Cosmology of the Mandaya

Total Page:16

File Type:pdf, Size:1020Kb

Cosmology of the Mandaya COSMOLOGY OF THE MANDAYA Emmanuel S. Nabayra This study on Mandaya cosmology seeks to explore the following questions: What do the Mandaya understand about the composition of their cosmos or universe? How do they live this understanding about the composition of their cosmos or universe? How do they resolve conflicts among themselves and with others and with the spirits in their environment? The Mandaya believe that their one world is populated by myriads of beings; and that humans are just one of these. That some non-human beings or spirits are stronger than humans while many others are weaker, jealous, tricky, playful, wicked and harmful. I found the Mandaya did not believe that these spirits were gods, but they believe in the existence of one distant Labaw na Magbabaya—the one Source of all beings and the one who ultimately decides for everything that exists and occurs inside His dunya or realm, the world. For this belief in and respect for the existence of spirits in the same universe, missionaries branded the Mandaya and other indigenous peoples as “animists”, from the Latin word anima, spirits. This study then investigates myths, symbols and rituals developed by the Mandaya as homini religiosi (religious human beings) for the purpose of creating and maintaining harmonious relationship with all the spirits in their one and only kalibutan or world with its Langit (heaven), Lupa (land), and Ugsuban (underworld). This is then also a study on the geography of the Mandaya universe, of the Mandaya perception of the harmonious relationships between human and the other spirits populating the kalibutan (world). ! Keywords: Mandaya, cosmology, langit, lupa. ugsuban, diwata, busaw, balyan Introduction In my first contact with them in the mid 1960’s, I realized that the Mandaya were not yet affected by the global religious movements that believe in a two-world universe—where this “material, temporal and secular world” is despised and rejected in favor of a “spiritual, eternal and transcendent” world AghamTao, 2014, Volume 23:12-44 Cosmology of the Mandaya 13 (such as that which is preached by the Hindu, Buddhists, Taoists, Shintoists, Confucians, Zoroastrians, Manicheans, Babylonians, Persians, Egyptians, Greeks, Romans, Hellenists, Jews, Christians, Muslims, Gnostics, and others). The theology and rituals of these universal religions consist in “cleansing rites”, purifications and decontamination from this world’s evil world. Their dualistic worldview revolutionized primitive and archaic forms of religiosity, a phenomenon which started two thousand years before the birth of Jesus Christ. Initial investigations show that the Mandaya are aware that this present world is their only kalibutan or dunya. I was amazed to come upon the Mandaya people virtually isolated in their mountain homes still developing and practicing such monistic1 spirituality, straddling between the primitive and the archaic levels of development of the religious cultural systems. For us, who seem to have lost contact with our pre-colonial ancestors’ religion and spirituality, studying Mandaya cosmology becomes a step in a journey to discover our forgotten (but still existing) religious cultural heritage (cf. Scott 1982). The data used in this paper have been obtained through participatory observation and a 'dialogical method' among the Mandaya since the mid-60s. I first interacted with the Mandaya when, as a missionary and secular priest of the Prelature of Tagum, I facilitated requests for baptism. This context and how the conduct of research proceeded will be discussed further in a section below. I started living with the Mandaya in 1965 in the parish of Baganga, Davao Oriental. It was in the parish of Moncayo, Compostela Valley where they taught me the monistic concept of humans living in a three-tiered but a single universe. In 1968, the Mandaya of Sangab, Caraga (Davao Oriental) openly asked for baptism. I agreed to the request provided that we (myself with the Mandaya of Sangab) first study Mandaya religiosity by a thorough discussion of each religious point. This took place in an overly large chapel where everyone who wanted to participate could be accommodated. They were already used to me; I would eat and sleep in their homes, and participate in their rituals like the Bakallag (one of their healing rituals). I emphasized however that they can not become Christians without loosing their Mandaya culture. At present, in my last visit this 2014, they are already Christians but still maintain and assert their Mandaya identity. 1 Monism is a view that a complex entity (as the universe) is basically one; there is only one world, not two worlds—the good and the evil. 14 Nabayra Who are the Mandaya? The term “Mandaya” refers to 'the people living in daya/ilaya or upstream/the upper portion of rivers flowing from the Eastern Cordillera of Mindanao or the Diwata Mountain Range into the Pacific Ocean: such rivers as the Tago, Hinatu-an, Bislig, Bostom, Cateel, Dapnan, Bagangan, Manurigao, Caraga, Manay, Kasallman, Kinono-an, Lingayaw, Bagwan, Tagsagawng, Bitanagan, Mayo, Kabwaya, Makamboll. The term Mandaya also denotes a linguistic group. Mandaya-speaking people settled in the headwaters of rivers flowing into the Davao Gulf like the Sumllog, Kingking, Hijo, Libuganon, Lasang, Davao, and Malita from the 16th century. They did this for two reasons: first, to isolate themselves from Muslim and Christian incursions; and, second, to be as close as possible to their slave-hunting grounds. The Mandaya people were said to be fierce warriors. They moved along the Pacific coast of Mindanao on sea-going balangays or bidays (boats) and scoured the jungles around the riverbanks. In those days, the objects of their hunt were other jungle dwellers, bands of hunter-and-food- gatherers. When the population of these “dullog batang” (‘people who find shelter in fallen tree trunks’), “tahu maya” (‘humans like maya birds’) or “lu-og” (‘wild and naked’) people ceased to be found, the Mandaya slave-hunters next preyed on the dark-skinned and curly haired Mamanwa in Surigao, around Lake Mainit, Mangguwangan in Manat Valley and Saug River in present-day Compostela Valley province, and Ata-Manobo in the marshlands around Tagum, Carmen, and Panabo in Davao del Norte province2. These new subjects of slave raiding were already incipient horticulturists unlike the uncontacted peoples mentioned above. The Mandaya sold their captives to other Mandaya who employed them their in slash-and-burn farming (kaingin) of aromatic rice, banana, root crops, and medicinal and aromatic herbs. Surplus manpower was sold to slave markets. Some female captives were taken as wives. The Muslim Kalagan (whose language is mutually intelligible with Mandaya) purchased these biyags or captives, transporting and selling them as slaves in the cosmopolitan markets of Cebu and Butuan, and much later, in Islamized Maguindanao. Slave hunting is one of the reasons why Mandaya-speaking peoples split into several sub-groups. The other reason is the incursion Muslim and Christian religion. In the present time, Mandaya-speaking people are divided 2 Personal communication from Datu Mandiyaon of Panaga, Sto. Tomas, Davao del Norte (circa 1970s). Cosmology of the Mandaya 15 into several groups called “Visayâ nga Kinamayo”, which refers to the Mandaya in the province of Surigao del Sur who converted to Christianity; “Visaya nga Davaweño” which refers to the Christianized Mandaya in Davao Oriental, “Mandaya” in Davao Oriental and parts of Compostela Valley Province, “Mansaka” in Compostela Valley Province, “Samaleño” in Samal and Talikud islands, “Tagakawlo” in the mountains of Davao del Sur and Sarangani Province, and “Kalagan” in coastal communities in Davao Oriental and along the Davao Gulf. The Mandaya-speakers found today in San Francisco, Bayugan Tres and Rosario in Agusan del Sur are descendants of the “Tagabaloyes” mentioned in Spanish missionary reports (Schreurs 1989, Proculo Daipan, pers. comm.). They were the Mandaya of Tandag coastal area who ‘went over’ baloy or mountain ranges to raid Banwa-on and Mamanwa villages and to sell their captives as slaves. The “Sallupan Mandaya” mentioned by ethnographers in the beginning of the 1900s (Landor 1904) were slave raiders who migrated westward to capture the Manggwangan along Saug River and the Ata- Manobo in the crocodile infested lands in Tagum, Carmen, Dujali, and Panabo areas. Linguistic studies (Llamson 1978, McFarland 1980, and Rubrico 2006) show that the Mansaka and the other Mandaya-speaking peoples are members of the Central Philippine Group of Languages. This means that the Mandaya-speaking people came from the same original speech community that the languages Tagalog, Bicolano, Visayan and Mamanwa developed from. The people whose language eventually evolved into Mandaya drifted to the East Coast (“contra costa”)3 of Mindanao riding on seaworthy balangay (boats) in search of slave hunting grounds. We may venture to say that these migrants chose to settle (probably around the 10th century) at the northern bank of a river called Karagan (a derivative of karayan or kagayan, meaning “river”) because it is the only river mouth in the entire Pacific Coast of Mindanao where a natural fortress of a wide limestone rock stands as guard. At present this is still the name of river where the municipality of Caraga in Davao Oriental derived its name. Islamized Mandaya speakers thus proudly call themselves Kalagan even if they do not live in Caraga. The Mandaya in Kagan Valley (the headwaters of Caraga River as it bends through Mt. Kampalili in New Bataan, Compostela Valley) and its environs, call themselves “Mangallagan”. The Mandaya and the townspeople of the municipality of Caraga today call themselves “Caragueños”. 3 Contra costa is a commonly used term to refer to the East Coast of Mindanao in the Pre and Post-War period, reminiscent of the east coast of Spain which is also referred to as contra costa. 16 Nabayra The Mandaya were carpenters, blacksmiths and basket weavers; they were kaingineros (slash-and-burn) farmers specializing in the production of aromatic mountain rice, millet and aglay (Job’s tears), root crops, bananas, aromatic herbs, and vegetables.
Recommended publications
  • Salaysay, Saysay, Salukoy: Tungo Sa Dalumat Ng Alamat
    Ateneo de Manila University Archīum Ateneo Filipino Faculty Publications Filipino Department 2020 Salaysay, Saysay, Salukoy: Tungo sa Dalumat ng Alamat Christian Jil R. Benitez Follow this and additional works at: https://archium.ateneo.edu/filipino-faculty-pubs Part of the Modern Literature Commons, and the South and Southeast Asian Languages and Societies Commons THE CORDILLERA REVIEW Journal of Philippine Culture and Society Volume 8, Number 1 March 2018 Contents Literary StudieS SpeciaL iSSue OSCAR V. CAMPOMANES Introduction / 3 MARIA NATIVIDAD I. KARAAN The Sinama Sea: Navigating Sama Dilaut Sea Space through Orature / 23 CHRISTIAN JIL R. BENITEZ Salaysay, Saysay, Salukoy: Tungo sa Dalumat ng Alamat / 59 BARBARA MAGALLONA Depictions of City and Country in Kerima Polotan’s The Hand of the Enemy / 91 JAYA JACOBO Salin ng Boot, Dakit ng Loob: Palahambing na Suri sa Urbana at Feliza (1864) at Urbana asin Feliza (1867) / 109 THE CORDILLERA REVIEW Journal of Philippine Culture and Society BOARD OF EDITORS OSCAR V. CAMPOMANES, Guest Editor NARCISA P. CANILAO, Associate Editor ALIPIO T. GARCIA, Associate Editor ANNA CHRISTIE V. TORRES, Associate Editor SANTOS JOSE O. DACANAY III, Managing Editor Cover: EWES PINAKAWHA (Bontok) AV Salvador-Amores Collection. For the kachangyan (Bontoc elite), the ewes pinakawha is a blanket composed of three horizontal panels. The central panel, pakawha, features eye-like motifs (matamata) and friezes that form a star-like pattern. The side panels, pa-ikid, feature horizontal stripes of red and black, with matamata and tiko-tiko (zigzag) patterns done through supplementary weft. Cordillera Studies Center UNIVERSITY OF THE PHILIPPINES BAGUIO UP Drive, 2600 Baguio City, Philippines telefax: (6374) 442-5794 e-mail: [email protected] website: www.cordillerastudies.up.edu.ph Copyright © 2018 by Cordillera Studies Center, University of the Philippines Baguio All rights reserved.
    [Show full text]
  • CHILDREN's STORY Publication : Adarna House Inc. Andres
    CHILDREN’S STORY Publication : Adarna House Inc. Andres Bonifacio Ang Makapangyarihang Kyutiks ni Mama* Ang Pag-ibig ni Mariang Makiling Ang Pambihirang Buhok ni Lola* Aurelio Tolentino Barumbadong Bus (Reckless Bus)* Bong’s Day (Big Book Version)* Dagohoy* Dalawang Bayani ng Bansa* Isang Taon na si Beth Jose Abad Santos Josefa L. Escoda* Kagila-gilalas na Kahon Lumikha ng Laruan, Kanta at Kwentong Pambata Maghapon ni Bong* Mahiwagang Tala Melchora Aquino* Mga Bayaning Pilipino Mga Hiyas ng Kalayaan Nemo, ang Batang Papel Noong Unang Panahon Pag-aalsa sa Kabite Patrolman Ngiyaw Pulang Laso Rama at Sita Si Busol at ang mga Ibaloy Si Emang Engkantada at ang Tatlong Haragan (Ema the Fairy and the Three Brats) Tiktilaok at Pikpak Boom Tipaklong ang mga Kwento at Dulang Pambata – Gumoo – Rum – Boo Tipaklong ang mga Kwento at Dulang Pambata – May Multo sa Halaman Tipaklong ang mga Kwento at Dulang Pambata – Mga Gintong Hugis Puso Tipaklong ang mga Kwento at Dulang Pambata – Sakay Sabukot Tipaklong ang mga Kwento at Dulang Pambata – Sepang Sapatos Tipaklong ang mga Kwento at Dulang Pambata – Si Kutsina at Patabaing Baboy Tipaklong ang mga Kwento at Dulang Pambata – Supladang Upo Tipaklong ang mga Kwento at Dulang Pambata – Anak ng Sultan Tipaklong ang mga Kwento at Dulang Pambata – Ang Kwento ng Apoy Tipaklong ang mga Kwento at Dulang Pambata – Gintong Isda Unang Barangay Publication : Cacho Publishing House Inc. Alamat ng Araw at Gabi Ang Patsotsay na Iisa ang Pakpak Ang Prinsesa sa Tore at ang Mahiwagang Prinsipe Ang Prinsepeng Ayaw Maligo
    [Show full text]
  • The Heroic Archetypes and the Reinvention of Aswang Character in Segundo Matias’ Moymoy Lulumboy Ang Batang Aswang
    THE HEROIC ARCHETYPES AND THE REINVENTION OF ASWANG CHARACTER IN SEGUNDO MATIAS’ MOYMOY LULUMBOY ANG BATANG ASWANG Mary Ann Alcantara Illana* School of Humanities, Ateneo de Manila University, Katipunan Avenue, Loyola Heights, Quezon City, Philippines ARTICLE INFO ABSTRACT Keywords: Marginalized and queer heroes are being recognized in the resurgence of Aswang lore various types of characters in contemporary hero narratives. In challenging Aswang reinscription the normative conventions, there are heroic values in the ambiguous Heroic archetype presentation of their character which are revived and valorized based on the Urban legend heroic archetypes presented in the story. Given this, how do we reconcile the normative conventions of hero attributed to queer and deviant representation of his character and heroic deeds? This paper analyzes the contemporary work of Segundo Matias' Moymoy Lulumboy: Ang Batang Aswang. Article History: Patterned from Joseph Campbell's normative structure of hero's journey, Received: 25/09/2020 which models the representation of various nature of character heroes and Accepted: 20/05/2021 their established heroic archetypes, this study revealed that a category of Available Online: heroic deviant exists in portraying character hero in the revival of Aswang 31/05/2021 lore in contemporary urban legend. Furthermore, this paper affirms that the resurrection of the archetypal pattern and the marginal presentation of the hero and his journey present a re-inscripted image of Aswang from a "rigidly static" to a semi-heroic ascension. 2442-305X / © 2021 The Author, this is open access article under the (CC-BY-NC) license (https://creativecommons.org/licenses/by-nc/4.0/), DOI: 10.19105/ojbs.v15i1.3828 * Corresponding Author: Email address: [email protected] (M.
    [Show full text]
  • SARE, Vol. 58, Issue 1 | 2021
    SARE, Vol. 58, Issue 1 | 2021 A Convergence of Filipino Worlds: An Onomastic Reading of Edgar Calabia Samar’s Janus Silang Novels Maria Rhodora G. Ancheta University of the Philippines-Diliman, Quezon City, the Philippines Abstract Edgar Calabia Samar’s Janus Silang book series is a significant body of contemporary young adult fantasy novels in the Philippines. Samar’s ambitious series that successfully melds alternate online tech -worlds, everyday Filipino life, and ancient supernatural, god-inhabited worlds, is worthy of study. In creating this fantasy world, the Janus Silang series underscores the richness of Filipino mythology and lore by cohesively layering these lived worlds by way of spatial and temporal play. This paper wishes to study the value of this “world(s)-building”, entering this by way of the study of onomastics, the study of proper names of all kinds and the origins of names. Using both toponomastics and anthroponomastics, or the study of place names and human naming, respectively, this inventive, powerful focus on naming solidifies the Janus Silang series’ development of unique Filipino characters and narratives and its reintroduction of the cultures of its imaginary worlds for young, contemporary Filipino and global readers. Keywords: Janus Silang, Filipino mythology, literary onomastics, anthroponyms, toponyms Edgar Calabia Samar’s Janus Silang book series is a significant body of contemporary young adult fantasy novels in the Philippines. Samar’s ambitious series that successfully melds alternate online tech -worlds,
    [Show full text]
  • Prinsipyong Pangwika Nang Maituturing Na Hindi
    Ang Wika sa Amaya Bilang Tagapaghayag ng Sinaunang Kalinangan Ateneo de Naga University Vasil A. Victoria, Ph.D. Introduksiyon Tagapaghayag Bilang Amaya sa Wika Ang rinsipyong pangwika nang maituturing na hindi maipaghihiwalay ang wika at kultura. Sa pamamagitan ng wika ay makikilala ang isang bukod-tanging kultura at sa tulong naman ng kultura ay mas lalong yumayabong ang wika. Kapag walang wika, walang kulturang mabubuo gayundin ang kabaligtaranP nito. Mababakas sa wika ang imahen o hulagway ng isang yunik na kultura. Sa madaling sabi, tagapaglarawan ang ... wika ng isang kultura habang sa kultura naman mas nagagamit ang isang partikular na wika. Sa tanong na paano nahahayag sa wikang ginamit ang kalinangan ng mga Filipino, mahalagang pumili lamang sa bahaging ito ng pananaliksik ng mga susing termino sa mismong palabas upang madiskurso ang tanong na ito. Mas mahalagang tutukan sa diskursong ito ang aspekto ng kultura at kung paano ito ipinakita, inilarawan at ipinamuhay sa mismong Angpalabas Wika na BilangAmaya. Tagapaglarawan ng Kalinangan Sa dami ng terminolohiyang ginamit sa palabas na Amaya, pumili lamang ang mananaliskik ng limang salitang batbat ng kahulugang kultural. Ang pagpili ng termino ay nakasalalay sa tatlong mabigat at matinding dahilan. Una, ang kabaguhan ng termino sa pagpapahayag sa Filipino partikular sa mga palabas sa telebisyon. Ibig sabihin, ang mga terminong ito ay bibihirang makilala at maunawaan ng karamihang Filipino sa pangkalahatan. Maaaring ang salitang ito ay kilala at mauunawaan lamang sa isang tiyak na lugar at panahon kung saan at kailan ito umiiral. Karagdagan, sa panig ng mananaliksik, naipakilala nang husto ang salitang ito sa tulong mismo ng palabas na Amaya.
    [Show full text]
  • Textualizing Epics in Philippine History from The
    UNIVERSITY OF CALIFORNIA Los Angeles Collecting the People: Textualizing Epics in Philippine History from the Sixteenth Century to the Twenty-First A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Brandon Joseph Reilly 2013 © Copyright by Brandon Joseph Reilly 2013 ABSTRACT OF THE DISSERTATION Collecting the People: Textualizing Epics in Philippine History from the Sixteenth Century to the Twenty-First by Brandon Joseph Reilly Doctor of Philosophy in History University of California, Los Angeles, 2012 Professor Michael Salman, Chair My dissertation, “Collecting the People: Textualizing Epics in Philippine History from the Sixteenth Century to the Twenty-First,” examines the study and uses of oral epics in the Philippines from the late 1500s to the present. State institutions and cultural activists uphold epics linked to the pre-colonial era as the most culturally authentic, ancient, and distinctive form of Filipino literature. These “epics” originated as oral traditions performed by culturally diverse groups. Before they could be read, they had to be written down and translated into, first, the colonial language of Spanish, and later, the national languages of English and Filipino. Beginning from the earliest Spanish colonial times, I examine the longer history of writing about, describing, summarizing, and beginning in the late nineteenth century, transcribing the diverse sorts of oral narratives that only in the twentieth century came to be called epics. I pay particular attention to how the instruments of pen, printing press, tape recorder, and video recorder, and media of preservation such as government report, published ii or unpublished colonial chronicle, scholarly textualization, coffee table book, or television show, have shaped the epics.
    [Show full text]
  • Teduray Bisayan
    Seuret-uret Torn dob Fot Gebarangan Kesebereh Filipino Bisayan L........ 1—.292— _ Tiruray Seuret-uret Tom dob Fot Gebarangan Kesebereh: Teduray, Bisayan, Filipino, Inglis "Let's Converse in Four Languages:" Tiruray, Visayan, Filipino, English SUMMER INSTITUTE OF LINGUISTICS - Philippines Inc. Translators 1991 Publishers Published in cooperation with the Institute of Philippine Languages and the Department of Education, Culture and Sports Manila, Philippines Additional copies of this publication may be obtained from: Book Depository P.O. Box 2270 CPO 1099 Manila This book or any part thereof may be copied or adapted and reproduced for use by any entity of the Department of Education, Culture and Sports without permission from the Summer Institute of Linguistics. If there are other organizations or agencies who would like to copy or adapt this book we request that permission first be obtained by writing to: Summer Institute of Linguistics P. O. Box 22'70 CPO 1099 Manila We wish to express appreciation to the Program for Asian Projects, the Ramon Magsaysay Award Foundation, and the Rockefeller Brothers Fund for their assistance in the production of this publication. Tiruray Phrase/Vocabulary Book 70.12-291-3C 57.20-914006N ISBN 971-18-0170-1 Printed in the Philippines SIL Press REPUBLIKA NG PILIPINAS (Republic of the Philippines) KAGAWARAN NG EDUKASYON, KULTURA AT !SPORTS (DEPARTMENT OF EDUCATION, CULTURE & SPORTS) MAYNILA (MANILA) TANGGAPAN NG KALIHIM (OFFICE OF THE SECRETARY) PAUNANG SALITA Sagana sa ganda at pagkakaiba-ibang kultural ang ating bansa. Mahigit 150 wika ang umiiral sa 300,000 metro kwadradong saklaw ng ating bayan, na bawat isa'y may sariling pagkakalcilanlan, sa 'along nakapagpaparilag sa pagkamosaik ng buong bayang PIlipinas.
    [Show full text]
  • ECFG-Philippines-2020R.Pdf
    About this Guide This guide is designed to prepare you to deploy to culturally complex environments and achieve mission objectives. The fundamental information contained within will help you understand the cultural Philippines The dimension of your assigned location and gain skills necessary for success.The guide consists of 2 parts: Part 1 introduces “Culture General,” the foundational knowledge you need to operate effectively in any global environment – Southeast Asia in particular. Part 2 presents “Culture Specific” information on the Philippines, focusing on unique cultural features of Filipino society. This section is designed to complement other pre- deployment training. It applies culture-general Guide Culture concepts to help increase your knowledge of your assigned deployment location. For further information, visit the Air Force Culture and Language Center (AFCLC) website at www.airuniversity.af.edu/AFCLC/ or contact the AFCLC Region Team at [email protected]. Disclaimer: All text is the property of the AFCLC and may not be modified by a change in title, content, or labeling. It may be reproduced in its current format with the expressed permission of AFCLC. All photography is provided as a courtesy of the US government, Wikimedia, and other sources as indicated. GENERAL CULTURE CULTURE PART 1 – CULTURE GENERAL What is Culture? Fundamental to all aspects of human existence, culture shapes the way humans view life and functions as a tool we use to adapt to our social and physical environments. A culture is the sum of all of the beliefs, values, behaviors, and symbols that have meaning for a society. All human beings have culture, and individuals within a culture share a general set of beliefs and values.
    [Show full text]
  • Being Lgbt in Asia: the Philippines Country Report
    BEING LGBT IN ASIA: THE PHILIPPINES COUNTRY REPORT A Participatory Review and Analysis of the Legal and Social Environment for Lesbian, Gay, Bisexual and Transgender (LGBT) Individuals and Civil Society Proposed citation: UNDP, USAID (2014). Being LGBT in Asia: The Philippines Country Report. Bangkok. This report was technically reviewed by UNDP and USAID as part of the ‘Being LGBT in Asia’ initiative. It is based on the observations of the author(s) of the Philippine National LGBT Community Dialogue held in Manila in June 2013, conversations with participants and a desk review of published literature. The views and opinions in this report do not necessarily reflect official policy positions of the United Nations Development Programme or the United States Agency for International Development. UNDP partners with people at all levels of society to help build nations that can withstand crisis, and drive and sustain the kind of growth that improves the quality of life for everyone. On the ground in more than 170 countries and territories, we offer global perspective and local insight to help empower lives and build resilient nations. Copyright © UNDP 2014 United Nations Development Programme UNDP Asia-Pacific Regional Centre United Nations Service Building, 3rd Floor Rajdamnern Nok Avenue, Bangkok 10200, Thailand Email: [email protected] Tel: +66 (0)2 304-9100 Fax: +66 (0)2 280-2700 Web: http://asia-pacific.undp.org/ Design: Safir Soeparna/Ian Mungall/UNDP. BEING LGBT IN ASIA: THE PHILIPPINES COUNTRY REPORT A Participatory Review and Analysis
    [Show full text]
  • Philippine Mythology and Folklore Include a Collection of Tales and Superstitions About Magical Creatures and Entities
    Publisher Steven K. Dowd Contributing Writers John Maurice Miller Dr. Jose P. Rizal Mabel Cook Cole Alfonso P. Santos John M. Miller Dr. F. Landa Jocano Nita Umali-Berthelsen Contents From the Publishers Desk Gods and Goddesses in Philippine Myth How the World Was Made Bathala How the Moon and the Stars Came to Be Mayari The Flood Story Kan-Laon When the Lilies Return Mythical Beings The Legend if Lake Ticob Aswang The Legend of Maria Makiling Manananggal Legend of the Firefly Mangkukulam The Legend of Marinduque Mythical Animals Legend of the Dama de Noche Bakunawa The Prowess of Aliguyon Sigbin The Story of Hinilawod Adventures of Datu Paubari and his Sons The Adventures of Humadapnon Bernardo Carpio Filipino Martial Arts Digest is published and distributed by: FMAdigest 1297 Eider Circle Fallon, Nevada 89406 Visit us on the World Wide Web: www.fmadigest.com The FMAdigest is published quarterly. Each issue features practitioners of martial arts and other internal arts of the Philippines. Other features include historical, theoretical and technical articles; reflections, Filipino martial arts, healing arts and other related subjects. The ideas and opinions expressed in this digest are those of the authors or instructors being interviewed and are not necessarily the views of the publisher or editor. We solicit comments and/or suggestions. Articles are also welcome. The authors and publisher of this digest are not responsible for any injury, which may result from following the instructions contained in the digest. Before embarking on any of the physical activates described in the digest, the reader should consult his or her physician for advice regarding their individual suitability for performing such activity.
    [Show full text]
  • FMA Informative Newspaper Vol4 No.10
    Vol 4 No 10 - 2015 Newspaper Propagating the Filipino Martial Arts and the Culture of the Philippines Get A Move On! FMA and Karate Stance Comparison By Brian Johns By Alessandro Bovoso Article Stance work is the foundation of any martial art. As any Karate and most Gung Fu practitioners can tell you, typically from day one you are given the ratio of weight empha- Reverse Triangle sis for each new stance you learn. For instance a basic front stance (typical to most mar- By Eric Primm tial arts) will give a ratio of 60/40 (sometimes 70/30). That is 60% weight distributed on Article your front leg and 40% on your back leg. Furthermore you are given very specific direc- Evolving from tions about foot and leg positioning; back leg straight, front knee bent so that you can’t Set Patterns see your toes, back foot pointed as forward as possible, front heel slightly turned out. By Brian Johns Some of the nuances might be different from style to style but more or less this is what the student learns when they first walk through the door. The details are emphasized Article throughout the years of practice. “Good” karate and “bad” karate can be differentiated by how closely the teacher is paying attention to this level of detail in his or her students. In my experience with the Filipino martial arts in general, stance work tends to take a backseat to weapon emphasis with practitioners stepping their feet but not necessarily be- About ... ing conscious of stance. This is probably due to a modernization of training or students not Past Events paying attention to what their instructor is actually doing.
    [Show full text]
  • Re-Animating Philippine Cinema: for Filipinos, by Filipinos
    Re-animating Philippine Cinema: For Filipinos, By Filipinos Maria Paulina P FLORENTINO University of the Philippines Manila Abstract This study explores the Philippine animation industry in terms of its original local content through the eyes of Filipino animators. It is a brief chronicle of Filipino animated films throughout the years, particularly film entries to the Metro Manila Film Festival (MMFF) and Animahenasyon, from 2007 to 2016. These films were proudly made by Filipino animators and captured the essence of being a Filipino. With the talent and creativity of Filipino animators, they are constantly pursued to create content for foreign animation studios. This has led to a boom in animation subcontracting. However, with the flourishing business side of animation comes the breakdown of the local animation industry. With the preference of working as “in-betweeners,” Filipino animators have devoted their talent to assembly line-type of work instead of bringing to life characters that are uniquely their own. To trace the "re-animation" of the Philippine animation industry, this study draws attention to how Filipino culture is manifested in the animated films included in the study. Along with this, an analysis of MMFF and the Animahenasyon as main platforms for animated films and their roles in the distribution and exhibition of animated films are presented. The study is able to affirm the presence of original local content in the selected animated films from MMFF and Animahenasyon. Despite the challenges faced by Filipino animators, the original local content of the animation industry is blooming and defying expectations. Filipino animated films are reflective of the aspirations of its people and the nation's socio-political issues, mythology, and folklore.
    [Show full text]