of things he had caused: from sunrise to sunrise, from order to order, light to more light in the universe of his own proud invention. She was not there. And so he remembered who she was: Alunsina who haunted everything he had shaped as shadow haunted light. He threw the pall of his sorrow over half of the sky, leaving only a hole through which he might see her, and the glint
AKDA J. NEIL GARCIA
of countless pinpricks to guide her home. But she remained lost to him the way dew was lost to the newly formed earth in the haze of the very rst sunset. And then, he gathered her liquid sadness from all the ponds she had orphaned in her wake, and cast it into the hollows down below. Perched on the crest of a rainbow, Tungkung Langit wept a rain full of life that took root everywhere it fell: on land it crept, through air it ew, and across the ocean it swam, all in the same tful rhythm of loss. He pressed his mouth to the soil where quivered owers sighing their mottled fragrance into his face. For all this he only grew more forlorn: she was nowhere in the exuberance for which he was everywhere called Almighty by the progeny he had en eshed. If only they knew the formless grief enwombing him, 9192 the pain whence they themselves had throbbed within his heart’s seething mist! After staying in a re-lit cave, where his longing had moved the ngers of an upright creature across a wall, Tungkung Langit lifted himself up to the evening. He would have thought the moonlit sky beautiful had he not noticed the glimmer of ripples over the surface of a breeze-blown sea. For a moment he could see her lying across the horizon, her head resting on a hand while the other strummed the water’s trembling skin. She would seem to be singing to waves that rushed headlong to shore as if desiring seamlessness. From across the sea he called her name an eternity of times into the rising wind, Alunsina, Alunsina. But no sooner had he spoken than she vanished as the foam swirling lucent among storm-swept rocks.
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