Iiliij Nitumon

IILIIJ NITUMON

I I Co ntents

RESEARCH pPEgS

Gerard Rixhon Tausug Literttire:.. An Overview:

Charles 0. Irake How to Entel i Yak;rn House 87

4lexa,I(l(rSofhr: cl)1T)1S1i rn iins in S iilit 105

'1 AUSUG ORAL TRADITIONS

Irene Hassan, Selected Tusug Poems• 115 Ric(srdD 4djauiic, andGerai (I Rixhon

Irene A:-D id-gci i c Ballad on Marriage (lfl(i Ricardo Adjawie agby Indah A!1nu4. 131

iVIoha?n mad Daud Abdul Sultan Stlayman and umayang and Gerard Rixhon Galura': A Story Told by lmarnlbbalahiIn' 152

Kalbi Asain The Creation of 'PaIay: and itfo/larnrna(l ])and Abdul A Story Tod by Mullung 166

Tuwan IkThli Jamal The Origin di Edible Fruits afl(l 1'Ilo/I(nnma(l l)aud Abdul and Animals Story Narrated by Saluan Piia. 182

Efren Alawi Muriabi: A StOFy Narrated (lfl(l Gerard Rixhon by Mtillung Ir

RES EARCH !!.SJ) - -1------. -T______- -

rI.. ACKNOWLEDGEMENTS This introduction to Tausug Literature, a revised and enlarged version of an earlier paper (Rixhon 1972b), owes much to the assistance given by the following C.I.S.C. researchers to whom I am indebted: Irene Hassan, Rose Marie Adjawie, Mohammad Daud Abdul, Tuwan Ikiali Jamal, and Rowena Bahjin. My gratitude also goes to Yusup Tan for his encouragement, and to Noralyn Mustafa. Young for reading the manuscript and suggesting some corrections. Grateful, acknowledgment is given here to Mouton and Co., The Hague, for permission to reprint materials from the late Arthui J effery's A Reader on Islam, as noted in the present text and to Mrs. Nora M. Mercado for allowing us to- reprint two songs from her thesis. Abdulmari A. Imao, nted Tausug artist and a 1968 T.O.Y.M. awardee, who prepared the cover design and the illustrations, deserves my thanks. I am also thankful to the Ford Foundation for the Southeast Asia Research Fellowship grant that allowed me to develop this study through researches both here and abroad and to contact an- thropologists who shared their expertise with me. 'Among them, I would like to thank particularly Alexander and Anne Spoehr of the Department of Anthropology, University of Pittsburgh, William Geoghegan, Robert and Nancy Randall, Mellie L. Lopez, and Alan Dundes, all of the Department of Anthropology, University of Cali- fornia at Berkeley. The Ateneo de Manila University Press staff, particularly Esther M. Pacheco and Alfonso de Guzman II, gave me editorial assistance, and for this I am grateful. Finally, I would like to express my appreciation and gratitude to Bishop Philip Smith, O.M.L, and the Oblàte Fathers of Jolo for their patience during my long absences and their support, to the Fathers and Brothers of the Oblate Seminary in Quezon City, whose hospitality I enjoyed while preparing this work for publication, and to the Institute of Philippine Culture for their assistance in countless ways. Wassalam. 2. INTRODUCTION in the early dawn, as a small boat quietly approaches Jolo Island after sailing all night from Zamboanga on the quiet waters of Sulu Sea, the land breeze brings sounds and scents of a coastal town just awakening. . Ailahu Akbar! Allahu Akbar! Allahu Akbar! Alla- hu Akbar!—the town mosques proclaim in forceful. Arabic—God is the greatest! Church bells soon join the traditional azan as the dark sky gives way to a sun bursting colors from the east. On this new day, the newly arrived traveler begins to discover Sulu; for truly the cries and the bells rousing the faithful to prayer are only the beginning. Soon, he becomes a cultural traveler, to meet the Muslim Tausug of Sulu, to learn of their rich and colorful tradition of communication. Expressed orally and understood only within the context of culture, Tausug communication is a broad spectrum of verbal expressions ranging from recited or chanted sacred texts to workaday maxims. It embraces religious literature, folk narratives—legends, myths, and folktales - songs and spells and charms, and such forms of symbolic speech as used in courtship, proverbs, and riddles. This paper is one cultural traveler's overview of that rich oral source. Basically a survey i't considers the Islamic ritual literature—its Ara- 4 1TAUSUG LITERATURE

bic texts and Tau.sug adaptations—and presents the more indigenous forms of Tausug oral tradition. - Although this- work separates Islamic literature from the Tausug oral folk traditions, the reader should- bear in mind that - this division is necessitated by its expository format. It is understood that in real life both Islamic and folk traditions either mesh together or alternate with each other. Each day of a Tausug's life begins at dawn with the call to prayer and runs its normal course punctuated with four other such calls. Yet, in between these calls, there are the thousand and one normal activities and minute details to attend to following either tradition or blending them with smooth ingenuity. Then linking the days throughout the year rites of passage such as birth, circumcision, marriage or burial, come and go always regulated by the more formal Islamic rituals regularly followed by the popular -celebration of the event with songs, storytelling and, inevitably, the partaking of food. At other times the perceptive listener will also quickly note in some of- the folk narratives the admixture of purely Islamic elements with native lore. Seen in this light Tausug literature is really blended in the people's life. The division offered here between the two are then made for analytical purposes only. With this in mind, let us now proceed with our journey into the literary garden of the Tausug. PART ONE ISLAMIC RITUAL LITERATURE

Like that of their Muslim brethren everywhere in the world, the life of the people of Sulu is marked by the heavy imprint of Islam. The Tausug, the dominant ethnic group, share with the less numerous ' Samal coast-dwellers a religious way of life seven centuries old. From Arabia through India, Sumatra, and Malaya, Islam came to Sulu peacefully, professing fiith in the oneness of God, the prophetic mission of Muhammad, "the last of the prophets," and other truths written in the Holy Qur'an which is God's parman, God's revelation. The Tausug received the Qur'an and learned to pray it. They also accepted its tradition—the sayings of the prophet Muhammad, theological and moral commentaries and codes, devotional prayers and panegyrics. The great Islamic tradition, come from foreign shores, became through the centuries not only part of the people but its soul. Soon the Tausug elaborated their own adaptations of the tradition. Because of their primary importance, the inspired Arabic texts are presented in the first chapter. The second chapter introduces the reader to the sayings of Prophet Muhammad, with their Tau- sug variants, while the third chapter presents briefly the festival literature.

5 1. The Inspired Arabic Texts

At the core of Muslim life, Tausug or other, lies the Kitab,. "The Book," believed to have been handed down by God some 1,350 years ago to Muhammad through the angel Gabriel. Written in Arabic, the "illustrious Qur'an" is revelation, basis of belief, and guide through "the right path." But more than that, it is also a text to be recited as public and private prayer. The Tausug revere the holy book although in practice the simple villager may mix its orthodox prayers with apocryphal, folk or traditional elements. And to prayer the Muslim faithful are called—back to the holy book-five times daily.

Bang: The call to prayer The day of the Tausug begins with the first call to prayer at dawn (Subu, from Arabic: Subh) sounded from the mosque by the magbabang, or muezzin. The call is repeated four more times later n the day—after the noon hour (Luhul, from 'Zuhr); at around three o'clock midafternoon (Asal, from Asr); right after sunset (Magrib, from Maghrib); and at the first hour after dark, in Sulu, usually around seven 'o'clock (Aysa, from Isha). Broadcast by loud- speaker in the more populous communities of Sulu, the call is a clock to many a villager, a reminder of his faith in God, and a summary of tenet of that faith:

INSPIRED ARABIC TEXTS 7 Allahu Akbar (Recited four times) Allah is the greatest

Ashadu an1 ailaha illalla (Twice) I bear witness that there is no other god but Allah

Ashadu anna Muhammadan I bear witness Rasullulla (Twice) that Muhammad is the apostle of Allah

Hayyas alas salah (Twice) Come to prayer

Yayya alal falah (Twice) Come to success (Ebing 1959:3).

To the dawn invocation is added the following:

Assalatu khairum Prayer is better minan naum (Recited twice) than sleep

Allahu Akbar (Twice) Allah is the greatest

La ilaha illalla (Once) . I bear witness that there is no other god but Allah (Ebing 1959:3).

In some rural areas of jolo and on the smaller islands of the Sulu Archipelago, where mosques are likely to be at a fair distance from houses scattered over farmland, the call to prayer at times take the form of the beating of gongs or drums. On Friday noon and on certain Muslim feastdays, the prayers might be heard over the radio.

The prayers The mosque is the place recommended for prayers, but the performance of the five daily prayers does not require the presence of the faithful there. While most people pray at home, only the very devout who have time and leisure may be found at the mosque at prayer time. According to Islamic tradition, any place except one 8 TAUSUG LITERATURE

which has been defiled is an appropriate place in which to pray. The conditions for praying are the intention, legal purity (attained by the performance of the prescribed ablutions), orientation of the body in the direction of Mecca (kiblat, from qibia), isolation from the world or from any source of impurity (a prayer mat or carpet is used), and proper dress. The performance of the ablutions is governed by specific rules. The faithful first faces Mecca to signify his intention of purifying himself prior to the performance of the prayers. Then, following formulas and using clean water, he performs the ritual ablutions on those parts of the body through which physical and spiritual impurities might have centered. He gives particular attention to the body orifices—eyes, ears, nostrils, mouth, privates—as well as the joints where dirt easily sets in. After the ablutions, the faithful Muslim , lifts his eyes heavenward and says: I testify that there is no other god but Allah and that Muhammad is His prophet and messenger. Praise be unto you, 0 God. There is no other God than you. My deeds are evil, I have done harm to my soul I ask your forgiveness, 0 God, and I turn to you. Forgive me and turn to me, for you are the one who loves nothing better than to forgive. You who are the merciful, 0 God, count me among those who change their heart completely. Count me among the pure; Count me among the virtuous. Make ma a patient and grateful subject. Help me to remember you and to often call your names and to worship you morning and evening. The general ablution ceremony is performed only before prayers of the Friday noon assembly (see below) and other feast. days. It is also prescribed for those who have been seriously defiled by eating pork or touching a cadaver in legitimate sexual intercourse, menstruation and the like (hadas dakula', serious impurity). Minor impurities (hadas asibi') such as dirt, defecation, dung, etc., however requires only washing' with water. INSPIRED ARABIC TEXTS

On Fridays, the noon prayer gathers the community of believers at the mosque. Especially on the sma11er islands and in the smaller communities, the attendance grows larger during the month of the fast, with the majority of the adult male population and a number of devout women present during prayer time.

Official prayers. In Islam there are two types of prayer, the sambahayang, the satat prayer, liturgical prayers performed five times daily, and the duwaa, devotional prayer said in addition to the daily prayers and when extraordinary needs of an individual or family arise. Both make use of Qur'anic texts and, less often, other text inspired by the holy book. One of the most beautiful prayers recited in Arabic is the Patiha' (from Sura at Fafiha', the opening chapter of the Qur'an) used as a daily prayer: In the name of God, Most Gracious, Most Merciful. Praise be to God, the Cherisher and Sustainer of the Worlds; Most Gracious, Most Merciful; Master of the Day of Judgment, Thee do we worship, and Thine aid we seek. Show us the straight way; The way of those on whom Thou hast bestowed Thy Grace, Those whose (portion) is not wrath, and who go not astray (Ali 1938: 14). Many other chapters or verses from certain chapters "are prayer favorites. Only a few can be cited here as examples-112, 2:255, 24:35, and 59:19-24 (in that order) Say: He is God. The One and Only. God, the Eternal, Absolute; He begetteth not, Nor is He begotten; And there is none Like unto Him; (Ali 1938:1806). God there is no god but He, the Living, the Everlasting. Slumber seizes Him not, neither sleep; 10 TAUSUG LITERATURE

to Him belongs all that is in the heavens and the earth. Who is there that shall intercede with Him save by His leave? He knows what lies before them and what is after them. and they comprehend not anything of His knowledge save such as He wills. His throne comprises the heavens and earth; the preserving of them oppresses Him not; He is the All-high, the All-glorious (Arberry 1969 [1]:65). Light the likeness of His Light is as a niche wherein is a lamp (the lamp in a glass, the glass as it were a glittering star) kindled from a Blessed Tree, an olive that is neither of the East nor of the West whose oil welinigh would shine, even if no fire touched it; Light upon Light; (God guides to His Light whom He will.) (And God strikes similitudes for men, and God has knowledge of everything) (Arberry 1969 [II]:50-51).

Be not as those who forgot God, and So He caused them to forget their' souls; those— they are the ungodly. Not equal are the inhabitants of the Fire and the inhabitants of Paradise. The inhabitants of Paradise—they are the triumphant. If We had sent down this Koran upon a mountain, thou wouldst have seen it bumbled, split asunder out of the fear of God. And those similitudes—We strike them for men; haply they will reflect. He is God, there is no god but He. He is the knower of the Unseen and the Visible; He is the All-merciful, the All-compassionate. He is God, there is no God but He. He is the King, the All-holy, the All-peaceable, INSPIRED ARABIC TEXTS 11

the All-faithful, the All-preserver, the All-mighty, the All-compeller, the All-sublime. Glory be to God, above that they associate! He is God, the Creator, the Maker, the Shaper. To Him belong the Names Most Beautiful. All that is in the heavens and the earth magnifies Him; He is the All-mighty, the All-wise (Arberry 1969 [111 :269-70). Two duwaa also are part of the daily prayers. The durud, a bene- diction, is one: O Allah! have mercy upon Muhammad and on his descendants, as Thou didst have mercy on Abraham and on his descendants. Thou art to be praised, and great art Thou. 0 Allah! bless Mu- hammad and his descendants, as Thou didst bless Abraham and his descendants. Thou art to be praised, and great art Thou (Jeffery 1962:522). At the fifth prayer, at night, this duwaa (al-Qunut or al- Witr), a very old prayer based on the Qur'an, is also recited: O Allah! from Thee we seek help and the forgiveness of sins We believe in Thee and in Thee put our trust. We praise Thee, we thank Thee, for we are not of the unthankful. We expel and we withdraw from anyone who does not obey Thee. Thee only do we worship, and to Thee we pray. We seek thee. We bow down and worship Thee. We hope for Thy mercy and fear Thy punishments. Surely Thy judgments are on the infidel s (Jeffery 1962:522). The Qur'an is for the Tausug a living book to be read and recited not only at liturgical functions but also on such occasions as the death of a loved one. For seven nights, .starting from the first night after death, passages from the holy book are sung by a group of young women taking turns until the entire text is read. On the seventh day, relatives and friends and neighbors of the deceased gather for the prayers and the plentiful food prepared for the occasion. The celebration is believed to earn merits for the deceased, assuring him thus of a better place in heaven. Only a few participate in the singing of the Qur'anic passages—which is considered only a part of the ceremony—but all play their roles either by mere presence, which is a manifestation of communal spiriit symbolized ih the sharing of the common food, or by giving the household head. or his representative small amounts of money which help Xo cover some of the expenses. The ceremony is, repeated on 12 TATJSUG LITERATURE

the twentieth, fortieth, one hundredth, and one thousandth day after death.

But perhaps as moving as the manly call to dawn prayer is that of a young girl's voice, clear in the Sulu morning, carrying in melodious Arabic passages from the Qur'an. Hers is only one of many a boy and girl's, heard from madrasa (religious-instruction schools) and from homes where the guru, teacher, conducts serious pangadji, or religious instruction. Before long, each one of the young charges will display how he has learned to read the Holy Qur'an before his teacher and his assembled family in pagtammat, the formal graduation ceremony, and partake of the food and re- freshment later. On the part of the pupil, there is likely to be little understanding of the Arabic text and possibly less of the meaning it collveys; but to the faithful of Islam, to be able to pronounce the words of God's message to mankind is itself an act of faith and submission; the words themselves are prayer.

Devotional prayers. Duwaa, as mentioned earlier, are also recited for many other purposes—for the protection of a voyager, enlightenment in a business venture, provision for the children's future, cure of illness, thanksgiving for favors received. The imam, together with some of his assistants, is invited to the family residence to recite the prayers and to share in either a modest or an elaborate repast, depending on the family's circumstances. While the prayer is offered, an attendant sprinkles some hot coals in a small container placed on the floor in the middle of the assembly with grains of incense. This beautiful, ceremony is called duwaa salamat. The following duwaa, beautiful prayers of supplication, givc some indication of the depth of the Tausug's faith in the Almighty:

Allahuma! we ask of Thee Thy momentous mercy, Thy constant forgiveness, freedom from all sin, attainment of every virtue the attainment of Paradise and escape from Hell-fire. Allahuma! as I increase in years and my life span is progressively shortening, expand Thy provision for me. Allahuma! I ask Thee for contcnence and soundness in my worldly life and religious life, in my family and in my property. Allahuma! curtain off my pudenda, tranquilize my fears, protect me from in front and from behind, from the right hand and from the left, and from above. With Thee do I take refuge against being taken un- awares from below (J,effery 1962:524-27). INSPIRED ARABIC TEXTS 13

Similar prayers are also used in other rituals which generally follow the pattern of the duwaa salamat above. Among them is the popular duwaa aruwa, a ritual commemorating dead relatives, assuring them of the living relatives' remembrance. The duwaa prayers are also a vital part of another touching and important ceremony, the pagsugsug tawbat, the forgiveness ritual usually performed in a public meeting at the mosque. After the recitation of one or several duwaa by the attending priest, the members of the two parties ask forgiveness from one another for the offense committed. They then embrace one another, offering the customary peace greeting and together partake of a meal prepared by both sides (magpajamu). Another form of private devotion is the recitation of the "beautiful names of Allah" guided by the beads (tasbi, Arabic: subha). Only the very devout of Sulu practice this during their spare time or while walking about town, softly calling 99 names for each small bead and one all-inclusive for the large bead without a name, for after all Allah is so ineffable that no name can really do justice to His perfection.

Salutations and greetings The Islamic faith of the Tausug is also manifested orally in the formal salutations of speeches, even those which are not religious in nature or content. At public-school graduation ceremonies, in public functions at the plaza, and during program broadcast over the radio, a speaker's opening line is a greeting to the audience: "Assalamu aleikum warahmatullahi wa-barakatu" ("Peace be unto you with the mercy of Allah and His blessings"). The . greeting is a slightly modified Arabic version of a part of the dawn prayer which reads: Assalamu akzika ayyuha.n-nabiyyu wa-rahma.tullahi wa- barakatuhu ("Peace be unto you, oh prophet, with the mercy of Allah and His blessings") When two Muslims meet formally or after along separation, one proffers the abbreviated formula as they shake hands and bless themselves: "Assalamu aleikum!" ("Peace be unto you!") ; the other replies: "Aleikum mussalam!" ("Unto you be peace!") 14 TAUSUG LITERATURE

Invocations A common devotional formula, "Bismillah" ('In the name of God") —said in thanksgiving, at the beginning of meals, when escap- ing danger, at the beginning of songs and other performances—is taken from the opening of every chapter of the Qur'an: Bismi'lla- h:r-rahmani'rrahirn ("In the name of God, most gracious, most merciful"). An example of the way a Tausug singer blends the first word of this Arabic blessing into the opening quatrain of a Tausug didactic song follows; Bismilla ha rahman In the name of God, Ngan sin Tuhan rahman the merciful. In katan hukuman God's name is "Merciful." Amu in tagkumkumAn All authority Is firmly in His hands. Among the rural Tausug, the word bisin.illah is often used as a component of charms or spells recited to obtain success in some undertaking or protection in combat or in other perilous situations where God's assistance is needed. All over Sulu, as in the rest of the Muslim world, bismillah when used properly is believed to ensure God's protection for the speaker. 2. The Hadith and Hadis If the basic elements of Islamic faith are found in the Holy Book, there is also found in Islam a rich mine of traditions which elucidate, explicate various points of doctrine and apply them to concrete situations. Second to the Holy Qur'an, they nevertheless play an extremely important palit in the religious life of the people. In Sulu, they are found in two forms, the orthodox and centuries-old collections of the sayings of Prophet Muhammad in Arabic as collected by his companions, the hadith, and the same traditions as related and explained in Tausug by Tausug religious teachers, the hadis. The Arabic. hadith The hadth are traditions or sayings of Prophet Muham- mad, believed to have been collected by his companions and first witnesses and transmitted to their descendants and students. They are characterized by lists of names through which certain traditions are believed to have been handed down, isndd. As one of the four sources, usul, of Muslim theology and jurisprudence, the hadith supplement the Qur'an and serve as commentary to it. They are widely quoted to elucidate a point of theology and to explain r&i gious practice and they form part of the instruction or sermon, hutba', in the Friday prayer service. The exathpies given below are but. a few among a vast collection which Muslim people cherish. The first deals with the merits of the month-long fast that adult and healthy Muslims are to perform during the month of Ramadan; the second and third provide the guidelines for a virtuous life (from Jeffery 1962: 89, 149, and 153, respectively) Ahdallah b. Maslana related to us from Mlik, from Abü'z- Zinãd, from al-A'raj, from Abü Huraira, that the Apostle of Allah —upon whom be Allah's blessing and peace—said: "Fasting is a protective covering [from the fires of Hell], So let there be no un- seemly speech, no foolish acting [during it]. If a man is attracted or vilifield [during it], let him say twice: 'I aim fasting, for by Him

15 16 TAUSUG LITERATURE

in Whose hand is my soul, the odour from the mouth of him who fasts is sweeter to Allah that the perfume of musk. [Allah says to Himself]: 'He is giving up his food and his drink and his body lusts for My sake when he is fasting unto Me, so I shall reward him, and for each good deed [that he does] grant him the merit of ten.'" "From Abü Huraira—with whom may Allah be pleased—[relating] that the Apostle of Allah—upon whom be Allah's blessing and peace—said: "Let whosoever believes in Allah and in the Last Day either speak good or be silent. Let whosoever believes in Allah and in the Last Day honour his neighbor. Let whosoever believes in Allah and in the Last Day honour his guest." Both al-Bukhãri and Muslim relate it." "From an-Nawwas b. Sam'ran—with whom may Allah be pleased —[relating] from the Prophet—upon whom be Allah's blessing and peace—who said: "Virtuous innocence is goodness of character, and wickedness is that which is knit to your soul which you would hate people to get to know about." Muslim related this."

The Tausug hadis

Just as the Christian gospels have inspired the pasyon, so have the Arabic hadith provided the basis for a new Tausug oral tradition, the hadis. The Tausug hadis covers a literary genre of religious and moral songs in tarasul (poem) and kissa (long story). The hadis tarasul is best translated in English by Trimillos (1972: 93) as "homiletic song."

The Tausug hadis are commentaries on a specific point of Muslim jurisprudence as in the long Kissa sin Hadis sin Duwa Magtiyaun. "The Story of the Tradition on Marriage" (Hassan and Adjawie 1974) which exltols the duties of husband and wife in their married state. This is sung by a woman during wedding celebrations to the accompaniment of the Sulu ensemble, the gabbang or bamboo xylophone typical in Sulu, the byua or local violin, and the suling or ithe native flute. The singer, Indah Annura, call it a kissa (see below) because it is a religious story. The first quatrain opens up with Bismilla quoted earlier and is followed by 108 other quatrains a few of which follow: HADITH AND HADIS 17 S Siyulat ku iyukkil I wrote, I chiseled, In kabtangan tiyangkil I joined the words. Guru dayn ha Misil The theology teacher from Egypt In usulan dihil Supplied the basic Islamic elements. Ustadz in naghaddiya The theology teacher gave In dimihil bichara instruction, In Tuhan limaya [And] contributed the arguments; Ha hukuman parachaya God showed his power Through commandments to be adhered to. Kissa ampa kalangan It is a story, yet a song, Hadis dayn ha Junjungan Traditions from the Prophet. Bang in hukum hilangan To alter these commandments Wajib paglangan Is strictly forbidden. Wajib panghindu' kaw You are obliged to teach, Ha anak inn pandu' kaw Instruct your children Pa addat hikarayaw About righteous conduct; Pa hinang bukun kungkaw Train them not to be deceiving. Bang in sabal mu maksud If your patience is sincere, Pahala' mu hiungsud Your reward will be granted; Sin Tuhan kaw isingud You will be, in God's rekard, Bya' sin Nabi Ayub Like unto the prophet Job. In Nabi Ayub sabal Prophet Job was patient; Pa Puhan nangangannal He always meditated on God. Minsan unu in dugal Although he was angry Di' sumambung gumagal He never answered harshly. Wajib ta sandalan We must restrain oñrselves In pasu' di dulan Refrain from rage. Usug in tiyukbalan Man was ordered Sin manga kaadilan To be upright.

The hadis tarasul is usually a sung (lugu' tradition) Tausug text which introduces a particular chapter of the Qur'an. The following hadis tarasul was recited on one devotional occasion by Utu' Dakula', a popular singer of Parang, as an introduction to, the singing of the Qur'an.l

Minsan na kaw tagaakkal Even if you are learned Bang way ilmu' But have no religious knowledge Bunnal da malanab Which is truly delicious, Bukun niaymu' [Your learning] will not be sweet 18 TAUSUG LITERATURE

Bang di pa ha dunya If [you] are still on earth, Wayruun samu' [But] are without virtue, Bang ha ahirat amu yan While in heaven for sure, In sabul lumu' [You] will be the most defiled [person]. Most hadis tarasul tend to be longer, refer in their content to specific aspects of religious life that are understood by all and strongly exhort the listeners to follow the basic obligations of Islam. The following hadis tarasul was rendered by Rijan Ahmad, the 59-year-old barrio captain of Danag, Pa,tikul, Sulu.2 Hangkan sa pagguru kaw, That's why you should study. Sin Mawlud ingat kaw You should know about the Maabut mapatay kaw Mawlud3 Tantu tanyaun kaw When you die, You'll be certainly questioned [about it]. Bang kaw tanyaun na If you will be questioned then, In sambag mu unu na What will your answer be? Amu in lapal sambag mu Your answer shall be [based on] Ingata in Tuhan mu. Your knowledge about God. Bang mu di' kaingatan If you do not know [anything Wajib mu guruhan. about your religion]. Hangkan sa pagguruhan Then you must study it. Sin sipat kawhaan This is why you must know Amu kabubugaan The twenty attributes [of God]4 Tuhan di' kakitaan You should fear God who is invisible. Ampa in rukun Islam lima As for the five pillars of Ingatun natu' tuud Islam ma gs am a s a ma [They] must be known by us all Bat supaya tumindug in So that our religion survives.6 agama Ampa in rukun sahadat upat The four points of the Parayawun ta kaisbat profession of faithl Dugangan di' marapat Must be learned well by us. Kulangan di' sumampat. To add anything to it is not proper; To leave out any of it invalidates it. Ampa in rukun jman unum The six elements of faiths Subay natu' pahamun Must also be learned by us, Mahunit bang kita muwi' Or else when we'll be judged hukum after death,9 Lutu' ta wayruun. We'll not have any preparation.

HADITH AND HADIS 19

Amps, in rukun hangpu' tagtu And the thirteen regulations Wajib tuud kita magguru [for prayer]lO Supaya kita muwi' hukum ha Must really be studied by us, lawm sayu. So that we'll be conscious when being judged after death.

Ampa in waktu luhul The noon prayer Parayawun ta kabaktul Must be well performed, Bang kita didtu na ha lawm For when we are already inside kubul the grave Kalu ta mahinang langsay It can serve as our canopy and iban luhul ceiling.

Ampa in waktu asal The afternoon prayer Subay marayaw kahapal Must be recited well, Maabut kita muwi' na pa So that when we go to the hula' kakkal eternal world Kalu di' na sumuuk in The questioner1' may not approach manga Mungkal us anymore.

Ampa in waktu magrib The late afternoon prayer's Subay marayaw kataritib Rules must be observed well, Supaya in sasat saytan So that we'll not be bothered maig. by evil temptations.12

Amp,, in waktu aysa The night prayer Parayawa kabista Must be well assessed, Kalu ra mayan kita So that when we face judgment Muwi' hukum bukun binasa after death13 We'll not experience hardship.

Ampa in waktu subu. And the dawn prayer Wajib ta guruhan ha Must be learned by us from the manga guru religious teachers, Sabab in ummul landu' For age is very treacherous. panipu.

Hadis mi kalangan This tuneful14 religious saying Tanda' ta pamintangan Is a symbolic lesson for us, Humindu' sin langan Teach its melody Atay way sanyangan [To the] unhappy heart Taptap liyulutangan. [That is] always wounded

Hadis mi tiyulun This religious saying should Atay in pakannalun be absorbed. Bang in siksa' lumunlun Let the heart meditate on it. In ammal magtumalun. If punishment were constant, Practical conduct will go wild.

20 TAUSUG LITERATURE

Hadis mi tiyarasul This religious saying made into Ha katan iyusul a poem Bang junub istinja' Is directed to all. rnarayaw kabaktul If cleanliness and purification Ha Surga' kita magpahatul. of the soul is observed well, We shall live peacefully in heaven. 3. Festival Literature The Sulu people, like their brothers in Islam the world over, have their feasts. Besides being occasions for rejoicing and merrymaking, these celebrations gather the people for devotional exer- cises. Five great festivals divide the Muslim year, the greatest in Sulu marking the end of the Ramadan fast being Harlraya Puasa, the Festival of the (end of the) Fast (Arabic: 'Id al-Fitr). The second, Hariraya Hadji, celebrates the accomplishment of the p il- grimage (hadj') to Mecca by devout Muslim who can afford the trip; the third, Muharram, begins the Muslim year. On these occasions special hutba', sermons, are given in the mosque with the recitation of appropriate passages from the Qur'an. These festivals make heavy use of the Qura'nic texts and traditions and do not call on any other literary tradition. Particularly rich and moving in their religious fervor are the last days of the month-long fast which culminates on the 27th of Ramadan in the Laila.t-ul Kadar celebration. On that night, the Blessed Night when the great angel Gabriel handed the Holy Qur'an to Prophet Mu- hammad, the Qura'nic texts commemorating the glorious event are sung with such gusto that the listener cannot help being moved by the- melodious singing throughout the night. Lven greater is the faithful Muslim's fervor as he also awaits the angels who, from that night till dawn, come down from heaven to bestow Allah's blessing. The morning after the last day of the fast, the great festival Haylaya (or Hariraya) Puasa, begins early with the whole Muslim community assembled for prayer in the mosque and in the adjacent plaza. The whole crowd is in white cap (ku jbiya) or a turban, and the women appear covered from head to foot in a white flowing dress (luku) . As the prayers start, this white assembly moves with a rythm all its own, as the members uniformly kneel, bow, prostrate themselves, or stand. Then suddenly, as the prayers end, this monolithic block breaks out into a joyful melee as the faithful seek one another to offer thanks for a successful

21 22 TAUSUG LITERATURE

fast and greetiugs of peace and forgiveness. The day explodes in joy. Going 'home for a sumptuous repast, the people go. on greeting their acquaintances. Later in the day, they will visit the relatives and friends they missed earlier in the morning. On Job, it is the most impressive day of celebration and merrymaking. The fourth and fifth festivals relate to the life of the Prophet Muhammad. They are the Mawlud (Arabic: Mawlid an-Nabi), the prophet's birthday, and the Miraj (from Arabic: Lailat al- Mi'raj), the night of the prophet's ascension to the supernatural world. On these occasions, the people of the Sulu, Tausug and Samal alike, spend the night listening to the chanting (lugu' Maw- lud) of Arabic texts in praise of Muhammad from the Kitab Maw- lud, or the Book of the Birth (of Prophet Muhammad), and the solemn reading of the Miraj, the ascension.

Mawlud Written in Arabic and printed either in Malaysia or Indonesia, the Kitab Mawlud gives praise to Muhammad, "the glory of mankind," narrates the principal episodes of his life and mission on, earth, the beginnings of Islam, and exhorts the faithful Muslims to an upright life.

The chanting of the Arabic text, lugu' Mawlud, covers only about one-third of the whole book, 17 chapters in Parang, 14 in I,uuk (Kieferl970:4). The ceremony takes the whole of the night on or after the twelfth night of the third lunar moon, bulan Maw- lud (Rabi' al-A wwal), the month of the birth. The performance which usually takes place in the mosque may also be held in the house of a headman, as it is done in some places such as Parang. During the ceremony native cakes and viands are served to the participants and the audience to sustain them throughout the night. The lugu' Mawlud is not only sung on that night and the nights that follow for each community or barrio, but fragments of it are used in the ceremonial singing that accompany weddings, funeral rites, and the ceremonial cutting of hair, paggunting. Each chapter of the Kitab Maw lud is divided into two parts, the prose unit, lugu' janitla, and the poetic unit, lugu' jikil. The selections sung in these ceremonies are taken from the versified part, the lugu' jikil. FESTIVAL LITERATURE 23

When sung in weddings the verses are called lugu' pan gantin the spouses song, and for funeral rites; lugu taallaw, the song for the dead.

Miraj Although a minor feast in the Muslim calendar, the celebration of the ascent of Prophet Muhammad to the heavens is performed with much gusto especially in the rural areas of Sulu. The feast falls on the twenty-seventh day of the seventh lunar month of Radjab. The Miraj story has many versions which embellish the few verses of the Qur'an relating the event. In Sulu, the Tausug versions came from or through Malaysia and Indonesia. - Much of the story itself deals with details of Muhammad's ascent to the seven layers of heaven with the angel Gabriel acting as his guide. The trip was made with the help of the burrak, a horse with wings and a human face. In vivid language, the story relates the meeting of Muhammad with the prophets, the good and bad angels and God, the joys of heaven, and the torments of hell. The Miraj story is recited in Arabic, with interludes presenting a Tausug translation. Recitation is usually done at night in the mosque. It is sung very much like the Mawlud,, although less solemnly. Before most of the adults of the community, the imam and his attendants recite the story from the Arabic text, Refreshments are usually served during the interludes. The excerpts presented here are taken from a 1953 mimeo- graphed version. Under each of the 704 Arabic lines is found the Tausug translation, also in Arabic script. The transliteration of both texts was made by a Tausug assistant. 15 The numbers refer to the Arabic lines which includes the Tausug version: 623 Arabic: ataina Hal jannati waija ana bimalakin adimal hilkati ha- sanil mundari bahiyl wadhi Tausug: Dimatung na kami mawn pa Surga' hakutika' yaun awn malaikat malagu' in kapapanjadi marayaw in pangatud marayaw in bayhu' English: We arrived in heaven. As a matter of fact, the prestigious angel with a pleasant countenance and a nice face was there 624 Arabic: wannuri yaluhu min wadhihi jalisan ala kurusiyin minnu- nfl, waalayhil hullyyu wal-hulalu 24 TAUSUG LITERATURE Tausug: iban in sahaya magMnag dayn ha bayhu' niya, . duun ha ha sahaya, iban nanamungtamung English: and the chair, the brightness of his face was reflected onto the chair and he was well dressed. 625 Arabic: kultu ya ahi ya Jibrilu man haja riduwahu ha hajinul jinani patakaddamtu Tausug: Laung ku "Uh! taymanghud ku, uh! Jibril, hisiyu yan?" Laung sin Jibril, "Amunayan in Malikil Riduwan, tunggu' sin Surga" English: I said, "Oh, my brother Gabriel! Who is that?" Gabriel said. "That is Malikil Riduwan, the guard of heaven." The continuation of the transliterated English text given be low illustrates the beautiful imagery often found in other Tausug oral traditions (such as the story of Munabi, Alawi and Rixhon 1974). Such fresh and charming descriptions as' these have no doubt in. fluenced the imagination and the religious life of the people. 626 I then went ahead and greeted him. When he saw me, he imm- diately smiled, answered my greetings and honored me 627 and touched me lightly; he said, "Blest is the prophet that preaches and my righteous brothers." 628 Gabriel said, "Oh! Malikil Riduwan, hold the hand of the beloved of Allah and show him the heaven." I looked around at the land of heaven;, it was silver like. 629 I was filled with joy. I saw the land of heaven. I saw the gravel [made] of pearls and precious stones; the dust gave the scent of perfume; 630 the vegetation and the trees had silver and golden leaves, 631 and the fruits looked like stars. At the top [roof] of the seventh heaven, there was mercy all around 632 and the angels were living in it, and God the Merciful is also living in it. Angel Riduwan held my hand and we walked among the trees 633 [and saw] all that was inside [of the heaven], happiness and tears, and the angels and the tall palaces 634 and the small angels were like the moon, and the guards and the glory, and the grace, and the goodness and the comfort, 635 and the shrines, and the permanent places, and the profits and the permanency, and all the luxuries, [all of them] there in the kingdom of God. And I saw domes FESTIVAL LITERATURE 25 636 hanging [there] from the white pearl, without being fastened, lifted without any support, 637 [with] one thousand doors of golden red, and there, in every door, one thousand princesses. And inside of the domes I saw one thousand palaces. 638 and in each palace one thousand rooms, in each room one thousand beds, one thousand pieces of velvet spread 639 and silk in between each velvet spread, .a river formed by flowing water, and on each spread 640 wonderful angels, out of this world [Literally, "to see with envy"]. I was stopped by this marvel and in fact there was a summon ["voice"] 641 which came from above and from below, amazing! "Oh, Muham- mad! Look at the frontage of the dome. You will see the marvel." 642 I was filled with goodness. As a matter of fact inside there was a dome 643 of precious stone, inside there was a bed of white amberris with a diamond stone 644 and the most precious gems. On it was a tall, slender, smooth angel and more beautiful 645 than the moon and the sun, more beautiful than the sun and the moon even when they gUtter.16 646 Shei was created by God; from the feet to her knee [she was made] of white camphor tree; from her knee 647 to her chest, of yellow silk, and from the chest to her face, of a glittering light. 648 She had one thousand strands aside from the chest to her [the light] shone, its brightness reached the people on earth to brighten them. 649 In its brightness it reached the east and the west. When it shone on the salty seas, immediately it turned it into fresh [water]. Hutba': The Sermons Every Friday when the noon service gathers the community, a sermon, hutba' (Arabic hwtba), is delivered by one of the functionaries of the mosque or by a visiting Muslim well-versed in Islamic theology. Many of the sermons in the rural mosques are read from Arabic texts, and these are translated on the spot. Many of the sermons in the jolo town mosques are in Tausug, always dealing with a particular religious topic from the Qur'an and its application to the contemporary scene. 26 TAUSUG LITERATURE

On such special occasions as the feasts of Hariraya Puasa and Hariraya Hadji, special sermons direct the Sulu people to their oneness with dar ui-Islam, the Muslim community at large, by citing in capsule form the genealogies of past sultans of Sulu and their accomplishments. Aside from sharpening their sense of be- longing to the Muslim world, these sermons also serve to authenti- cate the succession line of the sultans.

The sermon is given usually by the hatib, one of the religious functionaries of the mosque, who speaks standing in the mim bar, the pulpit. The plan of the sermon he follows is traditional. He first begins by reciting a prayer of praise to God, goes on to extol the virtues of the prophet Muhammad, and then offers a prayer of intercession for all Muslims with a particular honorable mention of the Muslim authorities of the community. At this point, on special occasions, the sultan's name and his genealogy are mentioned with respect. This first part of the hutba' ends with the recitation of some Qur'anic verses and exhortation of the faithful to devotion.

The second part of the hutba' is given to freer expression. The preacher who is gifted with rhetoric expounds on certain aspects of religious life and their application to contemporary problems. The less capable speaker will usually rely on prepared texts printed for such occasions.

The Tausug's having adopted the sacred Arabic texts and developed the hadis as their own interpretation of the Islamic books seems to be a comparatively recent development. For earlier, they already had their own folk literature and their own oral tradition. Since the latter have been influenced by Islam, it is difficult to present what some would want to call "authentically" Tausug, the "really indigenous" literature and verbal expressions, antedating the coming of Islam. The following section presents Tausug folk tradition, a body of oral and written forms often accompanied by nonverbal forms of communication. Although in varying degrees, the traditional forms have been influenced by the Islamic faith, still they owe more to a fount of traditional Tausug culture with roots in its pre-Islamic past than to Islam itself. PART TWO THE TAUSUG ORAL TRADITIONS Folk tradition includes a great variety of forms of communication. Spoken in the native language and accepted with a minimum of outside influence, the tradition transmits the people's knowledge of the past 'and genealogical ties, and their views of nature, conveys their feelings and judgments in important and delicate occasions (principally through symbolic speech) , manifests their artistic in- spiration (through singing), and serves as the medium by which the people may contact and' manipulate praeternatural . forces to their own ends (through charms and spells). Where the preceding section dealt more with the literature of the great tradition of Islam, which is an organized religion, this section will trace the more indigenous lines of language and speech, and ritual. The forms of folk tradition undoubtedly are themselves mixed, the result of the sociocultural history of the people. 'Beside the orthodox Islamic elements, there are traces of influence from the old Indonesian civilization and from the rest of the Phil- ippines. The genius of the Malay people is to adopt outside influences and adapt and change them in such a way that they become their very own. In this, the Filipinos, and the Tausug in particular, are no exception. Although some of the narratives are now

27 28 TAUSUG LITERATURE

written for preservation, all of them are meant to be said, formally recited, or sung. The classification attempted below does not claim to be final and exhaustive. It is one that has been worked out after much searching through discussions with the research staff and interviews with informants and friends. Part Two contains three main chapters, each containing one of the main divisions of Tausug oral traditions: folk narratives, symbolic speech forms, and songs. 4. Folk Narratives

Stories usually recited or told for the benefit of an audience are generally labeled folk narratives. Myths, legends and folktales fall in this category. While genealogies and a few myths are occasionally handwritten., they are included here because they are basically meant for recitation before an audience, big or small. Committing an oral text to writing, a fairly recent development, facilitates its transmission and, for the observer, underscores its importance culturally. The native arrangement followed here is preferred to the classical trilogy of folkioristics: myths, legends and folktales. Their definition and distinction as set by Western folklorists in their preoccupation for useful classification and meaningful communication do not exactly fit the data. For instance, and contrary to what I wrote sometime ago (Rixhon 1972a:184), the kissa, a Tausug genre which covers a broad spectrum of religious stories not only embraces both the myth and legend genres but also some of the homiletic songs described in Chapter Two. If a good number of the kissa deal with known characters and events historical and religious, associated with local places, the usual scope of the legend genre, the kaawn and usulan sub-genres are also kissa which are closely related to the myth genre as they cover creation and origin stories. Furthermore, the importance of the salsila, or genealogical stories, for the Tausug nobility and the local specialists in the history of Sulu is such that it has become a genre in itself. This was corroborated by the unanimity of our respondents queried on the matter. It is no wonder, then, that the perplexed researcher finds it more practical to adopt the native classification rather than follow an "imported" one or blend the two. The salsila. The sasila (or tarsila, sarsila, salasila, from the Arabic silsilah) is a written family tree or genealogy of past reigning sultans or royal datus, with accounts of the major events characterizing their tenure

29 30 TAUSUG LITERATURE of office. Jealously kept by the Sulu nobility, they serve to authen- ticate the nobility's claim to a title and the ensuing authority. No man in fact, can be chosen a sultan nor claim to be a royal datu unless he can prove his descent from the prophet Muhammad in an unbroken line. As the links establish the relationships with Pro- phet Muhammad's descendants, they remind the Tausug of their religious ties with the center of Islam. Although there is no record of this, it is believed that the few salsila still available in written Jawi (Arabic) script were in the early past told and transmitted orally. Its inclusion in this survey was decided on the ground that they are still recited in the nobility's houses only for the instruction of the datus' and sultan's children. At present the only available and authentic Sulu salsila is that of the genealogy of the Kiram house reproduced by Saleeby (1908). In the process of collecting Sulu oral traditions, some infOr- mants have given the salsila. label to stories which are heavy in ethnohistorical and at times fictitious details but light on genealogical data. An example of this is the Relation between the Sul- tan of Istanbul and that of Job (Damsani et al. 1972:255-71) which has no genealogical value. It would seem to belong to the epic genre (kissa) rather than to 'the salsila. Another such as Salsila sin Kasultansuitanan ha Lupa Sug, "the genealogy of the Sulu sultans" narrated by Panglima Jumadil Osma of Jcilo seems to be a fragment, of a longer salsila which was attributed to Datu Sarkala. It brings a few genealogical bits together' with some links missing, and it moves to a series of events which belong to several periods adding here and there some legendary accounts. A few excerpts and a summary of the rest should give an idea of the quality of the salsila still available locally.

I recorded my family tree. My name is Datu Sarikala, Tu- manggung Dangangan. I recorded my ancestry, Sultan Bararuddin, the descendant of Sariful Hasim, and Sultan Alimuddin who were brothers from the same father and the same mother. When Sultan Bararuddin—who was my ancestor—died, he was succeeded by Sultan Amiluddin. As for Sultan Amiluddin, they were four siblings [in the family], three boys and one girl. The name of the girl was Dayang Dayang [Princess] Lana. While Sultan Alimuddin reigned, his two brothers FOLK NARRATIVES 31

had not become sultans [yet]; they were l5atu Sarikalla and Datu Aliuddin. - Then not long after, the Spaniards came to Sulu. The Spaniards came in goodness (karayawan, with good intentions). After sometime, the Spanish General expressed the desired to see Sultan Au- muddin. [As they met] the Spanish general told the Sultan that in case of difficulties, he should not hesitate to ask for help as he [himself] would help the Sultan. In the event any foreigner were to come to Sulu -[with evil intentions], they would be driven out by themselves [the Spaniards]. The story goes on with the Spanish general inriting the sultan to visit Manila, an in''itation the sultan accepts only after 1 several sessions, one of them at Bud Datu, near jolo town, with his datus and his people in order to obtain their approval. After weighing the pros and the cons, the people give their consent to the proposed trip. Sultan Alimuddin then undertakes the trip to Manila, a fact that is recorded in the history of-eighteenth century Sulu. This Sultan Alimuddin is the first of his name, the Sultan Alimuddin quoted above in the first paragraph indeed was the brother of Sultan Badaruddin (in the Tausug text, Bararrudin). The second paragraph's mention of Alimuddin again seems to deal with a different persotj. Because of the names mentioned, he seems to be Sultan Alimuddin III. His two brothers, Datu Sari- kalla and Datu Aliuddin were indeed Sultan Alimuddin III's suc- cessors in the early nineteenth century. The episode that follows Sultan Alimuddin consultations preparatory to this trip to Manila belongs also to another century and furthermore seems to be rather mythological. In it, Datu Sarikalla, the brother of Sultan Alimud. din III, is born with a physical defect which is described as "double front appendage" or a double penis. Because of his "misfortune," the description of which also appears in other Tausug stories, the baby is left abandoned in the forest where he is fed by wild animals. There he becomes an expert in climbing trees and makes a name for himself through several exploits. As a reward for them, he is offered to marry Dayang Dayang Lana. To avoid embarrassment he then leaves with the sultan here named Sultan Hadjiruddin and other datus for Sandakan, Borneo, which after winning in I a carabao fight they manage to annex to Sulu. As in many ethnohistorical accounts, this type of salsila mixes historical genealogical data with less factual events, a genre quite popular among the Tausug old folk and strongly criticized by the 32 TAUSUG LITERATURE more modern generation of today's college students who have been acquainted with modern historical methods. Yet they cannot be totally discarded as useless as some historical facts can be sifted from what would appear at first totally fictitious.

The kissa The term kissa is of Arabic origin. It is commonly used in the generic sense of "story." But definitions by Tausug vary greatly and usually in relation Ito another story genre, the katakata, of sanskrit origin, whose first meaning is story and then tale, legend, fable. From a first analysis of the texts, the katakata seem to refer to stories which cannot be corroborated by historical events, are usually recited, and are meant for entertainment more than instruction. In contrast, the kissa are stories which deal with known characters, historical or religious events (old or recent) , are sung or, less often, recited, and aim to teach and edify audiences while at the same time entertaining them. There are various forms of kissa. A religious kissa has been mentioned in connection with the Tausug hadis (Kissa sin Hadis sin Duwa Magtiyaun). Since it is strongly influenced by Islam, it was viewed in the context of the Tausug Islamic literature as strictly more orthodox than others. More Tausug in its expression and syncretistic view is the kissa of the Virgin Mary, Sitti Maryam (Damsani et al. 1972:230-44). This narrative by Mullung best exemplifies the way a traditional Tausug replaces the Maryam story of the Holy Qur'an with its Islamic elements in the Sulu context. The appropriation includes the Christian Good Friday procession, the pilgrimage to the Fort Pilar, Zamboanga, and the jolo landscape (Ibid. 240). The same syncretism also appears in other types of kissa. Among them, there are the creation stories, kaawn, and origin stories, usulan. The creation stories are usually recited kissa, which narrate such events as the birth of the first parents (Apu' Adam iban Apu' Hawa' "grandfather Adam and grandmother Eve"), the summary of which follows: As God decided to use earth to create man, he sent his angels to get soil from the four directions of the earth. But they were stopped from doing so by the satans. To overcome this obstacle, the angels were made the representatives of God while finally the satans accepted to cooperate with the angels in their mission. FOLK NARRATIVES 33

But as they put the soil from the four corners of the earth together, there was no life; in fact the heat of the sun cracked it. Water was poured on the body, but it no longer could dry. God ordered air into it, then fire. This is how the four elements entered into Adam's body: soil, water, air and fire. But Adam's troubles were not over. As he sneezed, his head was pulled off at the meek. God's remedy for the head to stay on was for Adam to utter the words, "all praise is due to God, the Lord of all worlds." Then Adam yawned and his chin fell down to his chest. Another prayer was ordered. "Oh God, send the satans away from me." Things went back to normal. Adam was well but felt lonely, so a companion in the form of woman was given him by God from one of his left ribs; Eve was then created. They begot children. The first was white, followed by a white woman, then a black man and finally a black woman. They married according to their color, but their children went into mixed color marriages. Adam and Eve were still in Paradise when Eve was offered to eat a fruit forbidden by God; she did eat it and poured the juice of the forbidden fruit in Adam's mouth. Adam and Eve then urinated and defecated in Paradise. That's why they were sent out of the place. Until now nobody knows where they are staying. All this trouble was because of Eve's bad desires. Closely related are the usu Ian (from the Arabic plural of asal, fundamentals) stories which are concerned with the origin of Sulu institutions and people and relate events that link them to past heroes. In Tau Nakauna, "the First People of Sulu" (Damsani et al. 1972:245-54), .Kissa sin Usulan sin Katantan Bunga,g Kahuy iban sin Bin;atang Halal, "The Story of the Origins of Fruit Trees and Permitted Food," (Jamal et al. 1974) are typical of the usulan, genre. Both the kaawn and the usulan are popular in the rural areas of the interior of Jolo and in other islands, although the educated Muslims of Jolo town disapprove of them because of the heterodox elements found in them. In effect, they blend traditional Tausug features with Islamic beliefs, indicating the people's deep religious sense. For the Tausug, man and the universe can only be explained in term of God's dominion over everything. Traces of Malay Su- fism in Tausug literature might be discerned by the careful reader, but the study of such phenomenon still has to be undertaken. Yet, it remains that this religious folk literature, the creation and origin stories, provides a mine of materials for the study of traditional Tausug beliefs, which are slowly giving way to the more orthodox (Middle Eastern) Islamic tenets. 34 TAUSUG LITERATURE

The Katakata Although there is some disagreement as to the Tausug definition of katakata (Rixhon 1972a:184), it is taken here as folk tales and folk narratives which are fictitious but not without a lesson.' They are a popular form where the imagination of a people is given free rein. The genre is best reflected on stories such as Hangdangaw (Damsani et al. 172:191-229), Ziegler's 1982 Collection of Folktales (1978:107-159) Munabi, and Sultan Sulayman and the Galura Bird (Alawi and Rixhon, Abdul and Rixhon 1974). Among the shorter and more popular stories are those of the trickters Pusung and Abunnawas (see Ziegler 1973:154-9). The Abunnawas stories are widespread among the Samalan-speaking groups of Sulu and outside Sulu. Although this has yet to be con- firmed, it seems that the Tausug katakata of Abunnawas are translated and adapted versions of Samal folktales. The Pusung stories almost invariably follow the same structure with variations in the details. In them Pusung always tricks the sultan, in many cases, by having sexual intercourse with the sultan's wives. Caught redhanded, Pusung is locked in a bamboo fish-trap ready to be dropped in the ocean. While waiting for his punishment, Pusung lures a lightheaded and handsome young man into the cage while Pusung escapes. The young man is drowned despite his protestations which are believed by the sultan's men to be another of Pusung's tricks. Then Pusung goes on in search of other exploits. Tausug informants explain the irreverence shown the sultan in the Pusung stories and the contrasted respect given to him in life by the fact that the Tausug are afraid on the whole of putting their leaders, with too much honor heaped upon them, on some kind of pedestal. Being equalitarian, they enjoy Puung's exploits as a means of bringing down the sultan and the datu at par with other humans. It is also well known that some of the past sultans had their foibles and demanded too many taxes. Vicariously at least, these Pusung tales are also one way of getting even with authority. Future research on this particular aspect of Tausug culture should shed more light on these tentative remarks. L As with the kissa, the katakata bring into play many indigenous elements still to be thoroughly identified, along with hints of rela-

36 TAUSUG LITERATURE

tionships with the rest of the Asian world. While Islamic sources can easily be identified—for example, Munkal, one of God's messengers sent to interview the dead, Sulayman, King Solomon of the Bible - the Tausug context in which they are placed, (as in the Munabi and Sultan Sulayman and the Galura Bird stories) makes it difficult to work out a satisfactory analysis. The Sulayman of the Qur'an does not make mention of him as the ruler of the birds. On the other hand, in the same story, the presence of the mythical bird Galura' (in Indonesian and Hindu, Garuda), the Abunnawas stories (in common with the Malay and Indonesian folk literature), the Pusung plot, the bathing of the seven fairies one of whom looses her wings on earth and is captured, Tuwan Nahuda—all point to the strong literary kinship of the Tausug folk literature with its counterpart on the Malay Peninsula and in Sumatra in particular. The product, nevertheless, is itself Tausug. Here is fertile ground again for further investigation. 5. Symbolic Speech Forms Tahsug symbolism is expressed orally in various forms. The term daman, symbolic speech, covers items such as proverbs, riddles and courtship dialogues and inverted speech. Associated with this genre are direct speech forms such as maxims or sayings. The daman is couched in a language characterized by archaic words and abundant imagery. Most refer to it as "deep Tausug," that is, different from the colloquial language of everyday life. The traditional Tausug acknowledge that they enjoy speaking in daman form because of its expressive beauty and the musicality of the language ("it is nice to hear"). They favor the usage of the daman for another important reason. This has to do with the great sen- sitivity to personal affront that easily elicits violence from the offended party. A word misused or too direct an approach in some settings could lead to killing. The use of symbolic language becomes then a safety device that is face-saving for both the speaker and the receiver of the symbolic message. The daman form offers the possibility of several levels of meaning, but this overview makes no systematic attempt at uncovering them. The situations in which symbolic speech forms are found also vary. In fact, for a thorough understanding of the behavioral setting of proverbs, riddles, and maxims, the circumstances, moods, and tone of the participants as well as nonverbal communication by facial expression must be taken into account. Since this also is beyond the scope of this survey, only a few examples will be given17. Riddles. A verbal game for some, a battle of wits for others, riddles (tigumtigum or tukudtukud) remain a popular form of Tausug expressive culture. The settings of riddling vary with the occasion. It is done when a small group of people gather for a celebration such as during the night of the month long fast, during wedding banquets, burial preparations and at the gathering on death anni- versaries; often it is done while adults chew betel nut or smoke a cigarette and go into a form of verbal duel in which the winner is determined by the number of riddles and correct answers he offers.

37 38 TAUSUG LITERATURE

On other occasions, riddles are given by adults to younger people. In this context, riddles are not so much a contest of wits as a way of developing sharpness of observation. The possibility of the relationship of riddling with "strong training for responsibility", with particular emphasis on "the training for the role of interme- diary" observed in Tagalog riddling by Roberts and Forman (1972) still has to be investigated properly in the Sulu setting. Riddles are normally recited but occasionally longer riddles are sung at marriage celebrations, wakes, or even in smaller home gatherings when a professional singer known for his knowledge of riddles is performing. The latter does this at the audience's request. From a recently published collection of riddles (Hassan and Jamal 1973: 218), here is one sung riddle: Miyanaw agakagak It walks sluggishly. Usug iban umagak When the male and female meet, Bang magbak magdugpak [They] bump into each other Biya' patung sipak [Sounding] like splitting bamboo. Inut ku hinang Stealthily I peeped Dain ha higad dingding Through [a hole] on the wall's Tanduk nagbabaingbing edge. Tukuran niya kambing [Their] horns were entangled. Its guess is the goat. As the collection of Tausug riddles goes on, its completion should afford the social scientist an opportunity to explore the Tausug cognitive system, that is, the way the Tausu'g mentally orders his universe, the world of nature, food, artifacts, and human life. To be complete, such a study dear to the social scientist more in- clined toward structuralism ought also to include Tausug proverbs and poetry.

Proverbs The communicaion process involves mostly straight, direct speech but in certain settings and events, in dealing gently with sensitive people, to emphazise the weight of an advice, symbolism comes into play. The Tausug love to use one favorite form, the proverb, masaalla, a word of Arabic origin meaning "proverb," also called broadly daman by some. The first known collection of proverbs was assembled by Garvan in the 1920s when he served as an adviser to Sultan Jamalul Kiram SYMBOLIC SPEECH FORMS 39

Published a few years later (Garvan 1934:285-87), it contains real gems, a few of which are quoted here: In lusung lumag ha rallu sin sug The mortar (rice) seeks the A sleeping shrimp will be pounder (pestle). carried away by the current. Bang kaw sumud pa bay In sakatan asibi' Subay mu kaingatan in Subay ha higad susulan lawang guwaan mu Ampa in dakula' Makajari manawid If you go into the house, You must know where the A small boat must sail close door for leaving is. to the shore But a big one may go out In bisu sumambag amu to sea. buku' In lasa iban ubu di The deaf man will answer hikatapuk wrong. Love and a cough can't be In upaw masamut - hidden. bagungan In kasil di' kabungkulan A bald pate is quickly sin pisak shaved. Mud can't choke eels. In ulang natutug mada (Ibid.: 285) Western proverbs have also found their way in Tausug culture (Garvan 1934:285) Wayruun asü There is no smoke Bang way kayu When there is no fire. This proverb has also its own variant, (Garvan 1934:286) Bang way hangin When there is no wind, Di' mamidpid in There is no quivering dahun kahuy of leaves. As is generally understood, this proverb refers to rumors and gossips about a person's luck or misdeed. A Tausug informant ex- plains that this proverb most of the time refers to somebody's unknown deed or misdeed, of which nobody is sure but "if it is not true, people would not say it." This is common enough to make one wonder about other uses of this proverb, that is, about the multiple context in which this and other proverbs are used and the circumstances in which one might expect them to be used. One 40 1 TAUSUG LITERATURE

soon realizes that, like other forms of verbal expression,.. a proverb has many uses. Mere collecting of proverbs (as with other folklore items) becomes quickly unsatisfactory. What is needed is the uncovering of the unwritten rules which govern the use of this form of verbal encounter. The following proverb, for example, can be used in different settings and between people of different status vis-a-vis one another.

In babai iban usug biya' sapantun gasulin iban bagid. Di' makapagsuuk malahlak. A girl and a boy are like gasoline and a match. They should not be put near [each other], [otherwise] they will burst [into flame] The general meaning of this modern proverb is clear to the reader; it tells of the traditionally perceived danger of close asso- ciation or contact between people bf opposite sex. In practice, it is said as a warning from a parent to a progeny, both usually of the same sex: a grandmother, or an aunt, or a mother to a grand- daughter, niece or daughter of nubile age. The setting may also differ, either the marriageable daughter was seen talking briefly with a bOy or is interested in one or has simply come of age. In each instance, the tone and intensity of the voice, from the more severe to the more pleasant, give a slightly different nuance which somewhat affects the meaning. In the first, it was a severe warning, in the latter, a kind advice. Nuances differ among people of different status and age playing different roles, between kin of superordinate and subordinate ranks. The meaning of the same proverb can become •specifically different in another situation where the statuses and roles are about' the same, as among peers. This time also the exchange can be held between two uninvolved people who talk about two youngsters who have madly fallen in love. The two or more peer observers then comment on the origin of the love affair, "the passion that developed between the two is due to their imprudence." The use of the proverbs then is judgmental and condemning, sarcastic or of the I-told- you-so variety, depending on the speakers' relationship to one another and to one of the youngster. The tone of the voice, the immediate conversational context—all will unconsciously determine the use of the proverb. SYMBOLIC SPEECH FORMS 41

This goes for all daman forms in Tausug life as well as for all , forms of oral tradition in any culture. A good anthropological study of this form of oral tradition has theh to consider all the aspects, from the general knowledge of the people one has to the more specific and behavioral use of the proverb. Courtship speech forms Among the fast-disappearing Tausug oral traditions are the "daman proper" or symbolic speech expressed in courtship situations as well as in the other rites accompanying marriage. Less commonly used than the proverbs and riddles, they are heavy in symbolism. The following daman are chosen from a collection of daman from Parang, in the interior of Job,. and from jolo tOWfl18. A young man in love with a girl and seen loitering in the vicinity of the girl's house can be greeted by her father in this veiled manner: What [kind of] vine are [you] Unu bagun gikus twining? Unu lubid us'usan What [kind of] rope are [you] coiling? In prosaic language, "what are you here for?" The girl's father shows his awareness of the lad's interest and, by asking it in this mild form, expresses symbolically and teasingly his approval of it. But since the culturally acceptable behavior demands that marriage arrangements be made between the two families first through the use of a go-between, the young man cannot be more direct either. The young lover in turn will answer in the same vein:

Mana'ta lupu [I'm] surveying the field Kimita' pagtanuman Ii search of a place to plant. If [I] can find a pleasant place, Bang awn na katanaman Duun na magjanibangan There [I'll] make my garden. or more tersely, the may say: Naghaykaihaykal sin puti adjimatun. [I'm] taking a walk [to see what this] amulet will bring [me]. Respondents invariably prefer the first answer with its sexual connotation as the more expressive and humorous one. In the use of either, the exchange ends here with the girl's father going back to what occupies him, or with an eye-signal indicating dismissal. When the emissary of the boy's family or go-between presents 42 TAUSUG LITERATURE himself to the girl's house to begin exploring the possibilities of marriage, he is addressed thus by the girl's father: Kanduun kaw duguhun [I] will lull you [and] drive [you] into a corner Sin pis pijuhun [By means] of a folded headcloth The go-between then answers using the same image: Kmandu' dumugu [You] will lull [me] and drive [me] into a corner Sin pis mamiju [By means] of a folded headcloth. The challenge to come up for a hard bargain by the girl's father and its acceptance by the go-between is couched in a language which refers to an old game played between young men trying to catch each other's had with a pis (fez) cloth folded in the form of a belt. The pis is a woven Tausug square cloth which is worn by men only and in somewhat formal occasions. In this form of speech, note the concise use of words in which the speakers do away with the personal pronouns as they are im- plied from the context in which the daman is used. This frugality of words is typical of the genre. Taken out of the behavioral context, the question and answer become statements without meaning. Leaving the house, the go-between may give these parting words: Manuntun kami hagdan We are dropping the ladder Manguli' binusan And returning what we borrowed. Bang kami di' masawkap If we'll not be bypassed by luck, sin untung fasawd sin. suratan [And] scooped up by fate, Ha pangjungjungan As [we] come Ha panambilawangan [And] go, Magbalik baju' dakuman [We] shall wear the [same] dress Magbutang kaipatan again To bring the evidence [of our intention]. In traditicnal Tausug life, the ladder leading. to the house on stilts is drawn up upon departure of a guest. It this case the familiarity of the gesture is pronounced. Returning, the go-between and the friends who accompany him bring back to the boy's family the good words of an agreement, which they "borrowed." The language used is clearly archaic and difficult even for an ordinary Tausug speaker to translate, but it is a polite and beautiful way of acknowledging SYMBOLIC SPEECH FORMS 48 the good reception the go-between and his party got and of mani- festing their intention to return. Among friends discussing the compatibility of two lovers the following daman can be said to someone who thinks otherwise: Bang ku aturun When I look at Kitalun hambuukun [And] sight them together, Hangka pawpud ha'lu They appear to be pestles of the Hangka ukul pa mata same length; To [my] eyes they are equal. The mother of a boy who is madly in love with a girl of modest means of which she disapproves may use the following daman which would hurt the boy less than if she were direct:

Naka' kaw iiyadjaw You were tricked - Sin parang hilaw By a cloth [made] of cogon grass, gain Sin walna' sibukaw By the, color of the sappanwood, Sin lag apu' dulaw By. the gold-yellow ginger. Than paggulunggulung Rolling [stone] [she has] come Than pag da baung With a dipper [made of coconut Amu piyaggantung shell] Lubag ibán kalung The necklace she has worn [is full of] grime and body dirt. The imagery of plants, cookery utensils, and jewelry emphasize the poor choice of the boy as the girl appears to the mother without means. "Rolling stone she has come" in its telegraphic style is an expression which underlines the fickleness of a girl whom the mother imagines as "flinging herself down" before the poor lover. If a boy manages to meet the girl of his heart who is willing to be approached, he may say: Nagkulilingliling Walking here and there Naglalawag sumpingaum- [I'm] looking for a young flower ping Sin saddara' ha atay That suits my heart Tumup ha ginhawa [And] fits my personality. or he may more bodly venture this question to the girl. In bawgan pana' mu Your arrow container Yan da ka kaymu? Is it still with you? Bang kaw biya' siyumu If you're tired of using it, Bihun ku kaymu. I'll buy it from you. To which the girl answers in the same bold manner, accepting the sexual undertone of the symbolism and responding in kind:

44 TAUSUG LITERATURE

(ayta' mu, subay andagan? Why do you have to ask for the Bihun paandigan price? Bang kaw biya' sukuran And buy it insinuatingly? Kalu mu mabawgan. If you're lucky. You might have the bow for free. If the girl does not approve of such an approach, she will rebuke him imaginatively: Kimakabaw na kaw You're getting to be like a mandangan bull Sin sapi' kabuligun Of the cow's family Kimaruk tuud in lingkat You are very handsome, mu mi Sin bagun tubig mu You have vine water [but] no way batu lagnasan. stone to file with. Reproving him for his boldness, the girl also expresses her dis- like for his youth and inexperience telling him, "you are too bold and too immature," "you are very presumptuous." She may also use this form of rebuke: Hina'bu kaw limalabuyu' You're acting like a wild rooster Ha ugtuhan sin masa pay At the peak of the rice season; Ba'gu magdulangdulang Your tongue is eagerly hoping haklad (ha paypay hulaw) (for the unhusked rice) Pa alibaudburan. On which Yoq can feed. Daman can also be used outside of courtship settings, as with proverbs and other expressive forms in which various elements come into the picture. The following daman can , be told to slowdown impetuous children in a delicate rebuke. It is also a subtle and teasing manner for a parent or superordinate to show disapproval of a child's precocious freshness.

Kurug da kaw hangkan da What a bully you are; Kupaw da kaw kangkang You spread-eagle [SO eager] for da other's property. Dulawan biyaning da Even without ginger you are Suwaan umalum da already yellow; You turn blue with lemon juice [poured on you]. When a young man or woman or a child attempts to assume responsibilities of the old, or wants to get married at an early age, this daman is proferred:

Imaanaana na Though still very young, Timatangki' layag fla It has a full blown sail [although] small;

SYMBOLIC SPEECH FORMS 45

Biluk pa lahing na A young green coconut, [it Impis pa tahuraij na makes believe] it is mature. Still a chick, it already has its spur (behind the leg, to fight). The maxims Less symboiic, but still couched in archaic language, the pituwa, "advice," "maxim," closely resembles the proverbs. The following pituwa are often used in circumstances which vary slightly. On the whole they are more clearly understood by the people than the daman.

Suppak bata malangug Ha palangay niya mahumu kasakitan gumuwa' in pangkat niya The retribution for a naughty One's character [child] is pain. reveals one's parentage. Sarayawrayaw muwi' magbana Atay nagduruwaruwa marayaw -pa pangasawahun wayruun kasungan niya If it is all right to force One who cannot decide .a man to marry [you] will have no future. it is better [to wait] for the man to ask you. Salaggu' laggu' dusa Ayaw mangaku daug malaggu' Pa in ampun salugay buhi' No matter how grave the Never admit defeat offense forgiveness is greater, as long as you live. Dunya mi pinjaman Hapitan panayaman Ayaw maghamanhaman Mahuli kananaman This world goes on with the flow of time, A stop-over for games of all kinds; Do not dilly-daily your chances For in the end comes repentance. The malikata A malikata, or codified speech, is a sentence in which words are inverted, mixed or twisted according to a prearranged code agreed upon by 'the sender and receiver 'of the message. It is a sub-genre of daman. It is used in courtship or other situations especially among friends. It involves a play of syllables and letter inversion. This is done partly to hide one's feelings from others, partly in a 46 TAUSUG LITERATURE playful mood. In the following malikata the first is told among lovers, the second is between friends. Kaina bang in anut matunab mit makatina' kay manubu' baha' panadu? (In colloquial language: Mayta' bang tau mabuta di' makakita') Why can't a blind man see? Hah yangad maka-iyul-iyul inaniyu' bini' bang aniya' sinaha' aniyu' ni pagkawakalan, aniyu' higan. aniyu' janni'. (In colloquial language: Makaluuy luuy biya' katu. mi bang way usaha way pagkabakan, way gaji, way pangadji'.) It is a pity for people like us not to have jobs, nor to earn a salary, nor to have an education. Love spells Some have called this daman, but in reality it belongs to the field of magic. Although related to the daman whose form it es- pouses, spells are a way of. communicating with the "spirit" of the loved one when the young lover feels that his is not reciprocated. Two examples of love spells follow.. Standing at the food of the stairs of his house, the young man stares intently in the direction of the house of the girl and says religiously seven times the following: Ud'ud ha mata kitaa Little caterpillars in the eyes, aku man look at me here. tJd'ud ha siki panawa Little caterpillars on the feet, aku man, walk to me here. Subay kaw wala' nakaduru' As surely as you have missed kan ma' mu at your mother's breast, Ampa kaw di' kumasi Just as surely you'll kaku' 'love me. If that does not do the trick, another spell, one among many, can be cast: Hanginhangin baliyu Changing wind, Hangin duwa magliyu Two gusts of wind alternating: Hangin daha matun ditun Wind, take it there. Ditun mu pabuntangan. And let it spread there Ha pansa' pansa' panan On the branches Ha pagtundunan apdu Where the bile is clustered. Kalingasan mu ditun Your restlessness there Karaymukmukan mu Is your tranquility here with me. di kaku'

SYMBOLIC SPEECH FORMS 47

Dapaw patung in ditun What, there, is a bamboo itch; Baluy puti' in di. Here, it's a white mat. These formulae, representative of a genre not fully studied yet in the Sulu context, are falling slowly into disuse. What is interesting in their case is the repetition of words or, at times, syllables which is supposed to give them a magical quality. This phenomenon, known the world over, and still present in modern societies, is an attempt of the Tausug to manipulate forces over which he feels that by himself he holds no power. Though unorthodox they may be, these love spells belong to a traditional genre which has its own charming and literary quality.

- 48 TAUSIJG LITERATURE 6. Songs Most of the foregoing materials surveyed are often sung. The oral tradition in quatrains and with rhymes (the parang sabil ballad of Abdulla, the ballad on marriage duties, some riddles and some of the daman just mentioned) are sung in formal occasions or celebrations. As Trimillos (1965, 1972) and Kiefer (1970) have recorded and described the technical and social aspects of Tausug music, no special discussion of this specialized form of expression and communication will be undertaken here. Mention of the literary genres will suffice. The baat The baat are songs which follow the melodies of the lugu' kamaasan tradition and which express in a somewhat melancholic way the unfulfilled love for a sweetheart or the death of a loved one. The baat karnaasan is a classic love song in which the widow of Tuwan Nahuda' laments his sad death. This song relates to the legend of a certain Tuwan Nahuda', the Malay Nakhoda Ragam, a shipmaster who was pricked to death by his wife's needle and whose death was kept hidden to ithe crew by the wife who then took over the command of the ship. According to Skeat (1901:83), Nakhoda is a Persian word for "ship master" which was the familiar name of one "Sultan Bulkeiah" of Borneo, described in Bornean traditions as "a great warrior and a great navigator, in having voyaged to Java and Malacca and conquered the East Coast of Borneo, Luzon and Suluk [sic]. His wife, called Lela Men Chanei, was a daughter of the Batara of Suluk [sic]." Here is the baat lamenting his death after he had been buried, a baat taallaw, the baat of death: Tuwan ku Tuwan Nahuda' My beloved, beloved Nahuda' Bati'bati' na ba kaw Will you please wake up? Panandawtandaw na kaw Will you take a look Sin pu'pu' Tahaw At the islet of Tahaw? Aturun hawhaw It seems very far, Tubig pangdan malihaw But its clear water among Hiubat Ianggang uhaw. the screw pines Can quench one's thirst 49 50 TAUSUG LITERATURE.

Tuwan ku Tuwan Nahuda' My beloved, beloved Nahuda', Bati'bati na ba kaw Will you please wake up? Panandawtandaw na kaw Will you take a look Sin pu'pu' Taganak At the islet of Taganak? Aturun anakanak It seems very small. In luha' magkatanak [My] tears are falling Sabab karna' anak. Because of my children. Tuwan ku Tuwan Nahuda' My beloved, beloved Nahuda', Bati'bati Pa ba kaw Will you please wake up? Panandawtandaw na kaw Will you take a look Sin pu'pu' Siganggang At the islet of Siganggang? Aturun makatumbang It looks fanciful. Atay puti' napaddam '[My] heart is broken Sabab sin lindu randam. Because of my sentiment [for you]. In kabuhat pa upas When he was lifted into the bier, Ina, ama' nagpagtas [His] mother [and] father were Kailu hi matikkas grieving much. Isaisa. mauppas. That great man was pitiful; He passed away alone. In kabuhat Pa lawang When he was lifted to the door, Ina' ama' nagwayang [His] mother [andi father wailed Kailu hi niatayang Their loving son was pitiful; Isaisa pa liyang. He would go to the grave alone. In kanaug Pa kubul When he was brought down Nagpayung ubulubul to the graveyard, Kakampungan nahiyul [His coffin] was covered In lawm atay hansul. with a royal umbrella. [His] relatives were terribly disturbed; [They felt as if their] hearts were melting.

Other baat sing the lovers torments when love blooms and yet some uncertainty remains in the heart. These songs were common in the past among the young datus and their dayangdayang, the princesses. Although seldom performed in public, the baat occasionally re- appear at public ceremonies, such as during the celebration of marriage between a young datu and a dayang dayang, on such an occasion, the baat .takes thea name of baat pangantin, or the baat of marriage. The following baat belong to the genre.

SONGS 51 Hi raut ku pagmatay I beseechingly wailed Hilangan susa atay. To comfort [my] tormented heart Pikil ku patay I tried hard to think, Danan na sin akkal nanaytay That is why [my] thoughts were wandering Wa' na kimuntay [My aching heart] has not Wa' himanutay been becalmed; [The torment] has not Ba nagantung bitay been eased. Ba nakapagulañgan [I felt like being] hanged upside down. nakapapantay [I've wandered] to the Nakapagmisra' sadja wilderness and to the field; [We were] united only after nangulit lantay. I became skinny. It is not clearly stated whether the "I" of the song became financially or physically poor, but the contextual meaning suggests that the "I" became physically deficient. * The following songs are two other classic baat for lovers or sweethearts:

Unu in hilangan What [am I going] to sing Sin hidlaw kan junjungan [To ease my] yearning for my Ayir bajanggang beloved? Sukkal banding di' kapasangan [Her] incomparable presence Hi ula katumbangan can not be matched Bang maisa kulangan [My] dear, idolized [lover], Dayang in pagnganan. When lying in the chamber, Utters the name of his beloved.

Unu in hiubat What is the remedy Sin hidlaw kan kalbat Of my yearning for my partner? Ayir bajanggang [My] irresolute lover, Sukkal banding di' maambat [1 am] very much in distress. Hi ula kan kalbat [Due to my longing] for my Nangdabdab na nangbatbat dear partner Laip na in pangisbat. [I] talk senselessly [And] do things illogically. A man disappointed in love may also vent his feeling as in the following piece sung by a blind professional singer, Utu' Dakula'

52 TAUSUG LITERATURE of Parang, Sulu, during a public performance at a house: Ayi-ij bang yan mlyanaw Ayii-i (sorrow exclamation). As she has walked away Tubig mata kima'naw [I] was close to tears, Ukum naglanaw [They were] about to burst Ah atay natunaw [My] heart was melting, Di' na mi liminaw Could not be calmed. Andu' rayang bang pakain ku My darling, I [don't know] where na hipanaw to go.

The sindil and the liyangkit Still popular in Sulu, the sindil, an improvised on-the-spot teasing song, and its sequel, liyangkit, are accompanied by the gabbang ensemble—the bamboo xylophone (gabbang), the flute (suling) and the native violin (biyula). In the sindil, two or three performers sing alternately, one picking up where another ends and trying to match the wit and choice of rhymes of the preceding singer. In the liyangkit, only one singer, usually the principal performer, winds up in a solo. The sindil is a verbal duel in which teasing one another and joking about events form the content of the genre. The singers improvise on-the-spot, taking up from where the principal singer left off. It usually deals with the persons involved, the singers themselves including even their physical discomfort (as will be shown), the hosts of the celebration, the visitors, and the events of the day. This genre is performed on various occasions, during wedding celebrations, the visit of dignitaries, feastdays evening concerts, political rallies, and (as in this case) following an invitation td merrymaking. Looking at the sindil and liyangkit presented here, the reader is invited to pay more attention to the Tausug version where the play of words, rhymes and sounds, and the gallant competition between singers count more than the content. To the Tausug audience, redundancy poses no problem, as it emphasizes the familiar world in which he lives and which he enjoys to hear about. In fact, to enjoy this genre, one needs to know the performers and their audience, their existential setting, something which a translation cannot impart. Skinner (1966:6, footnote 22) adds that "the SONGS 53

'coefficient of boredom' of a Malay audience is even now by no means identical with that of a European audience. The latter often places a premium upon originality (even at the expense of intelligibility) ; the former, upon familiarity (even at the expense of redundancy)." The following sindil and liyangkit were performed on NOvem. ber 1972 in Luas, Parang, at the house of Ikiali Jamal who had invited the research staff for an evening of entertainment at his residence by the sea. All the neighbors including relatives and friends from the nearby barrio of Nunukan came to enjoy the performance at which sweets and refreshments were served. Although the text is abridged for economic and political reasons (only the beginning and end verses are given), it gives an idea of the genre. The reader will note the,reference to the unrest in Sulu, the personal discomfort of the principal singer which is taken good-na- turedly, the world of spirits taken somewhat lightly, the relationship between the singer and the hosts, and so on. The liyangkit follows with the principal singer's parting worcLs19.

1. Hadjarati: Tunga' dum magbangun Ba manga pantun mi sin paglindangun Ba manga pantun sin paglindangun A-a (etc.) Di' ku langka hibangun Ikaw Utu' in pasandungun [I] get up at the middle of the night. This is [what happens to] one who's bewitched, [To one] who's bewitched. A-a (etc.) I won't let it rise with me, my pampered one; [I'll] always think of you, Utu'. 2. Utu' Dakula': Sambil ta pamaid na Pa kaniyu katan na A-a (etc.) ICanila da katan Pasiglaun isab natu' na In hula' namu' malayu' na A-a (etc.) [This] includes our farewell to all of you 54 TAUSUG LITERATURE

And all of them. A-a (etc.) Let's do it fast; Our place is far.

3. Ninung: Agun isab in tingug ku di' tumunu' Ba manga in tingug ku di' na lumanu' - In tingug ku di' na lumanu' A-yi (etc.) Sug Utu' way na linu' An a-a (etc.) I, My voice can hardly stop, [but] It seems that my voice can never be clear, My voice can never be clear. A-yi (etc.) Utu', Sulu is no longer at peace. An a-a (etc.)

4. Hadjarati: Bissara rayang way na bugtu' Bissara mi way na bugtu' Kalangan ha' Utu' di' magbugtu' Di na ba kaw isab Utu' Alla ku hi lanu' langka ku In kaniyu isab malayu' An a-a (etc.) Ari ba dundang ba dayangán Manga in kaniyu Utu' malayu' Words, dear, that never end. These words have no end. This is a song that will not end, Utu'. Please stay here, Utu'. Ah, how pure is my pampered one, Since your place is far, An a-a (etc.) Ah, I lullaby my beloved [For] your place is tar, Utu'.

5. Utu' Dakula': Mikimaap da isab aku Ba miki maap da isab aku Uy Ninung, Abu' Ati, Utu' Dakula' SONGS 55 In ka bapa' ku In di' babu' hikari ku Abu' in di' Abu' Ati, Utu' Dakula' Sabab sin pagintaw' ku (Laughter) Ari andu' a-a (etc.) Daypara laggu' luman ku Na miyadtu ba in amaun ku I also beg your forgiveness. Oh, I also beg your forgiveness. Ninung, Aunt Ati, Utu' Dakula', And my unele. The reason why I can't stay here, Auntie, Aunt Ati, Utu' Dakula', Concerns my defecation. (Laughter) Ah, it's a pity, a-a (etc.) But because of my great respect For my uncle who has gone there [I will stay].

6. Ninung: Utu' Dakula' in kalangan mu Bang sumakit in intaw' mu Ari duldang ku rayangan Biya' da ba mi sin bay mu Pa bay madtu magtuyu' kailu Biya' na awn manga asawa mu [About] your song, Utu' Dakula': If your defecation becomes unbearable, Ah, my dear beloved, Why do you insist [in going home]? So why do you insist [in going home]? [You behave] as if you have a wife [waiting for you at home].

13. Utu' Dakula':

Pa maas sampay pa bata' Isab manga yari nangita'ngita' Ba pa maas ba pa bata' Manga yari bay nagita'ngita' Sambag na ba kaw Inda' Mussa' Iyampa kita niyu nagkita' A-a (etc.) an Ninung, Abu' Ati Ari andu' Dayang kadtui niyu na. 56 TAUSUG LITERATURE To both the old and the young Who are here to witness [the happening]; To both the old and the young Give your answer, Inda' Mussa' [For] this is the first time we've met one another A-a (etc.) Ah, Ninung, Aunt Ati, Ah, it's a pity. Go ahead, dear. 14. Hadjarati: Bakas kaw hariiri ta' Ba manga iyampa kita nagkita' Manga tumtum ku mi bukun ganta' Ba manga di' ku mi hikabayta' Tumtum ku mi bukun ganta' Ba manga di' ku ba hikabayta' Ari i-i (etc.) Andu' dayang angan (etc.) Ari rayang angan (etc.) Where have you been? [Why have you said] that this is our first time to see each other? My memories are uncountable; I can't tell you about them; My memories are uncountable; I can't tell you about them. An i-i (etc.) It's a pity dear, [I'm] hesitant; Ah, dear, [I'm] hesitant.

15. Ninung: Agun na ba aku di' makalamud Utu' manga kimaruhung ngi' tingug A ba manga kimaruhung ngi' sin tingug Bang di' ha agaran langug Manga sambil na aku magkangug An i-i (etc.) I can hardly join [you] Due to my voice that's too hoarse, Utu', Due to my voice that's too hoarse. If I don't accompany it with a joke, I might also get mad. An i-i (etc.) Ah, dear, ah, it's a pity.

SONGS 57

43. Utu' Dakula': Maingat da ba aku duwaa ha lutaw Sari bang ha ran sugsugan ta kaw Tilua ba madtu sin massakaw Dumagan da sa yan madtu in lutaw La lilla lilla (etc.) Anyway I know how to appeal to the ghost. Never mind. I'll tell you when we'll be on the road. Throw a biscuit at it, And you'll see that the ghost will run away. La lilla lilla (etc.)

44. Hadjarati: Bang in lasa di' katahanan Biya' diin baha' in panumtuman Bang di ha dunya di' kalimbangan Ha ahirat, ahirat didtu dakuman (Laughter) La lilla lilla (etc.) If love can't be endured, How about reminiscence? If [I] can't have a partner here on earth, It shall be done in the life to come. (Laughter) La lilla lilla (etc.)

45. Ninung: In buga' ku mi kiyalampawan Bisan tigidlum biya' saws, bulan Nagsuysuy kaku' in kabataan Nagbubunyug kumu' in lutaw manga ka'patan Lalla lilla (etc.) Nagsuysuy kaku' in kabataan Bang kita kunu' muwi' dunn hapaan My fear is overpowering. Even though it's dark, it's as bright as • moonlight. Some youngters have told me That forty ghosts are roaming together. La Ella (etc.) Some youngsters have told me [That the ghosts] will meet us on the way when we go home. 58 TAUSUG LITERATURE

51. Utu' Dakula': In lupa' tubig Utu bang kaingatan Ampa siya mapatay muga' in saytan Bang upat inasil yan bat kaingatan Maguy da magtuy in saytan If you'll know [the mystery of] the land and water, Utu, The devil will fear [you], of which it will later die. If you'll discover [the mystery of] the four elements, the devil will run from you.

52. Ninung: Utu' sugpatan ku kaymu Ba in bissara mu Ampa di' da yadtu uliulian mu Misan hat kulasa' kabahunusan mu Hibugit mu da isab in iban mu Utu', I Will add something To what you have said If you aren't taking them back. When you hear even just a faint sound, You run and leave your companion,

53. Utu' Dakula': An i-i (etc.) Mamaid na kita niyu katan kan Iklali lyampa in paggabbang bat yan naglami Mamaid na kitaniyu An i-i (etc.) Let's all of us say goodbye to Ikiali. This is the only time ta gabbang session has b.-come enjoyable. Let us now say our goodbye. Liyangkit -

I. Las na in kalangan kita niyu nagsubli Marayaw in lisag maghalihali Mikihatud na aku isab kan Ikiali Na in paggabbang namu' hmpa naghali SONGS

This is the last song [we've sung] alternately. We've done [it] well [so now let's] have a rest. I'll ask Ikiali to accompany me [home] [For] our gabbang session has just ended.

2. Mamaid na isab kitaniyu kan Inda' Mussa' Pabaytaan ta kaniya in manga bata' Baba masawa pa tuwan ha lupa' Magpahatud na aku muwi' ha manga bata' Let's say goodbye to Inda' Mussa' [And] ask her to tell the youngsters That while the moon is bright outside I'd like them to accompany me home.

3. Iyampá kita isab mi nagkannal Halaum sin kalangan ta na iistibal Mamaid na isab kita niyu kan Ambuwinal Supaya in kalangan ta isab magsabunnal We have just figured it out— It is embodied in our song. We also have to say goodbye to Ambuwinal So that our song will come true.

4. Mamaidmaid aku bay ha milikan Sambilsainbil natu' Ninung pagdilasan Kiyapaggabbangan natu' isab in duhul Nunukan lyampay in anak kampung tay bat ha Nunukan I'll say goodbye to the American; [It] includes our finale. Ninung, Nunukan has been the scene of the gabbang session, And our relatives in Nunukan [have come to witness it].

5. Hi Inda' Mussa' pa batia na Andu' tawagtawaga na Ay isab yan kumpani ku na Hi Utu' Dakula' mikihatud na Baba yadtu lawng lisag siyam na Wake Inda' Mussa' up. Please call her now. She now belongs to my company. [Tell her that] Utu' Dakula' wishes to be accompanied [home] While it's still nine o'clock. 6. Baba yadtu bat lisag siyam na Ubus na sa slYa simanibahayang Yan ku piyahupan pagkalangkalang 60 TAUSUG LITERATURE

Pa paguyumuyumun ku bundangbundang lyampa aku isab nagkalang While it was nine o'clock [And] after she had finished praying, I sang pleasant songs for her. She was smiling lovingly As I sang.

7. Paamutamuta ba Abu' Ati Supaya in kakaya ta makahati Ha bayta' ku yan bukun palti lyampa kita isab nagapiki Aunt Ati, please tell her to hurry So that our relatives will understand. What I say is not a lie For we're running short of time.

8. Alla ma' ku na isab jip yan na Rita niyu Abu' Ati biya' diin na Bang baha' kita niyu isab yan bat simakat na Naggagabbang isab tapus dan na Hati' hi Tuwan Iklali bat umulang na Ha'! [Laughter] lyampa kita isab yan bat makalupad na Oh, mother, the jeep is here! What about you, Aunt Ati? Suppose [you] ride with us [And] we play thq gabbang along the way? Then Tuwan Iklali may shout, "Ha!" [The singer shouted. Laughter.] This is the time for us to fly away.

9. Dayn tagna' naggabbang ha kawman Tingga' dawa sa kita sabsaban lyampa isab mi kasungsungan Di' marapat isab ha kakampungan Ever, since I played the gabbang in our community, [This is the only chance] for [me] to room. It is only now that it can be improved. To our relatives it is wonderful.

10. Biya' diin kita isab Utu' Ninung May kaw di' na minsan magparnung In kalangkalangan ku ha makapunung Manga hulmat ta ha kampung SONGS 61 How about us, Utu' Ninung Why haven't you spoken? My song can make one faint, [And] it is dedicated to our relatives.

11. lyampa in manga kulayt kumu' na Bati' kaw Tuwan Ikiali bat gumbahi na [Laughter] Sari bang kitaun ta mataud lana Biya' in sawasawa ba kumu' na But the kerosene lamp has weakened. Wake up, Tuwan Ikiali, pump it now. [Laughter] If we look at it, it has more than enough oil, [But] its light is beginning to recede.

12. lyampa isab mi Abu' Ati In ingat ku isab yan magpapalti Misan in kapaggabbang ta nagapiki Mintas isab yan andu' iyanti And regarding Aunt Ati, I thought there will be a party [she'll attend]. Even our gabbang session was begun hurriedly, Pitiful Auntie [has come to attend it]. 13. Jyampa in pikilan ampa nagdugtul Kita iyampa nagdugtul Ha manga nagkalangan bukun mahatul Tumtuma Tuwan Ikiali waktu nagiskul In manga kiasmit niyu bay na sin ukul This is the time for minds to clash, For us to meet In songs that are not so good. Remember the time [when you were in] school, Tuwan Ikiali. All your classmates were then grouped. - 14. Lawng ku isab mi ay di' makaasawa kan Inda' Mussa' Nagkukult sa didtu ha manga bata' [Laughter] Sal di' ku na yan hibayta' Kikip niya pa yan didtu in patta' [Laughter] I thought that [he] wouldn't be able to marry Inda' Mussa' For he was courting some young girls. [Laughter] I will not, however, reveal it; He has kept a picture of them. [Laughter] 15. Ay isab mi awn manga pitu gus in piyamungan Ay in pikilan pagpaandigan Bang nlianga sadja yadtu kiyabawgbugan 62 TATJSUG LITERATURE

To seven girls he said something— Thoughts that were insinuating. But he failed to support those ideas.

16. Sa' maas isab di' mabaya' kaymu Hati ku Inda' Mussa' misan ma' mu Piyapaghambuuk isab sin Tuhan kamu Sababsabab Sa mi ha pangkat niyu But [her] parents were not in favor of you. Even your [parents], Inda' Mussa', I think Were united by God. This is the result of your pride in your family.

17. Kawgun na lawng niya bang pa •dugaing Amu in piyaakkal kaymu piyagiling Iyupamakun sawnay atawa suling Di' maukat isab yan ampa maggiling Nagindaginis na isab hi dalling [Laughter] They said it would be a waste if somebody else would win your hand. This is the idea they wanted you to turn in your mind, Like the [native] clarinet and a flute That cannot be classified as different instruments. Don't act strange, my darling. [Laughter]

18. Ay kaw isab mi magpakaru' Las na in kalangan kuy bat bukun juru' Paggabbang kuy bat landu' landu' Di' marapat sa akuy isab ha bukun udju' Dayang, Utu', Inda' ku, bat Abu', bapa' way paghindu' In magkalangkalang tingga' dawa in tingug kuy ml landu' Nagkulang nagsusudsud da bay iban gabbang Do not make us sleepy. This is the last. song I sing willingly And the gabbang piece I gladly play. It's wonderful: This is not a criticism. Dear, Utu', my Inda', Auntie, Uncle, do not coach me. Even if my voice lacks very good qualities, It has blended with the gabbang accompaniment.

Liyangkit is also a term used for ballads sung by a single singer such as. the kissa of the parang sabil of Abdulla mentioned earlier and that of Kiefer's Langkit Parrang Sabbil kan Apud, "Ballad of the Suicide of Apud" (Kiefer 1970: 7-9). They all belong to the sa'il (Malay sha'ir?) tradition, or rhythmical verse. Since the term SONGS 63 sa'il in some areas such as Luuk means just that and since in other areas the term seems to connote merely singing, use of the term has been avoided here altogether until further reasearch on its use has been conducted.

Modern Tarasul Earlier in this paper, religious poems described as tarasul were presented. The tarasul described here are songs, or love messages which are very popular among the young of present-day Sulu. Every day, on a local radio station of Job, these love messages are read by the radio announcer for the senders. They invariably deal with love situations and occasionally with love for parents.

We Made a Vow

Mahunit ku kalupahan I can hardly forget In mas aiiya'bayan, The time passed, Mahunit ku kagantian [Nor] can I easily replace Hi mussa' ku dayang My dear, beautiful pearl. lingkatan. Bulan landu' masawa The moon was very bright, Nagjanji,' kita duwa: We made a vow: Mussa' ku palmata. [You will always be] my Ayaw kaw masusa treasured jewel. In aku kaymu da. Worry not I will be yours [forever]. Dum adlaw aku nagtangis, Day and night I cried, In luha' ku nalinis. All my tears were drained. Umanud sapantun tubg Like a river they flowed Di' ku na sa dayang For I could bear my mahawid. grief no longer. Dum adlaw aku naglunsul I wandered day and night In piyaglawag ku ikaw. Searching for you. Kalasahan ta sa kaw I still love you so much Butawanan di' ta kaw. I will never let you go.

Another tarasul form centers on nature and nurture. Also of more recent origin, it seems that they have been strongly influenced by modern education.

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In Suga Than Ulan The Sun and Rain

In bulan iban suga The rain and sun Kagunhan ha dunya, Are essential on earth, U! Apu' Banuwa Oh, Apu' Banuwa In jambangan tulunga. Help the garden.

Imandum in panghula' The land is misty Nagulan landu' tigda', It rains so hard. Kug sin manga bata' The children are happy In tiyanum inasigla'. And so are the plants.

Ulan ulan tulunga. Rain, rain, help. Than na sin sinag suga. And [you, too,] rays of the sun. Bang wayra bayabaya, Even if nothing else happens, Masamut na in bunga. Soon there will be fruits.

U! Apu' Banuwa, Oh! Apu' Banuwa, In pagsukul tabuka. Thank you. Salamat na in dunya The earth is grateful Jambangan miyabut na. [For] the flowers are now in bloom.

Langan As in many other cultures, the Tausug also have songs (langan) which are usually written by a teacher and are sung on certain festivities or even at school affairs as the "contribution" of an individual participant. Other songs, langan bata'bata', are lullabies still very much in vogue in the area. The first type of songs is represented by the collection made for a study of Sulu ballads by Mercado (1963), a native Tausug educator22. Two samples of the genre are reproduced below:

Mairum Bud jang Lovely Brown Maid a. Mairum hurup lam a. Brown Maid so very slim Nag tunggal ha alam You are unequaled in the Mangaku magtigallam world Bang man hangkatilam I will suffer untold agonies Just to have you beside me.

SONGS 65 b. Mairum hurup nun b. Brown Maid So very wise Ha atay pasandungun You will reign in my heart Bang halal di' kawinun If fate • cannot unite u Mangaku tumiganun I will go on being lonely. c. Mairum malampisa c. Brown Maid so very sweet Kilay timanduk usa Eyebrows like deer horns Bang kita di' maisa If we cannot be one Hataas na in dusa. Heaven is to blame. d. Mairuni lampisahun d. Brown Maid so very sweet Kilay tanduk usahun Eyebrows like deer horns Bang kita di' isahun If we cannot be one Taas na in dusahun Heaven is to blame.

Kalangan sin Magbubugsay The Song of the Traveler a. Katulak pa Manila' a. When I sailed for Manila Kasusahan dakula' Great was my grief Hi Intan ku kumala' My diamond, my precious Nakabin ha hula! I had to leave behind. b. Pagabut Sambuwangan b Upon reaching Zamboanga In atay dimundungan My heart was whirling Subul di' kalimbangan This miserable young man Mayu' in biyutangan. Was now very far away.

c. In karatung pa Bais C. Upon reaching Bais port Waktu- sin adlaw Haminis It was early Thursday In luha' immainis Tears flowed freely Anak subul timangis This young man wept.' d. In kadunggu' ha Cebu d. When we reached Cebu Waktu sin subusubu It was early morning Minsan kaw mangasubu You may inquire from anyone In nagtangis hi siyu. Who it was that wept. e. Pagdatung pa Manila' e. Upon reaching Manila Landu' susun dakula' My repentance was great Tuman na yan nalawa' My diamond, my precious •Hi Intan ku kumala' Was now almost lost to me. I Pag abut tuy bulan f. Even after three month Hinglaw piyalanj alan The loneliness went on In subul nagtunggalan This young man alone shed Luha" itung nagulan. Tears like rain falling g Sampay Pa adlaw mi g. And up to this day Kasusahan masimasi The sadness is still here Minsan maglamilami Pretending to be happy Hansul in sanni-sanni But weeping inside the core. 66 TAUSUG LITERATURE h. Way na biya' hayan h. There is nothing like this Susa sin stay ku yan This awful sadness of mine Bang di' kapang hupayan If no solace will come Sampay magkalugayan This will last forever. The songs to rock a child to sleep are a category which include the dindang (or dundang), lullaby, in-the past, the court language term used by the sultan's family, and the buwabuwa, the commoner's lullaby. Now the terms are interchangeable. Kiefer (1970:6) gives the following lullaby:

Dungdang ba Utu' tug na kaw Go to sleep now son Ba liyalangan ta Sa kaw The song will soothe you Ba dayang bukun sabab ikaw Darling it is not your, fault Ba in maglangan mahukaw If the singing is unpleasant. CONCLUDING REMARKS As this survey comes to an end, a few remarks are in order. Basically, this overview of Tausug oral tradition and literature introduces the interested reader to a great variety of forms, an artistic poetic expression unknown outside its locale and has assimilated happily outside elements. This is a first step toward a better understanding of Tausug culture in its many facets and an introduction to the Tausug folk narratives presented earlier (Rixhon 1972). Admittedly, the preliminary character given to the survey is due to the fact that it does not cover all the past and present forms of Tausug oral tradition or does it consider their classification in this paper as final. On the one hand, such forms of communica- tive behavior as oral codes of customary law (adat), court language used by the sultans of Sulu and litigation or deliberation speech forms in religious (agama) tribunals and other settings have not been taken into account here; the materials available are still few or incomplete. On the other hand, the classification of the various forms of literature and oral tradition attempted here is far from being definitive. Although the present arrangement was followed after close consultation with some of our Tausug informants, it is not entirely satisfactory to others. Much work remains to be done in the domain of definitions, a work which eventually will emerge from the materials themselves after careful analysis. Both areas, the completion of the collection of oral legal codes and court speech forms and a more definitive classification of Tausug oral traditions, should soon be under way after the problems of a classification from within have been solved. This should end of the first phase of our Tausug Oral Tradition Project, although the collection it- 68 TAUSUG LITERATURE

self will still go on as forms of oral tradition emerge in traditional / forms as well as in new forms and media. Our research is now entering its second phase: analysis. Col- lecting oral tradition to save them from oblivion is an extremely important step, necessary and basic. Like a museum where the artifacts are gathered to take meaning in a cultural perspective and to shed light on a people's present life through a valid interpretation, so a collection of oral tradition takes life if it forms are analyzed and interpreted systematically in a valid cultural perspective. This is true of the collection still on-going—of the Tausug oral tradition and folk literature, and later of the Samal verbal arts, which have to take a meaning and a cultural perspective, all their own. Two approaches to the analysis of the Tausug materials are presently considered: one, comparative or genetic, the other structural. A comparative study of the Sulu verbal arts with those of the Malay world, in Malaysia and Indonesia, not discounting the South- west Pacific islands, should unravel a literary kinship between the Tausug and those other peoples. The relationships between them are undeniable but they are as yet still undefined. In this context, one could ask this question: Could a comparative, genetic study of the Malay literature in what it shares with the various cultures from Malagasy to Mindanao help toward a definition, tentative though it may be, of Malay culture as such? A corollary question then could be asked, looking at well-marked differences in the oral tradition of the Tausug: Could this help toward a definition of Tausug culture? In this case, the comparative folklorist would have to look into the extent of outside influences, their relationships as well as into the specific Tausug way of handling them. As oral traditions are cultural events, they "reflect and/or refract" various elements of the culture, and so a good comparative analysis cannot do without the study of the language and the social structure and their interplay in Tausug folklore. Not one social scientist can achieve this by himself, for the work demands the cooperation between native South- east Asian social scientists and literary critics from all countries and cultures as well as to determine relationships between Tausug oral traditions and those of neighboring peoples. Assuming it were possible to seek the origins of some of the Tausug forms, it seems that more should be known from within each group of oral traditions. To compare, one needs a well-defined and basic unit to work with. CONCLUDING REMARKS 69 To establish such workable units, the social scientist should resort to the more systematic structural analysis, a good analytical tool at determining the basic elements for a good comparative and cognitive study of Tausug culture through its oral traditions. A theoretical study of the use of the structuralist approach in this regard is in preparation. A detailed explanation of the mechanics of structural anthropology as applied to our materials is beyond the scope of this, a mere overview. Another purpose of this analytical study using. ethnoscience or sociolinguistic tools should enable the Tausug folklorist to arrive at an understanding of the mind of the Tausug, their logic and philosophy, the way they look at themselves, their world and the universe at large, their use of mental categories and values, and so on. - Such an approach is presently studied while our investigative efforts are now centered more on the verbal behavior of the people where the unwritten rules that govern speech are sought in their fuller cultural context. It goes almost without saying that these two approaches, the comparative or genetic and the structural or cognitive, hold important implications as a baseline work for the study of culture change in the field of cognition and communication. In the mean- time, some of these oral traditions are being experimented with locally in first-year college courses as curricular materials not only in the social sciences but also in language teaching. The hypo- thesis behind the latter is that a bilingual person in the making is someone who switches effectively from one code to the other while attempting to master both codes fully. Getting better acquainted with his own native Tausug code can be effectively done by the Tausug student through the use of his own native literature, at least as a starting point. Much work still remains to be done at all levels. The purpose of this overview has been to acquaint the reader with the richness of Tausug oral tradition and to indicate areas of investiga- tions and new directions.. The presentation in itself has been as rewarding as the view the swimmer has of the sea life while swim- ming over one of the beautiful Sulu reefs. He is enchanted by the colors, the movements,in brief, by the beauty of the sea life below. Yet as he swims with a mask, he remains far from what he admires 70 TAUSUG LITERATURE

unless he dives to be in the midst of it.. As with the swimmer, the social scientist cannot afford to remain at the surface of his data, he has to go deeper if he wishes to understand, appreciate and share it with the rest of the world. ___ - p I -

NOTES, GLOSSARY AND REFERENCES

1. Notes

1. Rowena Bahjin and Irene Hassan gathered the materials, transcribed and translated them. Ricardo Adjawie edited the manuscript for publication. 2. See footnote 1. 3. The Mawlud feast celebrates the birthday of Prophet Muhammad. For more details on this festival see page 22.

4. Spat Kawhcwn means the twenty attributes of God. These divine qualities are often taught in Jolo using the following binary oppositions: Being II nothingness Living // dying II deaf Old II new All-hearing Eternal / / ephemeral All-seeing /1 blind Different from everything Verb 1/ speechless Almighty II powerless Incomparable / I comparable unwillful Self-subsisting // dpendent Willful II Aware /1 unaware One and Alone / I many Powerful / / weak Life-giver // killer All-loving I / hateful Hearer II deaf All-knowing // ignorant Revealer If silent the 5. The five pillars of Islam are the profession of faith (8hahadat), five daily prayers (sam.bahayaflg), almgiving (jakat), the yearly Ramadan fast (puasa) and the pilgrimage to Mecca (hadj) once in a lifetime. 6. The knowledge of the five pillars of Islam mentioned here is much more than a mere intellectual apprehension of the truth; it is above all an act of faith which guides the believers' behavior. All these elements are necessary if one wants to remain a religious Muslim.

7. Ainpct in rukun saha4at upat: the shahadat (Arabic) is the first pillar of Islam, the profession of faith which sa ys, "There is no other God than Allah, and Muhammad is His prophet.' This basic belief

72 TAUSTJG LITERATURE

already makes one a Muslim, although ideally this basic belief has to be translated into deeds. The four elements of the sha,hadat are: the existence of God, the oneness of God, the mission of Muhammad as God's messenger and last prophet and finally the necessity to believe in these to be saved. 8. The six basic beliefs in Muslim faith are: "1. I Believe in God; 2. I believe in His Angels; 3. I believe in His Books; 4. I believe in Hi Prophets; 5. I believe in life after death; 6. I believe that God rewards the good and punishes evil." 9. Mahwnjjt bang kita mUwi' hukum literally means "what is difficult is if we go home to be judged." Here, it is translated as "or else when we'll be judged after death." 10. The 13 essentials for the performance of prayer are outlined this way: 1. Niynt 1. The intention of praying. 2. Takbiratul ihrain 2. First Takbir, "Allahu Akbar," "God is great." 8. Tinciug 3. Standing erect (kiya?n) excepting the disabled. 4. Patiha' 4. Recitation of the first chapter of the Qur'an, the suratul al-Fatiha. 5. Ruku' 5. The lowering of the head so that the palms of the hands reach the knees, and pausing in this state. 6. 'Itid.al 6. The standing erect with hands on the side and pausing in that manner. 7. Sujud 7. Prostrate position.. 8. Lingkud ha Ut 8. Sitting down in reverential posture be- sin duwa sujud tween the two sujud, prostrations. 9. Tahayat awal 9. The sitting down for reciting Tashahud. 10. Liigkud Tahafat 10. Recitation of the Tashahud paryer. ahir 11. Salawat 11. Recitation of salawat prayer for the holy prophet. 12. Salam 12. Salam, greeting of peace. 13 Tarit'ib 13. The observance of the various performances in the order indicated. 11. "Manga Mungkal", literally the Munkars". Mungkal here refers to Munkar and Nakir, God's messengers sent after oiie is buried to question the dead about his faith. In the context here, manga Mung- kal is used generically (the adding of manga makes it plural) and hence is translated "the questioners." NOTES 73

12. Supaym in sasit soytan maig literally means "so that evil disturb- ances will be takn away." Here, it is translated as "so that we'll not be bothered by evil temptations." 13. Kita inuw'i' httkv.m here is translated as "we face judgment after death." 14 Kalangan means 'song'. Hence the use of "tuneful" in this translation. 15. The transliteration was made by Tuwan Iklali Jamal. The first translation is the work of Irene Hassan. 16. According to our informant this angel really is the!, Virgin Mary. 17. For more Tausug proverbs and riddles the reader should consult Sulu Studies 2 (Hassan and Jamal 1973:210-24); 18. The collection of claman published here for, the first time was done by Tuwan Iklalj Jamal for C.I.S.C. from the following informants whose cooperation we gratefully acknowledge: Maas Mutamad, La- gasan, Parang; Maas Tabbu' Tambun, Bud, Parang; Datu Hassan, Maimbung; Saluan Panay, Tapul; Tatung Hada', Niyug Duwa, Parang; Tuwan Indang Wadja, Luas, Parang; Tuwan Karamat Alawi, Job; Imam Muaddam Mallih, Buwa1u', Ma(imbung; Imam Sulayman, Maimbung; Mussah Ajan and Tuwan Hadjarat, Parang. The contexts of the daman were elicited from our informants and checked by Tuwan Iklali Jamal and myself. Because of the heavy symbolism and compact language of these daman, their rendition in readable English presented many difficulties. But in this I was greatly helped by the following CISC researchers, Tuwan Iklal5 Jamal, Piang Albar, Kalbi Asain, Irene Hassan, Rowena Bahjin, Rosemarie Adjaie and Mohammad Daud Abdul, and by the following friends, Yusup Tan, Noralyn Mustafa Young, Ricardo Adjawie, Oswalda Cabel and Hadji Ukkung Hussein. The responsibility for presenting these daman in this form is minc entirely. 19. Utu' Dakula' Umagpang ("Utu") is the principal singer, a popular professional singer and biyula. (Tausug violin) player; ho was accompanied by the gabbang player, Mrs. Hadjarati Sahija ("Aunt Ati"), and the suling (flute) player, Ninung Asaili ("Ninung"), both of whom also gave the r2partees. Mentioned in the repartees are the hosts, Tuwan Ikiali Jaina] ("Iklali") and - his wife, Inda' Mussa', and an American family guest ("Milikan"). Ricardo Adjawie and Irene Hassan translated Utu' Dakula's siidil and liyaingkit presented here. 20. "Sulu is, no longer at peace" refers to the tension that prevailed in the area. This state of affairs was the result of vicious fighting in Zamboanga del Sur and Cotabato started by the notorious ilaga

74 TAUSUG LITERATURE (Hiligaynon for "rat") marauders. 21. The translation was done by Mohammad Daud Abdul and Ricardo Adjawie. 22. Grateful acknowledgement is given here to Mrs. Nora M. Mercado for permission to reprint these two songs from her thesis (Mercado 1963).

2. Glossary

T)iis glossary is based on the Tausug-English Dictionary written by Seymour and Lois Ashley and Irene Hassan, a joint project of the Bu- reau of Public Schools (Division of Sulu), the C.I.S.C. and the S.I.L. (Philippines), soon to be published with the help of the Department of Education. The glosses used here have been slightly revised to fit this work's format. For the orthography, see "Notes on Tausug Orthogra- phy" by Seymour Ashley in Sulu Studies 2 (1973). Filipino alphabetiza- tion, the abakada, has been followed in arranging entries. Vowels with the macron (a) and the glottal stop a' are placed ahead of the simple vowel (a). - ãdat. Customary laws. ala-rn. The universe. aiim. Religious wise man, Muslim teacher, ascetic. - ãyan. The outer space, also the dwelling place of the immortals. Akbcr. Great, an attribute of Allah. addat. Custom, established norm of conduct, behavior, character. adjirnat. Amulet made up of a verse in Arabic script on a piece of paper wrapped in cloth. Adkvw Ahirat. The Day of Judgment. Adiaw Kiyainat. The End of the World, which includes destruction, resurrection, and judgment. Adiaw Ma-huh. Future, hereafter. a-ga-ma. Religion, Islam. a-ga-si. Legendary giant, ogre. a-giL Statement. agta'. Legendary short, black, antagonistic, ill-looking woman, usually evil-minded but wise. In fairy tales (katakata), she is usually a beautiful princess in disguise or one who is bewitched. agung. Native brass gong. ala-mat. A greeting written at the beginning of a letter, respectful salu- tation; an omen; a feeling of impending doom. ahiyan. Double talk or jargon known only to an initiated group. ammal ibadat. Religious duties. \

GLOSSARY 75 andarun. Small charm or amulet containing a portion of the Holy Qur'an written on a piece of paper which is wrapped in cloth and knotted a string to be placed around a child's neck or wrist. asal, asar. Midafternoon prayer, the time for this prayer (about 3:00 p.m.). atulan, aturan. Method, ways and means applied and followed, guiding principles, basic regulations, protocol. aysa. The final daily prayers, the time for this prayer (past 7:00 p.m.). bang. Beginning of a Muslim prayer characterized by a standing body position; to call to prayer at the proper hours. Mabbabãng, a muezzin. baat. A Tausug entertainment song dealing with themes of love, sadness, or joy, and frequently sung to the, bride or the groom at a wedding (baat pangantin), or on the death of a loved one (b.aat tallaw). balbalan. In folklore, a human being turned into an evil spirit that flies and haunt places or people at night. barakat. Blessing, special favor especially from Allah. bilal. The third ranking religious leader in the community. bintang patahuman. A native almanac in Arabic script containing information about the weather, planting and fishing seasons, astro- nomy, good and bad omens, etc. biraddali. Fairies; beautiful heavenly beings with wings. Bismi'llah. In the name of God; the heading of each surah of the Holy Qur'an hence a surah, a chapter of the Holy Qur'an. biyula. Native violin. Bwrrak. Legendary griffin-like animal on which Prophet Muhammad made his journey to heaven. buwabuwa. To sing a lullaby. - kaawn. A creation story, myth from 'awn, there is, existing; v. paawnun, to create. Kaban. Sacred Book. kadar. Destiny, fate. kalangan datu'. Song for bobies of the royalty, Kalkaw Thar. The heavenly fountain of unbounded grace and knowledge; mercy and goodness, truth and wisdom that satisfies the highest , spiritual thirst of man; the fountain of blessings. Kallam. The word or message of God. karamat. The power possessed by an ordinary person to perform miracles. katakata. Fictitious story, tale, fable. Kati bin. One of the two guardian angels who protects all people. kiblat. The direction of Mecca toward which a Muslim faces when praying. Kirainan. One of two guardian angels who protects all people. kissa. Nonfiction story, myth, legend. The traditional form often nar- 76 TAUSUG LITERATURE

rates an account of creation (ka.aium), origins (usu kin), historical -events (salsila) and heroes. The modern form is sung with an end rhyme although the kissa is often arranged in an irregular metric form. Kitab. A book, generally a religious book. Kitab Injil, Gospel, Kitab Taw- rat, Pentateuch, Torah, writings of Moses. Kitab Jabur, the book of Psalms. kubba. Grave or tomb of a prophet. - kubv2. Ordinary grave. Kudarat. Power (spoken of Allah only). Kuddus. Holy (spoken a Allah only). Al Kuddus, the Holy One. Ruhul Kuddus, the Holy Spirit. kulaing. Native musical instrument made of a bamboo strip about 6-10 inches long with a bamboo tongue slit at one end, and used against the mouth. The tone which is given by the bent bamboo tongue struck by the finger is modulated by changing the size and the shape of the mouth. kulintangan. Musical instrument consisting of eight or eleven small brass gongs graduated in size and arranged in a row on twine strung between two wooden holders. Kuraan. The Holy Qur'an. kurban. Ritual slaughter of a small goat, so that the child may ride to heaven when he dies. It is usually performed on or about the tenth day the month of Julhadji'. Kursi'. The Throne of God. dcxlii. Example, parable, allegory, comparison, elucidation. danan, Poetic speech filled with symbolic meaning. data?. Datu, prince, any male member of a royal family. cicxyang. Term of respect for a lady or an elder sister; a vocative used in speaking to such a person; a term of endearment and respect for any girl, young or old; dear. dayangda yang. Princess; a title of respect for the daughter or sister of a sultan. •dndang, .c&ndang. To swing, sway from and to, rock (as a child in a. cradle) ; also by extentjon, to sing a lullaby to rock a child to §leep. ciunya. The earth, the world. duwaa. Prayer for various occasions and rituals; a short Islamic devotional prayer in Arabic. duwaa aruwa. Ritual commemorating dead relatives, especially upon • having bad dreams about them; a prayer. assuring the dead that they are forever remembered by the living and asking them to remove the sickness they have caused their living relatives. duwaa salamat. Short prayer of thanksgiving per-formed when someone has been cured of an illness or has been delivered from any danger, GLOSSARY 77 when the family moves to a new home, etc. gabbaing. Tausug xylophone or marimba consisting of a seriesof bamboo bars, played by being struck with a small wooden mallet. gandang. Native drum. guntng. Scissors. Paggv.nting, the ritual cutting by a priest of a child's hair usually done at the same time as the pagtimbang and the paghakika (q.v.). hekika. Paghakika, the ritual slaughtering of a goat or cow sometimes performed before puberty. The animal, it is believed, will testify in the afterlife that this child is actually the child of his parents. Without the ritual, the child would not recognize( his parents in the afterlife. hakikat. Truth, sincerity. hadas. Impurity, dirt, filth that renders, one's prayer invalid. Had" asibi' dirt which can be removed by merely washing with water, such as human filth, mud, dung, and the like. Hctdas da.ku1a?, dirt such as that associated with menstruation, copulation, and birth-giving, which can be removed only by taking a full bath and uttering an ablution prayer. Jwd.is. The words and preaching of Prophet Muhammad; the oral translation and preaching of such material in Tausug. hadji'. The person who has made the pilgrimage to Mecca. halal. Lawful, permitted, not forbidden by Islamic law; ceremonially cleaned, generally refers to animals butchered for food by the, imam or any religious person. ha.ram. Forbidden, prohibited, unlawful in a religious sense, unclean. hatib. Second ranking Muslim leader in the mosque. Hawa. Eve, the wife of Adam, usually prefaced by Apit', grandmother. Iariraya Puasa, Hay laya Puasa. Celebration of the end of the Ramadan fast, occurring thirty days after the beginning of the fast. hutba'. Islamic sermon usually given in the mosque every Friday. Isa. Jesus. i'tidal. One of thirteen main essentials of Muslim prayer; the prayer position wherein one, after bowing from the waist stands erect with both arms hanging freely by the sides. ibadat. Dutiful worship of Allah and adherence to religious laws. jbjjjs. A variety of demon, the worst demons, devil. ilimu'. Esoteric, magical or supernatural knowledge. imam. First ranking priest in the mosque; leader of prayer. iman. Faith; restraint, patience, endurance, forbearance as from temptations. in,ctsir. Nature, origin, elements; refers generally to the four elements: water, earth, fire, and air; occasionally used for 'constituent.' Insa Allah. If God wills (Arabic). 78 TAUSUG LITERATURE iralan ludjuman. Booklet of fortune-telling. jakat. Tithe, religious tax. jakkum. Legendary name of the fruit eaten by Eve. Jahannam. Division of hell where the most severe punishment is given; also an evil-minded person. jamaa. Member of a mosque congregation under one head imam. jamjam. Tausug song sung by the imam during the entrance of- the bridegroom at a wedding. jamu. Pagpajamu. To give a sumptuous and elaborate meal for friends and relatives, usually on the occasion of a religious feast or life- crisis ritual. jin. Jinn, genie; a class of spirits lower than the angels, capable of - appearing in human and animal forms and influencing mankind for good and evil. jiyara. To kiss someone's hand, on feast days, especially an elder's hand. Julh-adji'. Twelfth month of the Arabic calendar; month of the pilgrimage to Mecca. lagtaw. A giant. ladjamura?. Crown prince or heir apparent. See Raja Muda. Lailat ztl-Kadar. The Night of Destiny, the blessed night when the Angel Gabriel handed the Holy Qur'an to Prophet Muhammad on the 27th of Ramadan; the night when the angels are said tp des- cend to earth to give blessing to the faithful till the appearance of early dawn. langan. Song. langan bata.' bata.'. Lullaby. langan pangantin. Wedding song. lang kit. Consecutive, successive. Liyangkit, the narrative song that follows the siiulil (q.v.). langgal. A mosque where no member of the royalty has ever prayed; a chapel. Laylatu1. A Muslim saint who returns to earth and, if seen, brings good luck to the witness; an apparition. lidjiki', rid jiki'. Blessing, luck, fortune. lihal. Folding stand for the Qur'an before which the student sits while reading. lugu'. Style of singing primarily associated with religious ritual. It is slow in tempo and characterized by high vocal tension and long sustained notes. Lugu' songs recite the story of the Prophet's life in Arabic (lugu' Mawiud). Lugu' janitla, song in prose text. Lugu' jikil, song in poetic form. Manglulugu', a singer of such songs. liyangkit parang sabil. Narrative song about Tausug heroes who, in the defense of Islam and of their land, seek death in fighting -a group GLOSSARY 79 of Christian soldiers. lugu' taalkw. A song sung exclusively for the dead. luhil mahapug. The place at the seventh layer of heaven where everything either right or wrong is recorded. luhul, luhur. The early afternoon prayer; time of such prayer (between 12:00 noon and 1:00 p.m.). luruic. A guest at a social activity. lutaw. Spirit of a dead person forced because of his malice to return to earth as an evil-smelling half-body. ma'mun. Congregation of a mosque under the leadership of a particular imam. naana. Meaning, interpretation, version, translation. magiziib, rnagrib. Dusk, twilight; the sunset prayer; west. mahakutta'. Crown; the title of a sultan's right-hand man. nuhadja,a'. People from all walks of life, people collectively. Maharadja. Title conferred by the sultan to various officials of the court. The title is often used in conjunction with such other titles as Maharadjcj Bangsawan, Maharadja Pahallawan, Makaradja Adinda, Maharadja Layla. Mahasussi. Pure, Holy (spoken of Allah only). MahcLtinggi. Supreme, Greatest (spoken of Allah only). Mak&k. Woman of angelic beauty in fairy stories; a feminine name. Malaikat. Angels, the servants of God. inalikata. Codified speech in which the words are mixed or twisted in regular manner. Malikid Jabbal. Guardian angel of hell. inaligay. In fairy tales, the place or tower of a princess; a small house- shaped receptacle containing confections and money which is carried in graduation or wedding processions. masaalla. Metaphorical speech; proverb. ma8jid. Mosque. matakaddam. Parable, moral lesson. Mawlud. The Prophet Muhammad's birthday celebration held on the third month, Rabbiyul Awwal or Bulan Mawlud. maw pakkav. General council meeting :of all the people; an agreement made by such a council, a covenant made by the people. Milik, Malik. One who possesses the universe, usually said of Allah. millat. Sanctuary. 80 TAUSUG LITERATURE mimbar. Pulpit in the mosque, Miraj. Prophet Muhammad's ascension into heaven. Misir. Egypt. Muharram. The first month of the Arabic calendar. niulici. Pupil, disciple, follower of a religious leader. inull'iya. Consecrated, holy, special. munari. Sultan's messenger, herald. Mungkal, Mungkalun. One of those who question a dead person who his God is, about the holy Qur'an, and everything about the way to Allah. nabi. Prophet. nalcib. Title, minor civil officials below a Maharadja. nakura'. Chief, leader in a big group or organization. raga. Dragon. nasihat. Advice, counsel; sermon, religious or moral teaching. nispa, Bulun N'ispu. The month of the commemoration of the dead; a yearly ritual celebrated during the Month of'Sa'ban, the eight month of the lunar calendar. During this month, the graves are visited and cleaned, sprinkled with water, and decorated with the inflores- cence of the palm tree. - niyat. Intention, purpose, desire, ambition. vyawa. Soul, spirit, essence of life, the life principle which comes from Allah and will one day return to Him. All living things possess nyewa. pakil. A Muslim priest. paksa'. Good fortune or luck. padduman. A compass, diary or the like. pug gun ting. See -gunting. pagkakika. See hakika. painibalan. Pulpit in a mosque, which is sometimes a niche in the wall; the place where the imam who leads the prayers stands. palman'is. Special magical beauty or handsomeness of women and men which others observe to be like the beauty of the moon. It is ac- quired through the application or utterance of some magic verse in Arabic. - panakawan. Trusted helper of a datu. pandala. Attendants at a wedding; the bridesmaid and the best man. pangalay. Tausug dance characterized by slow formal movement with emphasis on curving arms and fingers. It is often mimetic but without religious significance. GLOSSARY 81 pangantin. Bride or bridegroom. pangkat. Lineage, generation; storey of a building. .Pangha'. Lorl; also any great leader, as a president of a country. pangilca.t. Procedure or method to follow in praying. Panglima. A title, the highest official appointed under the sultanate. Panulak Bala'. Ceremony of cleansing away any moral and spiritual af - fiction or ailment believed to be divine retribution: at the seashore, people bathe to therecital of selected verses from the Holy Qur'an by an imam or a hatib, who splashes them with sea water. It is performed on the Wednesdays of the Bulan Sapp4 the second month of, the lunar calendar. pangyabut. To implore for divine help when one is in deep pain or dire circumstances by uttering the words LasUaha iZla.wla, "There Is but one God." Parang-musair. The field in the thereafter where the grass is pointed and sharp like thorns. It is the place where the dead stay while waiting for the Day of Judgment. pairdu'. Religious law, ordinance of God. Pairinan. God's revelation; any utterance, word, expression, edict or decree coming from God. pasa.inpay. A message. patik. Slave or subject of a sultan. Patha'. Opening chapter of the Holy Qur'an. pitla'. Obligation aim or provisions given to the priests or to very poor people at the end of the Ramadan fast. pituwa. Maxim, advice, counsel. -puasa. To fast, to keep the religious, fast; avoiding any food, drink, or smoke from sunrise to sunset. Bukzn Puma, the Muslim fasting month of Ramadan. punsak. Topmost point of the mythological castle called maligay (q.v.). ?utli' Title given to a woman born of a sultant father and a commoner mother; also a feminine name. Rabiyul Awa.l. Third month of the Arabic calendar, also called Bula.n Maw1ud in Tausug. Raja. King. Raja laud, admiral. Ra.ja Mura., or Ladjamuda, hair apparent. Rajab. Seventh month of the Arabic calendar characterized by the celebration of Miraj,' Prophet Muhammad's ascension to heaven. Ramadan. Seventh month of the Arabic calendar; fasting month, also called Bukx.n Puma in Tausug. It is also characterized by the celebration of Lasila.t ul-Kadar from the 21st to the 27th night. ruku'. Specific posture in Muslim praying in which one bows with the hands on the knees. rikun.' Precept, pillar of faith; refers to the five Pillars of Islam. 82 TAUStJG LITERATURE

Sa'ban,. Eighth month of the Arabic calendar. It is marked by the nispu (q.v.) commemoration of the dead. It is also called Bulan . Nispu. Sabda. Quotation, saying (used only of Prophet Muhammad's words). sahabat. Companion, associate, or follower of a prophet, datu, or sultan. sail. A song sung to the tune of the, lugu' (q.v.). - Salip. Hereditaryf title given to someone who claims descent from Prophet Muhammad. salsila. Genealogical story of the nobility. sambahauijang. Worship, prayer. samba lani. White. winged horse believed by some tp carry to heaven venerated persons, especially those who have died for religious reasons. sambulaycvag. Variety of Tausug flag placed on top of the ceremonial gift palace inaligay (q.v.). saivittiya. Religious (said of one who prays five times a day). sarntili'. Beggar; someone especially an old man who comes to one's house and implores Allah's blessings for the family and in return is given rice or money. appal, Second month of the Arabic calendar; month for the Panukik Bala' (q.v.) ritual. sas'a'. Laws, rules, regulations. sarakka. Alms, noney or gift in kind given to a widow or an orphan, upon having a bad dream, or upon successfully completing a task or a business deal. It is also given to a priest who has finished a prayer or to a curer who has cured a patient. sawnay. Native wind instrument that looks like a flute. Sawragal. Title of a community leader in myths or legends; also a personal name. Sawwal. Tenth month of the Arabic calendar which begins with the Hayla'ya Puasa (q.v.) or id 11 fitr. Si. Sheikh; also a title given to some of the early Arab missionaries and their descendants. sznclil. Love song sung in dialogue between a woman playing the gab bang (q.v.), and a man playing the biynla (q.v.). Smug. Tausug language; Tausug. Siratal Mustakim. The bridge in the hereafter over which the righteous pass safely but from which transgressors fail onto a sharp blade below; the way of the righteous, the correct path of religion. Sitti'. Title given to a woman born of a datu father and a commoner mother. subu. The dawn, dawn prayer. sukud. Luck, fortune, destiny, fate. sug. Sea current; Sulu. - GLOSSARY 83

sujud. To kneel in prayer with one's forehead, hands, knees, and toes touching the mat or ground. / stilat. Letter. sulga'. Heaven. suling. Native flute or fife usually made of bamboo. rumba. To worship, pay homage. sumbay'. To slaughter, an animal for eating by cutting the throat while uttering appropriate prayers to insure ceremonial cleanness; also to behead a person. - runnat. To circumcise by lightly scraping the girl's clitoris. suwwra. Sound of a voice; a word, message. suysuy. Rumor, hearsay, general conversation Ta'ta'. Melody, instrumental music. tabunpgu'. Playing; the sound of native gongs and drums played together. tadda'. Introductory melody played on the gabbng (q.v.). tagub. In folklore, a shell or covering that conceals one's real appearance, a magical disguise which may take different forms. tctmmat. Ended, as of a song, message or poem. Tumammat, to graduate from studies of the Holy Qur'an. Pa.gtammat, the graduation celebration. tapsir. Interpretation translation of the Holy Qur'an. tarasni. Poem. kisbi. Beads used by Muslim devouts for reciting Allah's hundred beautiful names. .tawbat. Contrition, earnest repentance. Pagsugsug tawba,t, a ritual for reconciling opposing parties, an atonement for wrongdoing to another member of one's family. tiguintigum. Riddle. timbang. To weigh something with a scale; to consider someone or something so as to make a choice or to treat with equality. fragtimbang, a ritual - accompanying the hair cutting ceremony. tita'. Decree, edict (as that of a sultan). Tiyanggi. Jolo town. -tiyaun. To marry. Pagtiyan.n, wedding celebration. tiyuptiyup. Any wind instrument, especially a toy horn or whistle. tukud. To guess, suspect. tukudtukd, riddle. Tukuran, guess. -tu.gtug. To burn incense. Pa,nugtugan, censer. Tuhan. Allah, God, the Supreme Being. tunis. Musical piece, melody. tunggu'. Guard, watcher; also spoken of nymphs or spirits residing in certain trees or rocks.

I 84 TAUSUG LITERATURE twan. Sir, mister, lady; A title of respect for a sa2ip (q.v.), a religious person, or a member of the royalty. Ulanjqkaya. Title given to a minor official appointed by the sultan. Umbak Tawpctit. Deluge, flood of Noah. ummet. A believer, follower of any religious conimunity, the faithful. usul. To relate some' historical events of the past, Usulan, origin. wakap. A pause in reading the Holy Qur'an, hesitation. wakil. Agent, representative, deputy, ambassador. waktu. Tine, a fixed time.

3. References

Abdul, Mohammad Daud, Ricardo and Rosemarie Adjawie 1973 The Parang Sabil of Abdulla and Putli' Isara in Spanish Times a Tausug ballad sung by Indah Annura. In Sulu Studies 2. Gerard Rixhon, ed., Jolo Sulu, Coordinated Inves- tigation of Sulu Culture, Notre Dame of Jolo. College, Pp. 160-191. Abdul, Mohammad Daud, and Geiard Rixhon 1974 Sultan Sulaynian and the Galura' bird: a story told by Imam Ibbalahim. In Sulu Studies 3. Gerard Rixhon, ed.. Job, Sulu, Coordinated nvestigation of Sulu Culture, Notre Dame of J010 College Pp. 152-165. Alawi, Efren and Gerard Rixhon 1974 Munabi: a story narrated by Mullung. In Sulu Studies 3. Gerard Rixhon, ed.. Job, Sulu, Coordinated Investigation of Sulu Culture, Notre Dame of Jolo College. Pp. 197-220. Ali, Abdullah Yusuf 1948 The Holy Qur'an: text, translation and commentary. Three volumes. Lahore1 Ashraf Press. Arberry, Arthur J. 1969 The Koran Interpreted. Two volumes. London and New York, The Macmillan Co. Asain, Kalbi, and M. Dud Abdul 1974 The creation of palay: a story told by Mullung. In Sulu Studies 3. Gerard Rixhon, ed., Job, Sulu, Coordinated Inves- tigation of Sulu Culture Notre Dame of Jolo College Pp. 197-209. Danisani, Maduh, Efren Alawi and Gerard Rixhon 1912 Four folk narratives from Mullung, a Tausug storyteller. In Sulu Studies 1. Gerard Rixhon, ed., Jol, Sulu, Coordinated REFERENCES 85

Investigation of Sulu Culture, Notre Dame of Jolo College. Pp. 191-271. Ebing, Hadji' Haras 1959 Farukunan Sanibahayang. Job, Sulu, Hadji' H. Ebing. Garvan, John M. 1934 Sulu proverbs. Philippine Magazine 31:285-7, 338-41. Hassan, Irene and T. Ikiali Jamal 1973 A selection of Tausug riddles and proverbs. In Sulu Studies 2, Job, Sulu, Coordinated Investigation of Sulu Culture, Notre Dame of Jolo College. Pp. 210-224. Hassan, Irene, and Ricardo Adjawie 1974 A dilactic ballad on marriage as sung by Indah Annura. In Sulu Studies 3. Gerard Rixhon, ed. Job, Sulu, Coordinated Investigation of Sulu Culture, Notre Dame of Jolo College. Pp. 131-151. Jamal, T. Iklali, and M. Daud Abdul 1974 The origin of edible animals and fruits: a story narrated by Saivan Panay. In Sulu Studies 3. Gerard Rixhon, ed. Job, Sulu, Coordinated Investigation of Sulu Culture, Notre Dame of Jolo College. Pp. 182-195. Jeffery, Arthur J. 1962 A reader on Islam. Kiefer, Thomas M. 1970 Music from the Tausug of Sulu, Muslims of the Southern Phil- ippines. Ethnosound records (Two-disk set). Recordings, notes and photographs. New York, Anthology ecord and Tape Cor- poration. Mercado, Nora M. 1963 A study of the Sulu ballads. M.A. thesis, Dumaguete City, Siliman University. Rixhon, Gerard 1972a Mullung, a Tausug storyteller. In Sulu Studies 1. Job, Sulu. Coordinated Investigation of Sulu Culture, Notre Dame of Job College. Pp. 172-190. 1972b A preliminary classification and seection of Tausug literature. Unpublished paper presented at the Folklore Congress of the Philippine Folklore Society, Cagayan de Ore City, December 28- 30, 1972. Roberts, John M. and Michael Forman 1972 Riddles: expressive models of interrogation. In Directions in Sociolinguistics, John J. Gumperz and Dell Hymes, eds.. New York, Holt, Rinehart and Winston. Pp. 180-209. 86 TAUSUG LITERATURE

Saleeby, Najeeb. N. 1908 The history of Sulu, Manila, Philippine Bureau of Science, DjVi sion, of Ethnography, v. 4, pt. 2. Skeat, Walter William 1901 Fables and folk-talco from an Eastern forest. Cambridge: At the University Press. Skinner, Charles 1966 Sja'ir perang Mengkasar (the rhymed chronicle of the Macas- sar war) by Entji' Amin. The Hague: Martinus Nijhoff. Trimillos, Ricardo 1972 Tradition and repertoire in the cultivated music of the Tausug of Sulu, Philippines, PhD dissertation. Los Angeles, University of California at Los Angeles (University Microfilms, Ann Arbor, Michigan, No. 72-18,144). Ziegler, John H. 1973 A 1932 collection of Sulu folktales. In Sulu Studies 2. Gerard Rixhon, ed.. Job, Sulu, Coordinated Investigation of Sulu Cul- ture, Notre Dame of Jolo College. Pp. 105-159. HOW TO ENTER A YAKAN HOUSE

Charles 0. Frake

Even if Poor-Boy was asked to come up to the porch, he wouldn't come up. Finally he came up to the top of the ladder. For two days the Sultan's daughter kept telling him to come inside. Even her parents told him. For two days Poor-Boy was there at the top of the ladder. Finally he ventured- onto the porch. After, three more days he approached as far as the floor beam at the doorway. For three days he was there. Even when he was given, clothes he wouldn't wear them. Even when he was given money he wouldn't take it. After four days he finally went inside from the doorway floor beam. Then, because he was already there inside, he and the Sultan's daughter were able to get married. But after they had been married a long time, he still hadn't slept with his wife. He had not yet entered the room of the Sultan's daughter, - Excerpt from a Yakan story

The Yakan construe Poor-Boy's plight as humorous because he is acting out a parody of cultural expectations governing the occupancy of a physical setting for a social encounter. These ekpectations derive from a cultural code which defines distinctive settings in and around a house, the .sequence whereby one moves through settings, and ithe signals for initiating s and terminating moves. To one who knows the cdde, variations In performances signal something about the social occasion at hand. A record of actual performances matched with informants .' interpretations of performances as appropriate awkward, gracious, hostile, self-conscious, ridiculous, insincere, etc., provides evidence for the existence and character of the code. Our purpose j5: neither to describe what has happened nor to predict what will happen, but to set forth what one needs to know . in order to make sense of

87 88 SULU STUDIES 3 what does happen. To the extent that we succeed, our istatdment is a description of that portion of Yakan culture of which these behaviors are an artifact. The domain of behavior being considered is special in several ways. One way that it is special for the anthropologist is that it is not at all special for the people being studied. Entering a house is common-place, everyday activity. It is not planned and performed for its own sake but occurs as an incident within some encompassing event. When querying a Yakan about his plans for tomorrow, he 'is not likely to reply: "Well, the first thing I'm going to do is go out and enter a house." Another special feature of this behavior is that its domain is defined, by the spatial boundaries within which it occur. We are concerned with the various behaviors that occur in a given setting rather than taking a given kind of behavior and considering, as one of its attributes, the various iettings in which it occurs. Finally the performances involved are largely verbal.' The topic, then, is an example of high-frequency, incidental speech behavior entailed in the occupancy of a behavior setting. The Yakan are Philippine Muslims inhabiting the island of Basilan which lies just off the southwestern point of Mindanao at the northeastern end of the Sulu Archipelago.2 They are strictly land-oriented agriculturists in contrast to the sea-oriented Muslims, the Samal, who inhabit coastal villages around the island. The northern portion of Basilan is occupied by Filipino Christians. The Yakan live in dispersed neighborhoods of nuclear family dwellings organized into small local political units based on Mosque affiliation. Warfare among these political units as well as against Christians and other Muslim groups (notably the Tausug) is endemic. The weaponry includes not only locally made spears, swords, and shot' guns, but also ithe latest in U.S. military small arms—a fact not without relevance to the construction of a Yakan house. The Yakan house (luinaq) is a rectangular, ridge-roofed, single. room dwelling raised on piles some two to three meters off the ground. A cooking shed of similar structure but smaller dimen- sions is attached by a platform to either end of the house. Floor space varies from about 30 to 100 square meters. Floors and walls are thickly planked. The floor has a hole or two drilled in it for betel expectoration, and the end wall opposite the cooking. HOW TO ENTER, A YAKAN HOUSE 89 shed has a window opening, either very small or securely sea- lable. The steeply pitched, concave-sided roof is thatched. The main room has itwo doorways, one connecting to the platform leading to the cooking shed, the other, located midway along one side, connected to a roofed porch running the length of the house. Ladders or notched poles connect both porch and cooking shed platform to the ground. Individual houses are dispersed in fields and groves and are never attached to other structures. There is no physically demarkated house yard. Houses vary in construction details: a few have bamboo rather than planked walls; a regrettably increasing number substitute a hotter, less aesthetical- ly pleasing, more expensive, but more prestigeful galvanized-iron roof for the traditional thatch; and an occasional house lacks a porch—the only variation relevant to the present discussion. 8 (Sul- tans' daughters may have private rooms, but there are no Sultans to be found in the Yakan habitat. 4) In spite of these variations, any Yakan dwelling is easily distinguishable from the homes of other ethnic groups, either Christian or Muslim, on Basilan. Yakan dwellings are also easily distinguishable from other struc. tures built by the Yakan: field huts, graves, and mosques. Field huts are simply temporary work shelters built in fields that are some distance from the owner's residence. Graves are ditched mounds topped with a carved and painted boatlike structures and clustered with other graves in groves of ritual trees. Mosques are similar in size and structures to dwellings except that the porch is at one end which is unwalled. At ithe other end is a projecting semicircular apse. Houses, mosques, and graves all differ in orientation. The long walls of a house are aligned along the East-West axis! with the wall opposite the doorway—known as ithe 'head wall' (kokan lumdq) - facing 'up-slop' (/xzdiiataq) .5 'Up-slope' is a conventional directional axis at right angles to the East-West axis but oriented northward in southern Basilan and southward in northern Basilan. Mosques are oriented with their long walls aligned with the Meccan axis (kiblat) so that the apse faces Mecca. In Basilan the Meccan axis points WNW. Graves are oriented, along the 'Mecca axis of the dead' (kiblat niamateyin), at right angles to the Meccan axis proper, so that a body lying on its right side is facing Mecca (Figure 1). Field huts, graves, and mosques all have specialized social functions whereas the limited variety of physical locales afforded by a Yakan house must serve as settings for a wide variety of social

90 SULU STUDIES 3

kken 'head zone' a -o (0 0 - C - 0 a Unciekan 'foot zone' a a a 00

Ipl-- paotolon 'porch'

diataq 3 'up elope' haren 'ladder' w/c

diaqut poqon lureeq 'base of the house' 'down slope' C •0

Figure 1. House Settings events. The Yakan conceptually organize the space within and around a house into an arrangement of discrete settings (Figure 1) •6 These settings are labeled hierarchically (Table I). In locating persons,

TABLE I. Terminology of House Settings 1. Si bihiig lumctq 'in the vicinity of the house' 2. Si lurnaq 'at the house' 2.1. diawaq 'below' 2.1.1. si poqon lurnaq 'at the base of the house' (foot of the ladder) 2.2. d-iataq 'on' 2.2.2. dialem 'inside' 2.2.1. Si bakut, si pantolon 'outside' (="in back"), 'on -the porch' 2.2;2.1. si tindakan 'at the foot zone' 2.2.2.2. Si kokan 'at the head zone' 2.2.3. Si kisin.a 'in the cooking shed' 2.3. situng 'underneath' objects, and events with respect kto a house, one can select a level of contrast according to the degree of specificity required. To say that someone or something is 'at a house' (Si lumaq) can denote any setting closer than 'in the vicinity of a house' (Si bihing lumaq). HOW TO ENTER A YAKAN HOUSE 91

Using 'on' (diataq) a house denotes any setting above 'below' (diawaq). There is no physical demarkation of the outer limits of 'in the vicinity' nor of the boundary between 'vicinity' and 'below.' 'Vicinity' is any position with sight and calling range of a house, 'Below' is any position on the ground below (but not 'underneath') the house within normal conversation range with someone 'on' the house. The boundary between 'below' and 'on' is marked by the kitchen and porch ladders. Since the kitchen is a private "back room" reserved for household members, its ladder is not a normal access to the house for outsiders. The area of 'below' directly in front of the porch ladder is known as the 'base of the house' (poqon lumaq). The boundary between 'outside' (on the porch) and 'inside' (the main room) is marked by a floor beam (patung) which runs along the base of the wall fronting the porch and appears at the doorway, slightly raised above the floor. Poor-Boy exemplifies a common use of the patung as a sitting place neither clearly inside nor outside. The top of the ladder provides a similar niche neither clearly below nor on. At night, or when no householders are at home, these access points are removed. Ladders are raised and doorways barred shut. 'Inside' (dia.lem) is further divided intd 'head zone' (kokan) and 'foot zone' (tndakan, literally 'kicking zone'), the 'head zone' being the portion of floor space adjacent to the head wall opposite the doorway. The head zone is the sleeping area for household members. During the day, when sleeping mats are rolled up, it is simply bare floor, physically undistinguishable, but conceptually quite dis- tinct, from the adjoining 'foot zone' floor wace. The head wall, not the entrance wall, defines the 'front' of the house facing 'up slope.' From the perspective of a person inside the house, someone on the porch is 'in back' (si hukut) . This means that one enters a Yakan house through what is conceptually the back door, there being no entrance in front. l'hë physical arrangement of household settings, together with the hierarchical structure of their terminology, reflects the sequence of positions through which an outsider must pass in gaining . entrance to a house. One can characterize a social encounter between householder and outsider by the degree of penetration of household settings achieved by the outsider, penetration being measured by the number of moves across setting boundaries required to reach a given position. Thus to achieve maximal penetration to the head zone 92 SULU STUDIES 3

requires the following moves: I. from 'vicinity' to 'at' 2. from 'below' to 'on' 3.from 'on' to 'inside' 4. from 'foot-zone' to 'head-zone' The accomplishment of these moves requires displays of proper etiquette (addat) by both the householder and the outsider (Terms for describing these routines together with some examples of specific formulas are listed in Appendix I). Proper etiquette requires the householder to 'render' attention' (asip) to the outsider; the outsider, in turn, should 'display respect' (moqo matabat). The householder issues 'invitations' (pellun) to advance to the next setting—each move has its unique invitation—and profers provisions requisite to social engagements in each getting: tobacco or betel quids on the porch, snacks or a meal inside. The outsiders' display of respect requires that he never withdraw from a setting without asking 'permission to leave' (baquid) and receiving this permission from the householder, usually in the form of a drawled out aweq 'O.K.', an expression that is a hallmark of ithe Yakan. Grammatically, invitations appear as active imperatives, requiring the use of a second person pronoun optionlly accompanied by a term of address. The use of a term of address, selected on the basis on age, sex, kinship, and title, enables marking of status relationships and expression of special affect, but, since this use is optical and pronoun selection is indifferent to status, invitation can be issued in a status unmarked form.7 It is not the form of the invitation so much as the context of its issuance that carries social meaning. Gross categories of household entrance events can be sorted out according to the number of verbal engagements that occur in occupying their ultimate setting. First, by manner of entrance, we can easily distinguish two classes of people: class one, those who can legally enter a hse, penetrating to any setting without pause and without saying a word; and clas& two, those who cannot proceed beyond the setting 'hlow' without verbal invitation from a mem. ber of class one. Class one consists of all the residents of the household; class two consists of all other persons. This contrasts between interaction among those who have legal free access to a setting and interaction which includes those who do not pertain to all behavior settings. Any Yakan behavior setting—house, mosque, field, water hole, trail—is public to the social group whose members have legal HOW TO ENTER, A YAKAN HOUSE 93 free access rights and private to all others. 8 An outsider cannot enter a setting private to him withou't invitation from an insider. A violation of this rule will be interpreted not simply as humorous, discourteous, or stupid, but as downright illegal. The offender has violated a proprietary relationship and is subject to legal penalties, if not to on the spot elimination. The concern of this paper is with how an outsider enters a private setting; the patterns of informal interaction among householders will be ignored. The second major cut we can make sorts not people, but kinds of occasions. There are events that enable outsiders, after receipt of a distinctive greeting reserved for such occasions, to immediately approach the house, climb the stairs and enter without pauses or further verbal exchanges along the way. These events all share the property of having been scheduled in advance. We will set them aside for later consideration. In order to uncover the meaning of household entrance, we focus initially on cases involving the unscheduled arrival of one or more outsiders, situations of uncertainty in which the acts of householder and outsider become informative signals of the other party's intentions as well as strategic devices to further one's own intentions. This uncertainty, together with the fact that neither party can uniquely determine the outcome, gives household entrance a game- like character. There are 'two players: household and outsider. The game goes 'through a fixed: sequence of plays corresponding to the sequence of household settings. ' At each stage of aply, except the last, one of three outcomes is possible: terminate, hold, advancei In the last stage, advance is not a possible outcome. The outcome of a play is the product of the respective moves by each player. The initiation of play is up to the outsider; it is he who has the option of appearing on the scene or not. As he comes to the 'vicinity' of the house, he can adopt one of two strategies: 'making a pass' (palabey) or 'approaching' (pasong). In making a pass, the outsider simply walks by on a regular trail. The rule in this situation is that, if any householder is visible, then permission to pass must be called out. If no householder is visible, no interaction will take place. A householder, upon receiving a call for permission to pass has the option of immediately granting it by yelling back aweq 'O.K.', thereby terminating interaction, or he can pose a 'customary question' (see Appendix I). A 'customary question,' in this context, is subject to interpretation performatively either as a 'greeting' (sagi- 9.4 SULU STUDIES 3 na) or as a real question inviting further interaction. An exchange of greetings, whereby interaction is initiated by a customary question (e.g., 'Where are you headed for?') and terminated by a customary response (e.g., 'Over there yonder some place'), is an interaction sequence appropriate to encounters taking place in a setting, such as in town or on a trail, to which both, parties have legal free access. In a hosted encounter, where one participant is an outsider, such an exchange is not appropriate. The outsider is accountable for justify- ing his presence on the scene. Providing the trail is a public setting for the passer-by, a construal by both participants of the question- response exchange as a simple greeting exchange terminating further interaction is possible. Of course further interaction after a greeting can occur. The desire for continuance is signalled by the nature and elaborateness of questions and responses, in effect, the mutual con- struing of grammatical interrogatives as performative questions. Further signals for continuance include requests for betel and tobacco and, I am sure, non-verbal gestures and posturings which have escaped my observation. Unlike a trail encounter, however, the passing-by scene is conducted not at normal conversation range but at calling range. Furthermore one participant is in a setiing private to him. For continued, interaction to take place the outsider must approach the house (which at this point, having adopted the 'making a pass' strategy, he can only do upon invitatioh), or the householder must go out 'to the trail (in most circumstances a rather rude signal that no invitation to enter the house will be forthcoming). In either case the householder has control over the continuance of interaction. If the outsider adcepts an invitation to , come to the house, he will approach to 'below' and house-entrance play begins. If the outsider initially elects the option of approaching, he can enter 'below' as far as the base of the ladder . (poqon lurnaq) and stand there. This move is functionally equivalent to a knock on the front door in our society. It is a "summons" (cf. Schg1off 1968), albeit an inaudible one. It is incumbent on the householder to 'notice' (batik) the outsider standing there. He must answer the summons. Failure to notice is a serious breach of etiquette as well as an unusual lapse of security. The householder reveals he has noticed by posing a 'customary question,' but, in this case not as a greeting. A summons presupposes that the summoner has a topic of conversation 'to pose. A response to a summons, in the form of a HOW TO ENTER A YAKAN HOUSE 95

question, is an invitation to the summoner to present something to talk about, something to justify his presence in a private setting. Change, or lack of change, in the householder's physical position is an important element of this summons response sequence. The householder has the option of changing his position to one closer to that of the outsider. If he is inside he may move to the porch. If he is on the porch, he may join the outsider below. The most unmarked position for the householder to assume initially is on the porch. This spot allows comfortable conversation with the outsider below while not ruling out the outsider to share the porch. For the hOuseholder to join the outsider below signals rather strongly that he •w.shes the, engagement to advance no further. For the hc.use- holder to remain inside, where conversation with someone below is somewhat difficult, is, depending on whether or not an invitation is forthcoming, either a strong signal of desired advance or of desired termination. The householder cannot, in any case withdraw to a setting further removed, from the outsider before the encounter terminates. Once play has been engaged, the interplay of moves by householder and outsider determines further progress through the sequence. Although the inventory of verbal routines seems rich, in fact there is a severe restriction on the kinds of moves available to each party. A householder can only invite, he cannot ask a guest to leave. An outsider .can only ask permission to leave, he cannot invite himself further into the setting. These rules, though they sound familiar to us, are not so obvious as they seem. In Yakan social encounters where neither party has . exclusive rights of free access to the setting, the rules are' quite different. For example, if two people meet and engage in conversation on a public 'trail, it is perfectly polite for one party to terminate the interaction by saying: "You go now." Similarly in public settings one, party can freely request tobacco or betel from the other, behavior which would be a violation of etiquette by an outsider in a private setting. The rules for making moves in house en-trance give the householder explicit control over who can come 'into each of the settings under his control and give the outsider control over termination of the event. The householder can prevent advance, by . not signalling invitation; the 'outsider can prevent termination by not signalling permission to leave. Once a signal has bn sent, the other party can acceed to it, or he can make a countermove returning play to its original

96 SULU STUDIES 3

state. These possibilities can be represented by a gamelike matrix (Figure 2).

Outsider - ask don't ask permission permission

invite HOLD ADVANCE Householder

don't TERMINATE HOLD invite

Figure 2. Matrix of Invitation- Permission Outcomes

If both parties do the same thing, either both move or both not move, play holds in the same setting. If householder moves and outsider does not, play advances to the next setting. If outsider moves, and householder does not, play terminates. The game-like performances we have been describing occur when the rules of house entrance are applied in encounters whose course and outcome is initially uncertain. Household entrance loses its game-like character when guests arrive for a scheduled event. In such cases a 'prior invitation' (pasan) has been issued beforehand. The issuance of an 'invitation' (peltun) to advance upon arrival is predictable and uniformative. Householders greet approaching guests with a call of 'approach' (pasong), a blanket invitation to move up 'to the setting appropriate to the occasion. 'Conference,' 'negotiations,' and 'litigation' are generally held on the porch (Frake 1969). The holseholder is providing a,' setting but is not really a host. Religious rites, shamanistic seances, life cycle celebrations, and weddings are held inside. The householder is a host and must provide food for his guests. Rituals are held at the head-zone with functionaries entitled fo a posit-ion there throughout If HOW TO ENTER A YAKAN HOUSE 97 the duration of the gathering. The unscheduled arrival of a very high status person heralds a special event calling for immediate blanket invitation and procuring of the provisions to make a formal• scene. At the opposite extreme of formality are the daily routines of householders themselves who may freely pass through settings without ritual. Thus the etiquette of household entrance is simplest at the two extremes of the formality scale of events, precisely those cases where there is minimal ambiguity about what is going on. It is in the ambiguous cases, where house entrance etiquette becomes a way of defining, the formality of the occasion, and not simply a reflection of predetermined formality, that moves, become complex and their outcomes informative. There is one occasion, however, when the Yakan make. fun of their code of house entrance, staging an elaborate parody of the whole procedure. The occasion is the event of 'fetching the bride' which 'takes place on the first night of the three-day wedding ceremony. The bride must be taken by the groom's party from a house where she is secluded to the house where the wedding ceremony will be performed. At the approach of the groom's party, the bride's party is jammed on the porch forming a tight ' barricade at the top of the ladder. The groom's party is interrogated at length in a, parody of the routine of 'customary questions.' They are required to put on singing, dancing, and oratorical performances before finally being allowed up to the porch. There mock accusations are hurled at the groom's party. Trials are held and fines extracted before the groom's party is -allowed inside where snacks are served while mock arguments continue over the bride price (an ,issue settled, in fact, long before) , the qualifications of witnesses, the whereabouts of alledgedly key representatives of 'the groom, and so on. Finally, as dawn approaches, members of the groom's party are allowed to go to the head zone and fetch the bride from under a canopy. Permission to leave 'each setting is not granted until token fees are paid to the bride's, party. The bride, in spite of .being tightly veiled, hangs on to doorway and porch posts until. the groom's party pays up. Poor-Boy's performance, then, was only an exaggeration of what, every groom goes through—a parody of a parody. . H'ouse-enfrance rules have restrictions in scope: they are not for kids and they are not for sex. Children . do not have authority to invite outsiders in, but, as outsiders, they can ,enter freely with- 98 SULU STUDIES 3

out foimality—a fact that makes them useful as message and gossip carriers (cf. Hotchkiss 1967) . If householder and outsider are of opposite sex, sexually mature, and without other companions on the scene, household entrance is a new game with a new set of rules, including legal rules which proscribe, but by no means prevent, the issuance of an invitation to enter. One other special contingency deserves mention. Some houses lack porches, thereby eliminating a behavior setting from the sequence. Such houses, generally small and bamboo-walled, are restricted to a few relatively poor . people, often widowed or divorced women heading partial-family households. Lack of a porch condemns one to a somewhat marginal position socially since there are a wide variety of informal -events one cannot host. When a visitor arrives, he must be invited in right away if a sustained social encounter is to take place. The only house that did not have a porch in the community where I spent most of my time belonged' to a young divorcee who did not participate much in social affairs but was alledgedly very hospitable to male visitors. Any set of rules for social behavior also has its "unless" clauses invöcable at times of unpredicted crises. The inclement-weather unless clause permits a traveller caught in the rain to seek shelter (pasaindung) underneath a house, calling up an announcement of his presence. He can generally expect to be invited up. This is the only situation in which 'underneath' (silung) a house becomes a setting for outsider-housholder interaction. The refugee unless clause covers eloping couples, persons fleeing from enemies, and persons forced to evacuate their homes because of hostilities or some natural disaster such as fire. It also covers a large class of people, called in Yakan wan tid, sought by Philippine authorities. In emergencies all such people can expect entrance into houses of friends, kin, and allies without worrying about the niceties of etiquette. Sometimes, when rules have been broken on the grounds of emergency, there is room for argument over whether the emergency was serious enough to .justify the violation. One divorce case arose when a woman, caught out at night in a sudden rain storm, took shelter in the house of her husband's brother who was alone at the time. The husband claimed that his brother should have broken the rule of granting shelter in times' of inclement weather rather than having broken the rule of. not spending the night with someone else's wife. HOW TO ENTER A YAKAN HOUSE 99

The everyday behavior of Yakan house-entering routines bears on at least -three general problems in the understanding of social encounters: the analysis of speech acts in actual performative contexts; the use of these verbal performances to situate events both physically in space and conceptually along a dimension of formality; and the relation between actual performances and the "rules" for their interpretation Yakan invitation-permission routines represent a genre of speech act sequences concerned with the progress and termination of social encounters. Summon-response sequences and greeting exchanges are other genres concerned wth the initiation of encounters and the mutual recognition of participants. The illuctionary force (Searle 1969) of a given utterance is a product of the outcome of a sequence of utterances and non-verbal signals exchange between two parties. It cannot be determined from an analysis, no matter how deeply pursued, of the structure of an isolated utterance. It cannot be matched with the grammatical form of an utterance. What is grammatically an interrogative may be used performatively as a summons response, a greeting, a request, or, on occasion, to ask a question (Hymes 1971). Similar kinds of speech acts seem to appear everywhere, but their diversity and complexity is such that a complete inventory and .description of performative genres can only be achieved by careful ethnographic description of speech behavior. The research method of current theoretical linguistics—the conjuring up of examples from inside the theoretician's head—is not sufficient. The anthropologist's distinction between "terms of reference" and "terms of address" represents a naive and incorrect typology of speech acts. What is "address"? A greeting? A summons? A tag? The use of a proper noun in any speech act? Rather than removing events from their temporal and spatial context and grouping them under functional rubrics such as eco. nomic, religious, or legal, we have here been experimenting with a sorting of events by the setting they occupy, in this case a house. Unlike our own culture where we have special settings for many kinds of events—classrooms for classes, churches for religious rites, law courts for litigation, concert halls for music—among the Yakan a single structure, the house, provides a setting for a .great variety of social occasions. But a house, even a one-room Yakan house, is not just space. It is a structured sequence of settings where social events are differentiated not only by the position in which they 100 SULU STUDIES 3 occur, but also by the positions the actors have moved through to get there and the manner in which they made those moves. There is first of all a contrast between "insiders," those who have legal free access to the setting, and "outsiders." Social events involving only insiders proceed differently -than those in which some participants are outsiders. For one thing, an outsider cannot enter a setting without invitation from an insider. Any interaction in which all participants are outsiders is thereby illegal. These rules apply to all Yakan behavior settings, mosques, cemeteries, fields, etc., as well as houses. A second, and independent, dimension of social events displayed by house entering behavior is that of "formality." We can say, for example, that Yakan litigation, which takes place, on feasting, is a less formal activity than a ceremony of graduation from Koranic school, which takes place inside, involves rites at the head-zone, and provision of festive food by the host. Formality is 'a cultural marking of social events as special, a phenomenon that is akin to what is called marking in linguistic theory (see Greenberg 1966). A marked category is signalled by adding something to an unmarked category. In language it may be voicing, nasalization, an affix, or a component of meaning. Social events are marked in our society by things like neckties, refined speech, fancy food, and ex-' plicit rules of etiquette. Social event in a Yakan house are marked by, among other things, the degree of penetration required for an outsider to reach .their setting. Marked social events, like marked linguistic forms, occur less frequently than corresponding unmarked categories. In language, marking often neutralizes contrasts appearing within the unmarked category: fewer nasal vowels than oral vowels, fewer case distinctions in the plural than in the singular, etc. Similarly marked social occasions often allow abeyance of social ' distinctions relevant elsewhere. Formality is .a dimension of social events in all cultures, but there are differences not only in the number of differentiations of degree of formality, but also in the way different kinds of events are position on this scale. Among the Yakan, house entering behavior reveals three degrees of formality corresponding to porch, foot. zone, and head-zone of the house. l° Litigation falls in the least formal category. Among the Subanun, a Philippinepagan group, the formality scale is binary; events are either formal, requiring festive food and drink, or they are not. Subanun litigation is a formal event. Subanun houses, it is interesting to note, lack porches. One HOW TO ENTER A YAKAN HOUSE 101 is either inside or below (Frake 1964, 1969). This paper purports to describe a code for interpreting the speech acts (including non-verbal moves) involved in occupying the behavior settings of a house. The code can be considered as the "competence" a person must have to play the game of entering a Yakan house. Actual performances, however, are not automatically "generated" by this competence. Participants make use of it to send and read messages whereby they construct—give an interpretable structure to—a particular social encounter. The shared expectations of participants derived from this competence provide a background against which special meanings—hostility, affection, humor—can be marked. The expression of humol, especially, is highly valued and ever present among the Yakan. Even their rites, as we have seen, often portray, not symbolic representations of underlying metaphy.. sical oppositions, but jokes on themselves. The Yakan play with, bend, and break their codes for fun. House entrance etiquette is no exception. Teen-age girls will approach a friend's house and yell out, "Hey, start cooking; we're here ", a gross violation of the "rules," one that, in another context, could cause deep trouble. The problem is that .a rule violation signalling humor in one situation may signal hostility in another. One must bend the rules with care, for expression of hostility, ridicule, or scorn can be very dangerous. Violence, as well as humor, is a fact of Yakan life. One must be constantly on guard. Not even the most formal scheduled event can be depended upon to unfold according to therules. One party of guests, upon approaching the site of a major celebration: was greeted with a shower of spears causing several deaths, an incident in a long, bloody feud. The rules of house entering etiquette presented here won't enable you to predict when you might be greeted with a spear instead of a speech act, but they will tell you that, if you are, you, like the victims in the incident just described, have a right to be surprised.

Notes Charles 0. Frake (Ph.D., anthropology, Yale University) did 1ii fieldwork first with the Subanun of Zamboanga del Norte and recently on several occasions with the Yakan of Basilan Island. He is presently Professor of Anthropology at Stanford University. The present paper reprinted here with his kind permission will also ap pear elsewhere. 102 SULU STUDIES 3 1. That is to say my observations have been largely restricted to the verbal aspects of house-entering performances. A large amount of non-verbal signalling, which has escaped my attention, undoubtedly takes place. The present account suffers accordingly. For a study of non-verbal greeting performances in American society see Kendon and Ferber (1973). 2. Field work among the Yakan was conducted in 1962, 1963-64, and, 1965-66 under a grant from the National Institue of Mental Health. Subsequent brief visits through 1972 have been made. During the course of this work I was a member of two Yakan households in different areas of Basilan. I have performed as, both an insider and outsider in house-entering events. Yakan critiques of my performances, often awkward or unintentionally humorous, have made me painfully aware of the problematic nature of everyday behavior. 3. The porch of some houses lacks a roof, which extends the domain of the "inclement weather unless clause" discussed below and, thereby, restricts the range of events likely to be held on the porch. 4. Since the time of field work, the titular 'chief' (clataq) of the Yakans (who is of Christian descent) has proclaimed himself a sultan (satan). He lives in a largely Christian market town in a Western style house which, to be sure, has private rooms. 5. An acceptable alternative arrangement, occasionally employed, is to have the head wall facing west. 6. There are two alternative lo'cations of the ladder. The one shown in Figure 'l was selected for diagramatic convenience. It si actually somewhat more commonto locate the ladder at the end of the porch away from th& cooking shed. This positioning of the ladder allows more space between the entrance to n' and the entrance to 'inside,' a more comfortable arrangement for large parties of outsiders since they can fill space on the porch niche without moving away from the access point to 'inside.' 7. Yakan address term usage is similar to that of their close linguistic kin the Balangingi Samal as described by Geoghegan (1969). 8. Frake . (1969) describes a relationship of "legitimate interest" (dapuq) that can perta)In between an individual and an object or another individual. "Legal free access" is the dapaq relation applied to a behavior setting. The daplLq lunvaq 'householders' are those with legal fee access to a house. 9. At very large gatherings, guests may be fed outside and many participants may remain outside most or all the time. All, however, have been officially invited in and may enter the house freely. 10. A complete analysis of formality contrasts among Yakan events would, of course, require consideration of events held in other settings. In mosques, for example, there are held formal events whose participants all have legal free access td the setting. Appendix I Yakan Terminology and Formulas of House-Entering Etiquette HOW TO ENTER A YAKAN HOUSE 103

addat custom, appropriate behavior; habitual or typical behavior pagaddatan behaving appropriately toward someone, showing respect matabat respect. moqo matabat display respect asip attending to a guest, rendering a guest his due according to addat batik noticing, verbally responding to a summons, the obligation of a householder to verbally acknowledge the approach to 'below' (a summons) of an outsider. A typical formaula is kaqa hep yuq 'So it's 1965-66 under a grant from the National Institute of Mental Health. Subsequent brief visits through 1972 have been made. During the course of this work I was a member of two Yakan households in different areas of Basilan. I have performed as both an insider and outsider in house-entering events. Yakan eritiques of my performances, often. awckward or unintentionally humorous, have made M6 painfully aware of the problematic nature of everyday behavior. you there!' (an assertion that is invariably correct), followed by a greeting. - sagina a verbal greeting (a non-verbal greeting is 8alam). Yakan greetings are, grammatically, always, questions. The proper use of greetings and greeting responses is addat magtiiewin 'questioning custom.' Typical greeting formulas, grammatical questions to which terms of address may, be added, are ainban kew 'Where are yoi. coming from?' tangan kew 'Where are you going?' (Not appropriately asked of someone who has approached to 'below.') sine saw eqnan 'Who's your companion?'. (Most appropriately posed as a greeting to someone who is alone.) me bz'nokonu la 'What are you carrying there?' (Most appropriately asked of someone who is carrying something the identity of which is obvious, ,a string of Zsh, for example. Otherwise the utterance would be subject to construal performatively as a real question.) pellun on the spot invitation to advance in a household setting. An invitation issued beforehand to come to some later event is pasan. Typical invitation (pellam) formulas, grammatical active imperatives to which terms of address can be added, are: pesong be kaqctm 'Approach you-all !' A blanket invitation to immediately proceed to the appropriate setting for a scheduled event. -Used only when a paean has been issued beforehand. pitu be kew 'come' (to below) inanaqik be kew 'climb up' (to the porch) parialera be kew 'enter' (to inside) eegeq to persist in a pellan in spite of outsider's requests for permission to leave. ohatan to hold a guest, dissuade him from leaing by persistent invitations to advance, to eat, to confer, etc. 104 SULU STUDIES 8 baqicZ asking permission to leave or pass through a setting with respect to which the speaker is an outsider. Typical formulas, grammatically active declarative sentences, are: - oleq ne ka 'I'm leaving now! hap lumaq ne ku 'I'm going home now.' palanjal ne kami 'we're continuing on' (said when the encounter has not proceeded beyond 'below'). pitu cia kami 'We'll be on our way' (said when the encounter has not proceeded beyond 'vicinity') tiaq kaini palabey eq 'We'll just pass by, huh' (permission to pass by) ngaweq the granting of permission Typical formulas are: aweq 'O.K.' anduquq 'A pity' (formal or jocular) gaq kaqam legga 'You weren't treated badly?' jocular) References Frake, Charles 0. 1964 How to ask for a drink in Subanun. American Anthropologist 66: 127-32 1969 Struck by speech: the Yakan concept of litigation. in Nader, Laura (ed ), Law in Culture and Society. Chicago, Aldine. Pp. 1147-167. Geoghegan, William 1969 The use of marking rules in semantic systems. Working paper No. 26. Language-Behavior Research Laboratory. Berkeley. Greenberg, Joseph 1966 Language universals. in Sebeok, Thomas A. (ed.), Current Trends in Linguistics. Vol. III: Theoretical Foundations. The Hague, Mouton, pp. 61-112. Hotchkiss, John 1967 Children and conduct in a Ladino community of Chiapas, Mexico. American Anthropologist 69: 711-718. Hymes, Dell 1971 Sociolinguistics and the ethnography of speaking, in Ardener, Edwin (ed.), Social Anthropology and Language, ASA Mono- graph No. 10. New 'york, Tavistock. Kendon, Adam and Andrew Ferber 1973 A description of scm human greetings. In R. P. Michael and J. H. Crook (eds.), Comparative Ecology and Behavior of Primates. London, Academic Press. Schegloff, Emanuel A. 1968 Sequencing in conversation openings. American Anthropologist 70: 1075-1095. Searle, John R. 169 Speech acts: an essay in the philosophy of language. Cam- bridge, Cambridge University Press. SPANISH REMAINS IN BASILAN AND SULT

Alexander Spoehr

In 1635 the Spanish commenced the construction of Real Puerza de, San Jose in what is now the town of Zamboanga. The fort was abandoned in 1663 when the Spanish left Zamboanga and rebuilt in 1719, when •thy returned at which time it was renamed Ntzestra Senora del Pilar de Zaragosa. Today it is known simply as Fort Pilar. The fort served as the Spanish base of operations in their interminable hostilities with the Muslim peoples of the Sulu archipelago. Following the establishment of Fort Pilar, the Spanish built a small fort at Isabela on Basilan, and in the nineteeth century their small walled town at jolo as well as fortified military posts at Siasi and Bongao. While working in the National Archives in Washington, D.C., in 1972, I found several sketch mats of the Spanish fortifications at Isabela, Siasi, and Bongao drawn in 1899 by an American army officer named H. M. Reeve. The maps have not been published. The Spanish remains he sketched either have been demolished or only vestiges remain today. For this reason, Reeve's maps are of particular historical interest. They are illustrated here. Owing to problems of reproduction, some of the notes he made on the maps are not shown, but are included in the description of each illus- tration. Each sketch map is signed "H. M. Reeve, 1st Lt., 3rd mi. A.D.C." and is dated. The Spanish troops evacuated Zamboanga in May 1899. Reeve's maps are dated August 1899, so he was among the first American military officers to provide information on the Sulu archipelago.

Fort at Isabela, Basilan Island Reeve's plan or trace of the Spanish fort, now completely demolished, at Isabela is shown in Figure 1. The plan is dated August 4, 1899. Reeve made the following notation on the plan: "Four barrack bids., fair flooring, walls damaged by earthquakes.

105 106 SULU STUDIES 3

OF'

13ASMAP4 ISLAMO c 8usJTAiT45) Figure 1. Plan of Spanish Fort at Isabela, Basilan Island by H. M. Reeve. - This fort can not stand against artillery." He also notcd that from the fort it was 75 yards to the town and 100 yards to the town and 100 yards to the river. SPANISH REMAINS IN BASILAN AND SULU 107

In 1862 a Spanish military officer, J . N. Burriel, made a tour of Mindanao and Sulu and recorded his observations in a manuscript which has not been published (Burriel 1862). He included a drawing of the fort, entitled "Fuerte de Isabela 2d en la Isla de Basilan." Burriel's drawing, dated November 19, 1862, is reproduced as Figure. 2. Although the drawing is crude, it shows the walls of the fort and the barrack buildings protruding above them.

Figure 2. 'ketch of Spanish Fort at Isabela, Basilan Island by J. N. Bui'riel

• The fort as Reeve drew it consisted of four bastions of iden. tical design, their connecting curtains, the four interior buildings, with a surrounding ditch. It is similar to Fort Pilar in Zambo. anga in having four symetrically arranged barrack buildings which probably are not part of the original construction. At Fort Pilar the barracik buildings are made of brick and apparently are of nineteenth century date, whereas the bastions and curtains are con- structed of coral blocks and belong either to the original construction of 1625 or the subsequent remodelling of the fort in 1719 (Spoehr 1973). It is therefore reasonable to assume that the barrack buildings of the Isabela fort were also later additions. Reeve states that the fort at Isabela was built about 1645. 1 have been unable to find confirming evidence for this or any other date of construction, or any adequate description of the fort itself. Here recourse would have to be made 'to documents on the Philippines in Spanish archives.

Fortifications at Siasi The area which the Spanish fortified is located on the slope behind the principal present-day . concentration of houses, stores,

108 SULU STUDIES 3

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Figure 3. Map of Siasi by H. M. Reeve SPANISK REMAINS IN BASILAN AND SULU 109 and the market at Siasi. Only a few minimal vestiges of the Spanish works remain today. As shown on Reeve's map (Figure 3), except for the side fronting the swamp or "salt marsh" the Spanish area was walled and/or ditched, with barracks accommodations for the small military garrison. Reeve's map is dated August 2, 1899.

Fortification at Bongao Reeve's map of Bongao (Figure 4, p. 110), dated August 16, 1899, shows a minuscule settlement built along the spine of a narrow peninsula, with the Spanish fort at the point and a small block house at the base. Reeve's map title is not correct, as Bongao is an island in its own right separate from Tawi Tawi Island. A note on the map states: "No barracks or other quarters remaining. Water was obtained from the well and from a spring (west of the block house) except in very dry seasons when it was obtained from Sanga Sanga Island." Reeve also provided an enlargement of the fort, shown in Figure 5 and also drawn on August 16, 1899. On

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Figure 5. Fort at Bongao by H. M. Reeve this he noted: "Walls 12 feet high, loopholed for musketry. No roof; Commands the small 'harbor." One section of the fort, con. structed of brick, was still standing when the author visited Bongao in 1969. Since Reeve's day, the town of Bongao has grown in con. gested fashion over both the dry land area of the peninsula and 110 SULU STUDIES 3

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Figure 4. Map of Bongao by H. M. Reeve SPANISH REMAINS IN BASILAN AND SULU 11

the adjacent reef. The water supply for the community is today even more of a problem than in former times.

/ Sultan's Cotta at Maimbung Jolo Island This is, of course, not a Spanish remain, but Reeve drew a plan S of the cotta and it is here included as Figure 6. The sketch is dated August 15, 1899 and has the following note: "Walls of ma1l stone. 12 feet high. Impervious to musketry. Very vul- nerable to artillery. 4. pieces of Ordnance (worthless) ." Reeve

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3?eTCfr\ & lilt t - -S U LTAt /-u5ef'.corTA sore.' t'AIWf,Y6i.b p.

Figure 6. Sultan's House and Cotta at Maimbung, Jolo Island by H. M. Reeve also noted that the settlement of Maimbung was one quarter mile downstream. The four pieces or ordnance to which Reeve referred were probable lantaka imported from Borneo and he would reason- ably regard them as antiques. 112 SULU STUDIES 3

In 1876 the Spanish occhpied the town of Jolo and the sultan removed his residence to Maimbung. For descriptions of Maim. bung in 1880's the reader is referred to Burbidge (1880) and Guil. bernard (1886). Spoehr (1973) gives further information on Tau- sug cottas excavated in Parang as well as descriptive notes by nineteenth century visitors to Job.

Note Alexander Spoehr (Ph.D., anthropology, University of Chicago) conducted fieldwork in Sulu on two occasions (see Sulu Studies 2, pp. 95-101). He is presently University Professor of Anthropology, University of Pittsburgh.

References

Burbidge, F. W. 1880 The gardens of the sun: or a naturalist's journal on the mountains and in the forests and swamps of Borneo and the Sulu Archipelago. London. Burriel, J. N. 1863 Ytinerari•o de la escursion hecha a Mindanao y Job. Ms., 25 pp. Ayer Collection, Newberry Library, Chicago. Guillemard, F. H. 1886 Cruise of the Marchesa to Kamschatka and New Guinea. 2 vols. London. Spoehr, A. 1973 Zamboanga and Sulu: an archeological approach to • ethnic diversity. Ethnology Monographs No. 1. Pitts. burgh.

I b2 Selected Tausug Poems

Translated by Irene Hassan, Ricardo Adjawie, and Gerard Rixhon

Editor's Note Tausug poems, or tarasul, which are meant not only to teach but also to entertain, are usually recited over the radio or in public celebrations. Although they are often written, these poems are meant to be recited, since one's enjoyment of them derives less from their content as from the sound of the words, the rhymes, and -the cadence. Two types of tarasul are presented here - those that concern certain elements of nature and cooking, and those that deal with the love of mother and sweetheart. The selection was prepared for publication by Irene Hassan and Ricardo Adjawie, research assistants of the Coordinated Investigation of Sulu Culture (CISC), and Gerard Rixhon, director of the CISC. Of great assistance in the preparation of the selection were Rowena Bahjin, Mohammad Daud Abdul, and Tuwan Ikiali Jamal. Luduvina Hadjirul contributed the tarasul on fruits and fish that sting, while Apra Nuique wrote "The Rain and Sun." Romeo Kadil authored "Love Triangle," and Corazon Cabajon-Viray composed "We Made a Vow." The text presente'd here is numbered by stanza in order to key the explanatory notes found at the bottom of the appropriate pages. Words enclosed in square brackets have been supplied to minimize syntactic discontinuities brought about by translation. Except for these, the translation follows the Tausug text faithfully..

115

116 SULU STUDIES 3 - A. Poems on Nature and Cooking 1. In Ulan Than Suga 1. The Rain and Sun In ulan iban suga The rain and sun Kagunahan ha dunya, Are essential on earth, U! Apu' Banuwa Oh, Apu' Banuwa In jambangan tulunga. Help the garden. Imandum in panghula' 2 The land is misty Nagulan landu' tigda'. It rains so hard. Kug sin nianga bata' The children are happy In tiyahum masigla'. And so are the plants. Ulan ulan tulunga. 3 Rain, rain, help. Than na sin sinag suga. And [you, too,] rays bang wayra bayabaya, of the7 sun. masamut na in bunga. Even if nothing else happens, Soon there will be fruits. UI Apis' Banuwa Oh! Apu' Banuwa, In pagsukul tabuka. Thapk you. Salamat na in dunya The earth is grateful J ambangan miyabut na. [For] the flowers are now in bloom. 2. In Maiga Isda Makatunuk 2. Fish that Sting In- aku piliak luppu' I belong to the family of Ha batu' nagkukuru'. the scorpionfish Bang aku makabunu' That stays dormant among Subay tawalan sawnu'. the rocks. When I use my sting A cure must be given immediately. Apu' Banuwa, "grandfather chief," is a term of address which refers to Malaikat Maikil, the Angel Michael, who is believed to be responsible for carrying out God's orders concerning rain. Jambanga.n: means "flower garden." The luppu' is a scorpion fish (Family Scorpaenidae) with dorsal and ventral spines the venom of which causes a lot of pain to the care- less fisherman. Pihak literally means "party," "side or gang." Here, it means "family."

SELECTED TAUSUG POEMS 117

In aku pihak pugut 2 I belong to the family of Ha batu nagpahugut. the triggerfish Bang awn makutkut, That holds on tightly Lima niya mapurut. among the rocks. When someone is bitten [by me], His hand goes to pieces. In aku pihak indung 3 I belong to the family of Ha batu nagduruhung. the eels Bang awn makasung, That stay motionless Lima niya mautung. among the rocks. Should someone come near, 'His hand will be snatcl\ed away. In kiyampaw nagsambatan 4 The ray said Ha buhangin •tabunan. That he stays covered in Subay kamu mapagun the sand. Ha tunuk sarang lawm. You must be strong enough [To endure] the sting that pricks deeply. In kiyampaw nagsambatan 5 The ray says Buhangin bunbun in hulaaan. That his dwelling is deep Subay tuud kami karahitan, in the sand. Puun igut tuklangan. [Everybody] should be afraid of us, For our tail is thorny. Lalung aku ha batu. 6 I am •a spiny fish in the Bang jumawi' alistu. rock. I am quick to sting. 2 The pugut, or triggerfish (Family Balistidae), has a small mouth. It hides among rocks in shallow waters. At the approach of danger, its hidden dorsal spines spring out, the second locking the first spine, usually under some coral or rock. 3 The indung, or moray eel (Family Muraenidae), is a secretive fish ". that usually comes out at night and fights viciously when attacked. 4 The kiyainpaw is an unidentified edible species of ray (Family Mobulidae?), which is not as dangerous as its description in the text indicates. It is rather the pagi, or stingray (Family Dasyatidae), which carries a venomous spine in its tail. 6 The lalung is a sthall unidentified fish (Family Scorpaenidae?) with poisonous dorsal spines.

118 SULU STUDIES 8

Subay kamu lumuntu. My sting is so piercing It can make you jump. 3. Tarasul Ha Pasal 3. Poem About Fruits Bungangkahuy Manggis iban bwahan The mangosteen and the Kansusuban sin katan; langsat In marang iban duyn Are the delight of Bungangkahuy mananam. everybody; The marang and the duriän - Fruits are tasty. Wanni iban bawnu' 2 The wanni and the Bang mahinug maymu'. gray mango In mampallam susunu', Are sweet when ripe. Nangka' in nagpatudlu'. The green mango comes next, The jackfruit is appealing. In pisang iban suwa' 3 The pineapple and the Pusuun makakubla'. orange Biyabas mikikawa'. Are fascinating to pick. In saying mikipila'. The guava invites to be plucked. The banana asks to be cut off. Tambis iban makupa 4 The watery and Semarang Malingkat bang mapula. rose apples Abukadu miyuna, Are beautiful when they The rnanggis, or rnangosteen (Gaircinia rnarngostana) is the juicy and brownish-purple berry of a guttiferous tree found in the Malay archipelago. It has a milky flesh. In the Philippines, this delicious fruit grows successfully only in Sulu. The bwahan, the lanzon or lanseh (Lansi urn domesticum), which has a translucent flesh, is the grayish berry of a meliaceous tree, commonly known as lanzones. The marang, the sweet fruit of a moraceous tree found in Sulu and adjacent areas, belongs to the artocarpu$ family (Artocapus odoratisrirrv.v, Blanco?). If the mangosteen is considered the queen of Sulu fruits, the durian is acclaimed their king. The durian (Durio zibethinus) is the rich, spiny, and smelly fruit of a bombacaceous tree found throughout the Malay archipelago. SELECTED TAUSUG POEMS 119 Nahulug samasama. are red. The avocado is the first [to fall], [Then the others] fall together. Kalamunding iban iba' 5 The calamundin and the Maaslum dayng tagna'; carambola Asal ha huna'huna' Have been soui ever since; Hilamud ha tiyula'. They originally were intended To be mixed with the fish soup. 2 The wanni (Mangif era odorata) is a type of aromatic and fibrous mango (Anacardiaceae family) that grows only in Sulu. It is usually eaten ripe, but it is also served unripe with spices. The bawn'v?, or gray mango (Mangif era foetida), which has a sour and astringent flesh, is native to Sulu. Usually eaten unripe as an appetizer, slices of its fibrous flesh are dipped in a mixture of soy sauce, salt, and crushed red pepper (Lara, lada, 8zh). The inampallam, translated here as "green mango," cannot be described scientifically. Also a relative of the mango (mangga in Tausug), it is eaten unripe in the same manner as the gray mango (see above). The nangka or jackfrult (Artocarpue heterophytlus), is the fruit of a moraceous tree. Nan gka' in nag patudla' should read nag patudlu' in nixngka', literal- by, "the jackfruit had itself pointed to." The phrase is rendered "the jackfruit is appealling." 3 The pisang, or pineapple (Ananas comosus), is the fruit of a bromeliaceous plant. The euwa', or orange, is both a generic term for several families of citrus fruits and a specific term for the poinelo, a grapefruit (citrus paradisi). Suwa' suwa' is the name given to the sweet orange (Citrus) 8ifl.ensls). The biyabas, or guava (Psidium guajava), belongs to the myrtaceous family. The saying is the ubiquitous banana (Musa paradisiaca) from the musaceous plant. 4 The tambis, or watery rose apple (Syzygiuin aqueum), and the makupa, the Sernaran rose apple (S. javanricum), are the refreshing reddish fruits of myrtaceous trees. The abukadu, or avocado (Per8ea gratissinui), is the fruit of a Lauraceous tree, usually eaten ripe with sugar and milk. It is seldom used unripe as a vegetable in Sulu. The kalamunding (kalarnansi) is the popular calamundin (Citrus mitis), a rutaceous fruit often used as a condiment in soup and on 120 SULU STUDIES 3

4. Manga Bangbang Sug 4. The Native cakes of Sulu Palikambing bubungkung The fried banana cake lyaddun Than tapung Is kneaded rice flour Liyamuran sayng. Mixed with [ripe] banan. In lanab lainlain! It tastes, so unique! Pitis iban tawmpa' 2 The pitis and shoe-shaped Hangka addunan tagna'. confections Amu piyagbiddan Use similar dough. Dugaing in tugnaan. Their difference lies In their being cooked in different pans. Pasung iban durul S The pasung and the durul Ha addunan naguurul. Use similar dough. Lanab di' ba mabinsul, They taste to delicious, Makaubat laul. They can cure one's weariness. Panyam linggitan . 4 The scallop cake Bugas in pangaan. Is made of rice. Bang masa' in bwangan, If its ingredients are not fried or boiled fish. Two or three calamundins squeezed in a mixture of water and sugar makes for an excellent and refreshing drink. The iba', or carambola (Averrhoa bilimbi), is the sour fruit of an oxalidaceous tree. When ripe, it may be eaten raw or used as a soup condiment. It is closely related to another species of carambola, the balimbing (Averrhoa caramboki). The tiyuia' is a fish soup. It is prepared by boiling fish in water seasoned with tomatoes, onions, pepper, and such sour fruit as the carambola. 1 Palimkambing bubungkung is translated "fried banana cake," as banana is its main ingredient. It is fried in oil just like the ordinary fried banana. 2 The pitis and the shoe-shaped cakes are made of a coconut confection wrapped in black gelatinous rice. The pitis is a small round cake boiled in oil placed in a deep pan, while the shoe-shaped cake is boiled in an ordinary frying pan. 3 Both the pasung and the durul are made either of rice flour or wheat flour and mixed with coconut milk and brown sugar. The fluffy durul is a favorite in all the coffee shops and native restau- rants. The pisung dough is boiled and then poured into a cup made of banana leaves where it settles. The durul is cooked in a large frying pan for one day and one night. 4 The rice flour for the scallop rice cake should be mixed proportion- ately with sugar, otherwise it loses its softness and becomes as hard

SELECTED TAUSUG POEMS 121

Mahinang pangi'pangi'. mixed well, It becomes like the pangi'pangi' cookie. Daral iban kwitalam 5 The daral and the Landu' marayaw nanam! kwitalam Bang aku in kuminam, Are so exquisite! Malanab in panganan. [But] should I be the one to taste, The pretzel-like confection is superior. Patulakan maymu' sweet. Kasusuwakan natu', 6 The patulakan is Bawlu iban binglu'. Everybody is fond of it, Marayaw pullu'pullu'. Just as the bawlu' and the binglu' [But] the pullu'pullu' is better. Putli' mandi mapit 7 The white mandi is sticky and brittle as a' pangi'pangi' cake, which is made of wheat flour. The pcnyam iinggitan is as big as the ordinary hot cake, but its center is much thicker and its edge is serrated - hence our translation, "scallop cake." The daral is another confection that makes use of the white or' black gelatinous rice, which is fried and then wrapped around a small coconut candy. The kwitalam also uses the gelatinous rice flour Mixed with coconut milk and sugar. The mixture is boiled in water after it is wrapped in a rectangular sheet cut out of a banana leaf. The pinganan uses dried flour as its main ingredient. After it is baked in an oven and ground in a pestle, it is mixed with sugar and water. The whole mixture is then rolled and shaped as the cook pleases (pencil-shaped, ring-shaped, etc.), dipped in wet rice flour, and immediately fried in a pan. 6 The rice confection patulakan is one of the most popular in the island of Job. It is made in Indanan, 11 kilometers away from J010 town. Another rice pudding prepared with coconut milk and brown sugar, it is wrapped in an abaa leaf, which gives it a special tang. It is about one foot long. The bawu is a wheat-flour cake, while the binglu' is made of sani (the sago palm) flour fried in oil. The pullu'pullu' is made of cassava mixed with a sweet coconut preparation. 7 The white mandi, also prepared with gelatinous rice, is sold four pieces on a stick.

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Wadjit hapithapit. The wadjit [and] the hapithapit, [too].

Putu bugas malara, 8 The rice putu is peppery, Bunglawan sin bibingka [It should be followed by] a dessert of bibingka.

Putuputu pangi', 9 The cassava putuputu, Taga luun hinti', Has coconut candy. Bang kamu isab mabaya', Should you want [more], Yari in daubdaya'. There is the "face to face" cake.

ja iban panpan 10 The ja and the panpan Marayaw tuud nanam. cakes Maymu' katilapan, Are a delight to taste. Labi in patulakan. The katilapan confection is sweet, [But] the patulakan is sweeter.

In bangbang matahay 11 The dry cake Hinangun landu' lallay. Takes a long time to Duun sjla maawn prepare. Bang awn pagirnunimun They will be made For any ceremonial gathering. The wadjit and hapithapit are simple rice cakes wrapped in banana leaves. 8 The putu is a rice cake prepared with pepper and coconut ftiilk. Is is eaten with a viand, and followed by some sweet cake such as the bibingka (ground rice with sugar and coconut milk) ." 9 The daubdaya' is translated here as "face to face" sake, as daub means "to lie on the back" and dayct', "to lie prone." 10 The jct is a cake made of white gelatinous rice, coconut milk, and sugar. The mixture is poured through a sieve into a frying pan. The cake is brittle and looks like a collapsed spider web. The paiicpc.n is a small version of the hot cake, while the katilapan resembles the bibingka. The pcttu2aka.n is described above (verse note 6). 11 The dry cake, more biscuit than cake, is made of flour and a small amount of milk and sugar. Though hard, it melts quickly in the mouth.

SELECTED TAUSUG POEMS 123

B. POEMS ON LOVE

1. Love for Mother Tarasul mi iban daman 1 This tarasul and daman Ganti' pamintangan Serves as a lesson Ha pasal ma' subay kalasahan Concerning the obligation Di ha dunya ganti' patuhanan. to love one's mother Since she is God's representative on earth. In ma' subay ta tungbasan 2 A mother must be rewarded Haggut pasu' niya tiyatasan For she endures much Dittu pa kita ha lawm .tiyan hardship Sampay kita liyaasan. From the time a fetus is in her womb Until it grows into a - man or a woman. In ma' subay ta tumtumun 3 A mother must always In kasi niya dain ha tahun be remembered pa tahun. For her love [endures] Subay taniyu tuud -di' lupahun from year to year. Bat kitaniyu di' busungun. Never must we forget [her] Else we be cursed [by God]. Hitawu' taniyu pa lawm 4 We must keep it in j antung our hearts In lasa sin ma' ta di' matupung. That our mother's love is Magbulanan sampay tahun, immeasurable. Yampa na magduruhun. With, the passing of months and years, It becomes more intense. In kitaniyu bata' maas, 5 We, both young and old, Subay, ha ma' tuud magaddat. Must respect our nfother. 2 Heggzet pasu' itiya, tiyatasan, which literally means "cold and heat she endured," expresses hardship. Kita is "we," literally. Not definite rules govern its usage in Tausug. Here, it means "the fetus." Sumpay k1ta 1€ajaasa-n is literally "until we grew old." In con- sonance with the translation of the preceding line, the phrase has been translated "until it grows into a man or a woman." - 124 1 SULU STUDIES 3

In hulas niya mataud naasag She has perspired and Ha pasal katu' manga anak. sweated it out For us her children. Bang ma' ta magdaakan, 6 If our mother bids us Subay natu' tuud paagaran. do something, Pa hikarayaw da in aturan. We must obey her. M,akug katu' in Malaikat For whatever she does, she iban Tuhan. has our own well-being at heart. [If we do this], the angels and God will appreciate us. Makug in Tuhan iban 7 The angels and God will Malaikat be pleased Bang kita ha ma' magkahagad. If we heed our mother's Ayaw kita tuud malipat counsel. Bang kita magdusa ha ma' Let us not forget subay magtaubat. That we must ask forgiveness if we commit sin against our mother. Bang ma' ta malaas na, 8 If our mother is old, In taggausan subay kita na. We should be responsible Sa lugay niya buhi' ha dunya, for supporting and In pagusahan ta subay taking care of her. pasal niya. While she still lives on earth, She must be the reason for our earning a livelihood. Subay in ma' ta di' pasaran - 9 We must not neglect our Bang malaas na subay ayaran. mother - She should be taken care of when she is old. 6 Pa hikarayaw da in aturan, which literally means "the intention is still toward goodness," is translated here as "for whatever she does, she has our own well-being at heart." 7 Kita retains its literal meaning here and in the succeeding passage. 9 Kabantugan literally means "fame" or "greatness." The translation used here is "credit."

SELECTD TAUSUG POEMS 125

Ha anak da in kabantugan The credit for this goes Salta' sin katan bata' ha to [us] her children mahuli kita in singuran. For in the end we shall become the model of the younger generation. Salta' subay hipakita 10 We must therefore show Ha ma' ta umupiksa'. That we care for our Panumtuman ta bukun ganta' mother. Dain pa sin kabata'. We must bear in mind the countless [good things she has done for us] Since we were very young. In ma' ta bang way na kaya, 11 If our mother is already Subay ha bay pahalihun ta na weak, Kita na in umusaha We must let her rest Yan in ganti' kasi lasa. at home. We must be responsible for earning the daily bread. Such is the compensation we can give her for her love. Bang ma' ta di' na kayahun, 12 If our mother becomes Subay kita na in magpakaun decrepit, Di' ta na siya papagusahun, We must feed her ourselves. Batna kita sin Tuhan We must allow her to ampunun. work no more, So that God may pardon us our sins. Bang kita malasa magma', 13 If we love our mother, In kita sin Tuhan God will bless us. siyasampurii'. We will then have a sound Dumayaw in akkal ta iban mind and heart; huna'huna'; And God will later send Awn da paratungun katu' us His grace. sin Tuhan anughara'. Wassalarn na in kabtangan. 14 The word is now farewell. Prubinsiyal kapitul sikuriti gard A security guard of the' provincial capitol 126 SULU STUDIES 3

Pasal pagina' mi in aturan. composed [this tarasul]. Its message concerns the proper attitude of a person toward his mother. 2. Love Triangle Bismilla in tagnaan. Bismilla is its beginning. Harap pa kakampungan. [It is] for everyone. Bang awn kasulutan, If it pleases anyone, Balikari ku ra kuman. I will just repeat it later. Tagnaan ta in tarasul; KN Let us begin the tarasul; Aku in nagbaktul. I am its author. Kamu na in umusul, You may interpret it Sabab in tarasul ku mabuntul. if you wish, Although my tarasul is clear. In tarasul ku hinang 3 I made this tajasu1 Ha pagkulangkulangan. In my moments of rest. Bang ku hi rayang Whenever I remember my pagkatumtuman, beloved In baran ku agun bugtang. My whole being seems paralyzed. Mabugtang agun in baran ku 4 My whole being seems Pasal sin raybal ku. paralyzed Hangkan na aku di' na [Thinking] of my rival. magkadtu The reason I no longer pay Sabab landu' susa in atay ku. [her] a visit Is that my heart is grieving much. Tarasul iban kalangan 5 A tarasul and a song Hipasampay ku kañ dayang. To my beloved I would 1 Bisnilla means "in the name of Allah." Kakcvmpingan literally means "kinfolk." The term is commonly used to refer to those oe comes in contact with, such as the audience to whom one delivers a speech. 3 Ha pagkztlangkilangan literally means "while lying down." "In my moments of rest" is the translation used here. In baran ka agu'm bngtcvag literally means "my body is like dead." Hire it is translated "like my whole being is paralyzed." 4 Mabugtang agun in baran ku is the natural order of in baran ku

SELECTED TAUSUG POEMS 127

Minsan aku di' niya kabayaan, like to dedicate. Basta ku siya kapasampayan. Even if she does not love me, [I will not be sad] as long as I can send this to her. -

Kapasampayan ku basta siya, 6 As long as I can send In atay ku landu' susa. her this, Kalukalu aku makauna, My heart [will not] be Makapaghambuuk pa kami so aggrieved. duwa. I might [win her love] first, [and] We might still be united.

In waktu namu' kapagkita', 7 The [first] time we met, In aku landu' miyaya'. 1 fell so much in love In aku way na nakakayba'. [with her]. Siya magtuy in namayta'. I could not utter a word; [Luckily], she started the conversation.

Namayta' siya magtuy, 8 When she started talking, In aku sa' timaghuy. I whistled [softly in Amu sadja in kiyasambat- ku: embarrassment]. "In. aku miyaya' kayum." The only words I could say were: "I have fallen in love with you."

In aku mabaya' na, 9 [When I told her] that In siya way nakapamissara. I loved her, Amu sadja in kiyasambat niya She -became speechless. "In aku mamikil pa." All she could say was "I have to think it over first." agun bug tang. Here, it is in the present tense. 7 Siya magtuy in namayta', which literally means "she immediately told," is translated "she started' the conversation." 8 Namaytci' siya nuagtuy is the natural order of siya magtuy in namayta'. Here, namayta' is translated as "talking."

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"Mamikil pa sa aku 10 "I have to think it over Pasal sin duwa kamu. Because there are now two Di' pa aku makabayta' kaymu of you. Sabab awn raybal mu." I cannot give you an answer now Because [of] your rival."

Ubus na in tarasul. 11 The tarasul has ended. Hipasampay ku ha I am dedicating it [also] maglulunsul. to the ramblers. Kalukalu sila makarugtul I hope they meet Pa budjang biyutipul. Some beautiful ladies.

Tarasul mi iban kabtangan 12 This tarasul and verse Harap pa kaniyu katan. Is dedicated to all of you. Bang awn kasaan, If it has mistakes, Pagmaapmaapan ta niyu I ask your forgiveness. ra kuman.

3. We Made a Vow Mahunit ku kalupahan 1 I can hardly forget In masa liyabayan, The time passed, Mahunit ku kagantian [Nor] can I easily replace Hi mussa' ku rayang lingkatan. My dear, beautiful pearl.

Bulan landu' masawa 2 The moon was very bright, Nagjanji' kita duwa: We made a vow: Musa' ku palmata. [You will always be] my Ayaw kaw masusa treasured jewel. In aku kaymu ra. Worry not I will be yours [forever].

10 Raybal is borrowed from the English "rival." 11 Kalukala sila makarugtul literally means "they might bump into." The translation used is "I hope they meet." Biyutipul is borrowed from the English "beautiful." 12 ' Kabtangan may literally mean either "word" or "statement." Here, "verse" is the translation used. Pa,gnuzapmaa.pan ta niylu ra kuman literally means "but us just forgive one another." "I ask your forgiveness" is the translation used here. SELECTED TAUSUG POEMS 129 Dum adlaw agu nagtangis, 3 Day and night I cried, In luha' ku nalinis. All my tears were drained. Urnanud sapantun tubig Like a river they flowed Di' ku na sa rayang mahawid. For I could bear my grief no longer.

Dum adlaw aku naglunsul 4 I wandered day night In piyaglawag ku ikaw. Searching for you. Kalasahan ta sa kaw I will never let you go. Butawanan di' ta kaw. I still love you so much

3 Di' ku na sa rayang makctwicl, which literally means "I can no longer hold," is translated here as "for I could bear my grief no longer." SULU STUDIES 3

130 A Didactic Ballad on Marriage as Sung by Indah Annura Translated and annotated by Irene Hassan and Ricardo Adjawie

Editor's Note This song of the Muslim tradition concerning marriage was taped from the record at the Coordinated Investigation of Sulu Culture (CISC). Irene Hassan provided the literal translation; Ricardo Adjawie polished the English text and Gerard Rixhon added the verse notes. The singer is Miss Indah Annura, now Mrs. A. Saraji, a Job Tatisug singer who graciously permitted us to transcribe, translate, and publish her composition. She also gave the meanings of difficult passages. The first composition was in prose form the original of which is lost. Tuwan Habib Nur of Jolo requested a certain Paradja to put it in rhyme form. The rhymer could not be contacted as he had left town to reside in Basilan City. The record AS-003 was produced by Abdulla Saraji, now Indah's husband, as part of the collection of the Muslim Musical Heritage. We are grateful to that organization for permission to publish this poem. Bismillá ha rahman 1 In the name of God, the Ngan sin Tuhan rahman merciful. In katan hukuman The name of God i Amu in tagkumkuman "Merciful." All authority Is firmly in his hands. Tuhan in tagbiatan 2 God is the guide Sin katan bautan Of all righteous actions. In kissa mi mattan This story is truly Pasal sin kapatutan About righteousness. Siyulat ku jilid 3 1 wrote, I inscribed In kabtangan matu'lid The proper words Ha katan sa lilid For all throughout [the Hukum pasal wajib land] 1 BismiUa ha rahman is an abbreviated form of the Arabic formula which begins each sura, or chapter, of the Holy Qur'an: "Bismi iilahj l-rahmanj 1-rahini /-In the name of God, the Merciful, the Compassionate." Hakuman (Arabic: hukam) means authority, judgment, sentence, condemnation, commandment. Taykumkaman, from knmkum, "one who clasps in the hand, who closes the fist on, who holds firmly." 2 Bataoz: the control which makes action righteous.

131

132 SULU STUDIES 3 Concerning [these] commandments [and] obligations.

Kissa ampa hukuman 4 It is a story, yet a Dayn ha Tuhan rahman commandment

In kamu bal'iman From God the Merciful

Wajib ta ulinan To you, the faithful. Our duty is to steer [the course of our life] rightly.

Siyulat ku iyukkil 5 I wrote, I chiseled, In kabtangan tiyangkil I joined the words. Guru dayn ha Misil The theology teacher from In usulan dihil Egypt Supplied the basic Islamic elements.

Ustadz in naghaddiya 6 The theology teacher gave

In dimihil bichara instruction,

In Tuhan limaya [And] contributed the Ha hukuman parachaya arguments; God showed his power Through commandments to be adhered to.

The commandments came In hukuman mabuntul forth, Naug dayn ha rasul Transmitted through the Nagdaak piyabaktul Hi Tuwan Habib Nul Apostle. The order was carried on religiously By Tuwan Habib Nur.

Hi kissa ku in puun 8 Let me relate [then] the Sin hal magtiyaun antecedents Concerning married life. 4 Bctl-imam, from ba1 (Malay: bar), "having," and iman (Arabic), "faith." Ulinan, from tlin, "to steer lightly, to keep in line." 5 Iy'iikkil, from ukkil, "to carve, to incise"; hence, the use of a chisel. TJsulcn, from wsuf. (Arabic plural or asal). "fundamentals"; also, Islamic ethics. 6 Ustadz is a borrowed term referring to Muslim theology teachers. 7 Rasul (Arabic), "apostle"; in this instance, the prophet Muhammad. -A DIDACTIC BALLAD ON MARRIAGE 133

Hukuman pangadjiun The commandments to Di' manjari bugtuun consider Are not to be transgressed.

Kissa ampa kalangan 9 It is a story, yet a song Hadis dayn ha Junjungan On traditions from the Bang in hukum hilangan Prophet. Wajib paglangan To alter these commandments Is strictly forbidden. In hukuman hinangun 10 The commandments Sin duwa magtiyaun [to be] followed Wajib pangadjiun By married couples Ha guru pariksaun Must be studied [And] verified by a religious teacher. Wajib magparuli 11 The obligations concern Sali' usug babai Men and women equally. Awn hadis sin Nabi These are traditions of the Dayn ha Tuhan rabbi Prophet From the Lord God. Awn parman sin Tuhan 12 There is a decree of God Subay di' kalupahan That should not be for- Tantu bang ha ulihan gotten Baran magkalagihan For indeed at the end It will benefit the self. Tuhan Malikil A'lam 13 God, the king of the world, Nagdihil matakaddam Gave the admonition 9 Haclis (Arabic: hadith) are the traditions or religious sayings and deeds of the prophet Muhammad gathered after his death. Jun j'u.ngan means ruler or sultan; in this context, the term refers to the prophet Muhammad. 11 Nabi (Arabic), "prophet"; here, the prophet Muhammad. Rabbi (Arabic), "lord," used only to refer to God. 12 Parmam, (Arabic) is a divine revelation or a divine decree. The term pertains to God only. The song hadis is taken here in the context of the prophet's haclith based on God's revelation which the song interprets. Ulihan, from uli, "near, back," means the end, the Day of Judgment. Baran, literally means "body," a live body; hence, a person, the self. 13 Malikil A'iam (Arabic: Malikul Alam), "the king of the world." Matigallam (possibly from Arabic), "to fall in the ,dark pit, to go astray."

134 SULU STUDIES 3 -

Pangadji'a in Islam To learn the Islamic faith Bat daw di' matigallam So that [you] will not fall into the dark pit. mi in hkum sarat 14 This is a stipulatory Pa manga hambarayat commandment Hipananam in surat For all humble subjects Ha adlaw Ahirat That they enjoy ethe Book Till the: Day of judgment. Wajib kaw himinang 15 You must practice [what is Bat supaya masannang taught] Kamatay awn lawang In order to be happy. Kasiksaan hibutang [Otherwise] there is the gate of death Where punishment is met; Damikkiyan in usug 16 Likewise the man Na 'wijib in maksud Should be attentive Pa asawa hi tubtub To his wife, precisely Bat way hutubhutub To avoid any suspicion. Kamu manga babai 17 You, women, Ha bana kamu pudji Give praise to your husband Sukul bang ha mahuli So that in the end Sambil manga biraddali You will be like angels. U manga kakampungan 18 Oh, [you] relatives, Yari in pamintangan Here is a reminder Pa subul kabudj angan For the unmarried men and Tagga subay langan women Not to violate the sanction. Pamintang kamu asal 19 You should always be Taw'an niyu ha akkal And bear in mind, 14 Sarat (Arabic), "stipulation, condition." Hain.barayat (Hamba Ra'ayat) from Hambct (Malay) "humble. slave," and Ra'ayat (Arabic), "people, subject." Surat or sulat, "to write"; also, anything written, a letter or book; here, the Holy Qur'an. A hi rat (Arabic: Akhira, "the life to come'; the last abode"), heaven, paradise"; adlaw ahirat, "the Day of Judgment." 15 Kasiksan, from siksa' (Sanskrit: Shiksa), "punishment." 17 Pudji (Sanskrit: pudja) "to give praise." Biraddali or bidaddari (Sanskrit: widjadari), "angel, houri." 18 Kakarnpungan, from kampwiiq, 'kindred." 19 Akkaj (Arabic: aki), "intelligence, mind." A DIDACTIC BALLAD ON MARRIAGE 135

Di' sukul bang tumampal Unless it is clear, Awn kaulinan lapal That there is a word to adhere to. Sukul bang makabana 20 Whenever a woman Pamintangan awn na . marries Hukum mi tumtuma There is a lesson. Ha sara' agama Remember this commandment [In accordance] with the religious law. Hukum mi masawa 21 This commandment is Pasal pa anak asawa clear Bang kaw magduwaruwa Concerning your children Magsusun in ginhawa and wife. If you were to doubt it You would have to repent reminded Na wajib in mi 22 This obligation, Kapatutan sin babai Rightfully the woman's Hinangun ta sabuli Is to be observed Maniksa' ha mahuli perpetually Lest she be punished in the hereafter. In katan kawli 23 All conduct Usug in magpi'li Undertaken by men Subay ta maparuli We must be concerned with. Dayn ha Tuhan rabbi [The law] came from God, the Lord. Wajib dayn ha Tuhan 24 The law from God Di' manjari pulihan Should not be altered. Bang natu' kalupahan Were we ito forget it, Magsusun ha ulihan [We] would be made to repent in the hereafter. Di' sukul (from di', "not," and sukul, "gratitude"), "unless." 20 Sara' agama (from Arabic: shaHa, "the Islamic law," and Sanskrit: agama, "religion, faith"), "religious law." 21 Ginhowa, literally, 'spirit, health";, in this context, "self" or "ego," although "inner self" seems the more accurate term. 23 Athough not formulated, the ast verse refers to God's law, accordin g to the singer.

136 SULU STUDIES 3 Tuhan nagdihil sara' 25 God gave this divine law Subay mapalihala' Which must be observed. In ginhawa hipakawa' It will get the self Dayn ha Iawm narka' Out of hellfire Than sin ahali niyu 26 And of your dependents Palihala'a niyu Take good care.. Tuhan in nagtagama God has prepared In tumungbas kaniyu Retribution for you. Bang di' mapalihala' 27 If there is no concern for Kasiksaan dakula' [dependents] In tumungbas narka' • The punishment will be Tuhan makapagbaya' great. God is omnipotent. In narka' bang malaga 28 When hell is ablaze Malaikat in jaga The guard is an angel. In narka' bang malaga When hell is ablaze Malaikat dayang in jaga The guard is an angel. Malikid jabbal niya The tyrant ruler Di' maguyum katawa Never smiles nor laughs. Taptap jiyajagahan 29 It is continuously guarded In daakan sin Tuhan As decreed by God. Isbatun ta npihan We must give [it] Di' kulangan labihan recognition and support, No more, no less. Hiyahallian sin Tuhan 30 God has assigned Ha tau asawahan Married men Ha ahali pajagahan To watch over their Than papahinduan dependents And teach them the right way. 25 Narka'. (Sanskrit:. naraka), "hell"; lawn narka', literally, "the interior of hell" or "hell-fire." 26 Mapalihala' (from palihala', Sanskrit: parihara), "to take care of foster, be concerned for." Tnmnngbas, from tungbas, "retribution, a reward"; in the following quatrain, "punishment." 27 Makapagbaya' (from baya', "desire, wish, will"), "who does what He wills, omnipotent." 28 MalikicI (Arabic: mali/c), "the king"; Jabbal (Arabic: jabbar), "the tyrant." These terms can be applied to God although the latter is also given to other beings even in a bad sense. 29 Isbatun (Arabic: isbat), "recognition, confirmation." A DIDACTIC BALLAD ON MARRIAGE 137

Di' manjari hijuru' 31 You must not give up Ha ahali kaw hindu' Teaching your dependents. Bang di' mu mapinturu' If you cannot discipline Pa narka' mamandu' [them] To hell [they] will go. Subay natu' hinduun 32 We must teach Niyat ayaw bugtuun [With] an unbroken Bang di' mu pinturuun resolve. Pa narka' hiluun If you do not discipline them [they] will be thrown into hell. Wajib panghindu' kaw 33 You are obliged to teach, Ha anak mu pandu' kaw Instruct your children Pa addat hikarayaw About righteous conduct; Pa hinang bukun kungkaw Train them not to be deceiving. Nasabbut ha parman 34 It is said in the revelation, Hadis dayn ha Junjungan [In the] tradition of the Wajib di' hilangan Prophet; In pamandu' •sungan No [one] thould interfere With continuous instruction. In yan amanat 35 There is a message Ha usug tagaanak To men who have children: Kamu pagnasihat Yçu must give them advice Bat di' mahayanat So that they will not become failures. Bang anak ta hinduan 36 When we teach children Hinangan ta suntuan We must make ourselves Baran ta in tagnaan the models. Magad in kabataan We [should] begin with 32 Niyat (Arabic: niya), "intention, resolve." All religious ceremonies and prescribed actions to be valid or meritorious must be preceded by a declaration (vocal or mental) of the intention to perform by the performer. 33 Addat (Arabic), "custom, conduct, manner"; often, customary law. 35 Amnurt (Arabic: a'mncrn, "safety, safe conduct") in Tausug, "message." Pagnasihcrt (Arabic: nasihat), "advice." Mahayana.t (Arabic: hayrnat), "to shirk, disregard, fail to perform."

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our own selves So that the youth will follow. Muna kita magniyat. 37 We must have the right Bat di' mahayanat intention Magpabuntul sin addat To avoid becoming a Maghinang ibadat failure, To act righteously In the performance of religious practice. Hukum ha kausugan 38 This commandment is for Pasal kawajiban all men; Bang di' kabawgbugan It is compulsory. Mahinang kaayban Nonconformity Brings shame. Hukum ha magasawa 39 The statute on taking a Wajib masawa wife, Bang hidalil sarakka One fit to be a wife Hi tunay in napaka Could be compared to alms- giving;. [in a family] subsistence [must be] regular. In napaka hi sangun 40 The assurance of Wajib ta hinangun subsistence Ngi' dayaw lilingun [Lies] in our compliance In pagkaun tamungun with Discerning between what is good and bad In food, in clothes. Bang di' mu napakalian 41 If you do not give support, 37 Ibadat (Arabic, plural of ibada), "piety, obedience"; also, 'religious practice." In this particular context, marriage is considered one of the ibadat. 38 Kaayban (Arabic: ayb), "shame defect, flaw." 39 Sarakka (Arabic: sadaka), "alms." Strictly speahing, sadaka refers to the voluntary alms giving, charity; distinguished from zakat, the legal alms tax, one of the five pillars of Islam; often the terms are used synonymously. In this text, it is used to illustrate the exacting character of a couple's obligation with regard to family subsistence. 41 Dunya. (Arabic), "earth, world"; Bang in dv,nya pindahun, literally, A DIDACTIC BALLAD ON MARRIAGE 139

Tantu ha karusahan You certainly commit a sin. Bang in dunya pindahan In the hereafter Bausun kaw sin Tuhan You will be punished by God. In Tuhan nagparman 42 God revealed Ha usug in hukuman This commandment to man: Ayaw maghamanhaman Do not procrastinate In napaka hi tuman In, providing for subsistence. mi pasal mujijat This is a wonder. Na wajib ha niyat The intention is necessary In kita niyu ummat We, the faithful, Subay magibadat Must perform the sacred duties. Subay kita magammal 44 We must do the body Sussihun way sammal ablutions Amu ipun bunnal [So that] nothing impure Umulin sin kasabal is left. As a true follower [of God], Practice forbearance. In wajib ha usug 45 Man is obliged Ha anak mamawgbug To support his children, Hipadihil in kusug To give them strength, Magpasulig sin bukug To make their bones grow. Magpasulig sin akkal 46 To make their minds grow, In pagilmu' hi tukbal To impart knowledge. Bang pa Tuhan mangannal When meditating on God, Umulin sin kasabal Practice forbearance mi hukum masawa 47 This commandment is clear Pasal anak asawa Concerning wife and Ayaw magduwaruwa children. Tapusun in ginhawa Have no doubt [about it], You should observe the injunctions. "if the world is changed"; thus, after death, in the hereafter. 43 Mujijat (Arabic: mudjiza), "miracle, wonder." 45 Magpasulig sin bukug, literally, "to make their bones grw." 46 Pagilinu', from ilmu' (Arabic: 'jim), "knowledge." In Islam, it refers to religious knowledge, as in this text. From the Arabic 'jim comes

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Subay di' balubahan 48 It [the commandment] Langgal sara' pa Tuhan should not be altered; Addat ayaw pindahan It is against God's law. Bat sabab kalagihan Do not change your Addat ayaw pindahan conduct Bat sabab kalagihan For you will need your merits [at the end] Do not change your conduct For you will need your merits [at the end]. Bang awn na asawa mu 49 If you have a wife, Di' manjari tugan mu You are forbidden to sleep Minsan bay sin langgung mu Even in your sibling's Bang way ba maksud mu house Bang way ijin kaymu If you have no purpose Sin anak asawa mu [there]. Makasiksa' kaymu If you do not obtain permission From your children [and] your wife You will be punished. Hukum sin Tuhan awn 50 There is a commandment Di' manjari pindahun of God Bang asawa mu awn Which should not be Subay di' binasahun changed; If you have a wife, You should not harm her. In wajib ha bana 51 It is compulsory for the Maghulmat ha asawa husband Binasahun ayaw na To honor his wife. Subay uyum katawa He is to avoid harming her. He must [cheer her up wiiuj smiie and laugn. Wajib in pangannal 52 The obligation to meditate Ha usug kiyatukbal Is handed over to the man. aiim, "religious scholar" (plural: 'ulama). In Tausug, the term ilmu' also means esoteric knowledge, as of magic; the latter is not the sense in which the term is used here. 49 Ijiit, (Arabic idhu),, "permission." 51 Hulmat (Arabic ?), "honor, respect". A DIDACTIC BALLAD ON MARRIAGE 141

Sara' ayaw lumanggal The law should not be Ha asawa magsabal violated: Be patient with the wife. Bang asawa magdugal 53 If the wife grumbles: Bana subay mangannal The husband should be Awn hadis bunnal circumspect. Ha usug makasabal There is a true religious saying - That the man must be patient. Awn hadis 'sin Junjungan 54 There is a tradition of Tuhan in tagbilangan the Prophet Bang pasu' kahundugan [Based on] God's decree: Pahala' kaw butangan If [your] anger can be controlled Reward will be received. Hadis mi pariksa' 55 This tradition is true, Kitab in namayta' As stated in the Holy Book: Tuhan makapagbaya' God Almighty Dihilan kaw pahala' Will give you a reward. 56 If your patience is sincere, Bang in sabal mu maksud Your reward will be Pahala' mu hiungsud granted; Sin Tuhan kaw isingud You will be, in God's Biya' sin Nabi Ayub regard, Like unto the prophet Job. In Nabi Ayuh sabal 57 Prophet Job was patient; Pa Tuhan nangangannal He always medicated Minsan unu in dugal on God. Di' sumambung gumagal Although he was angry He never answered harshly. Wajib ta sandalan 58 We must restrain ourselves In pasu' di' dulan Refrain from rage. Usug in tiyukbalan Man was ordered Sin manga kaadilan To be righteous. Hindu' kamu sabuli 59 Teach always Ha katan ahali All your dependents 54 Pahala' (Sanskrit: phala, "outcome, result"), "reward, prize." 58 Kaadilaii (Arabic: adil) "justice, uprightness." 59 Subay timbang in kaBi, literally, "love should be balanced."

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Asawa ayaw lumabi Not to have more wives

Subay timbang in kasi- [than they can rightfully have]; Love should be given equally [to all].

Di' manjari tiwasun 60 There must be no

Ha pagkaun butasun inequality,

Subay magsiril ma'sun No separation while eating

Ha asawa imisun There should be unity, Conformity with the wife.

Hukum sin tag'ipun 61 The commandment of Wajib usihatun the Master

Duun na kaw magsusun Must be examined.

Bang in nyawa butasun [Else] repent When your soul departs.

Wajib magasawa 62 It is but right to marry

Hambuuk sampay duwa' One or to wives.

Sagawa' in pituwa But the advice is

Subay kaw makagaga You should mind [your obligations].

Tubtub sampay pa upat 63 You luay have up to four

Bang gastu di' malipat [wives]

Sagawa' bang magdapat If your earnings are Makadihil yan sasat sufficient. For failure [in this] Is a source of trouble.

In hukuman iyubus 64 This prescription is dirçcte

Ha tau makagaus To those who can afford

Sa' bang kulang kabus [many wives].

In siksa' di' maubus But for those who cannot Trouble will be endless.

Tuhan in tagbaktulan 65 God is the Author

Hukum ha kabuntulan Of true justice

Haggut pasu' sandalan Come hell and high water, 61 Tag'ipan, from -'ipun, "slave," means slave-owner or master. 62 Pituwa (Arabic: fcvtawa, formal legal opinion), "a decision, a ruling on religious law." 63 Bang gastu di' malipat, "If [your] earning cannot be doubled." Gasta is borrowed from gasto (Bisaya and Spanish), "expenditure." 64 Kulang ketbus: lacking financial means, a have-not. 65 Haggat pasu' sanclala'n, literally, 'heat enduring." A DIDACTIC BALLAD ON MARRIAGE 143

Manaw in kaadilan Justice will [always] reign. Bang ganta' di' sumawa 66 In case [you] cannot Ayaw kaw magasawa [afford it] Tuhan amu in jaga Do not take [one more] Di' kaw makadaawa wife: God is truly vigilant You cannot make excuses. Hina'bu na hambuuk 67 One [wife] is enough. Bat in kasi matibuuk In order that [your] love Ayaw na magpajukup may be all [hers]. Bang umakkal hitapuk Do not try to marry more If you intend to deceive. Awn hadis sin Nabi 68 A religious tradition from Dayn ha Tuhan rabbi the Prophet Bang asawa maglabi [Originally] from the Siksaun kaw ha mahuli Lord God, [says] That if you take more than one [wife] You will be punished in the end. Hadis mi kabtangan 69 This tradition was put Naug dayn ha Junjungan into words Hinangan bilangan That came from the Bat awn pagsilangan Prophet For the purpose of segregation, And identification. Subay kunu' pikilun 70 You must think, he says, In atay adilun Have an upright heart,

66 Bang gantct' di' samawa: "in case you cannot afford one more wife." M&ada.awa, (from Arabic: dawct), "reason, argument, side." 68 This. line, the "taking of one more wife" i to be understood in the the context of the preceding quatrains. 69 "For the purpose of segregation and identification" refers to the Day of Judgment when everybody will be judged according to the obedience given to God's law and separated according to the judgment rendered. 70 Na..paka ordinarily means "subsistence" (see stanzas 39 and 40), but in this context, it refers also to n,waka botin or sexual relations. The translation was based on the comments of the singer who inter-

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Napaka pabuntulun Be honest in your [sexual] In pagliyu hatulun relations, In turning [your attention from one to the other].

Bang di' ba makaaku 71 If one cannot afford

Bukuri siya ummat ku [to do this]

Way suku' niya didtu He does not belong to Dayn ha sapaat ku my community; There he shares not My intercession.

Uway na sapaat 72 There is no intercession

Bang adlaw kiyamat On the Day of Resurrection

Bukun ku siya ummat For one who is not of Bang siya di' magtawbat my community Who has no repentance.

In hadis hikaduwa 73 The second tradition

Di' mahinang daawa Cannot be denied;

Hukum mi masawa This commandment is clear

Ha magasawa duwa To a man who marries twice. Subay timbang in kasi 74 Love must be given equally Sin puun iban huh Between the first and Di' manjari maglabi second [wife]. Bat di' matungga kali It is not permissible to give more [to one]; Avoid going to court. Bang nagbidda' in kasi 75 If love is unequally shared, Tungbasan ha mahuli Retribution will come in Tantu di' matabali the hereafter. Timpangun ku in siki No repentance is possible: I [God] will make the leg limp. Salinun ku pindahun 76 [Now] I will change preted this passage according to the latter meaning. 71 Ummat (Arabic), "community (of believers) ." Sapaat (from Arabic: shaf&a), "intercession". Intercession on the day of judgment is made available to those who have witnessed to the truth (Holy Qur-an 43:86). 74 Kali (Arabic: kadi), judge who decides marriages and other civil cases in the Muslim court. 75 Timpan gun ku in siki. Here, anthropomorphically, the singer wishes A DIDACTIC BALLAD ON MARRIAGE 145

Babai in bicharahun [the subject] Kabtangan paamuhun [And] address the woman Di' ta papagliyuhun I will arrange the words; We must not interchange [them]. Hi kissa ku hi subli 77 My story, then, Hi latun pa babai Will deal with the woman. Wajib in kawli It is a declared obligation. Ha bana kamu pudji That you give praise to your husband. Kamu kababaihan 78 To you [other] women, Yari in kasahan Here is a guide. Bang kamu ha pagbanahan You who are already Addat ayaw pindahan married, Do not change your conduct. Sara' mi sin Tuhan 79 This law is from God; Subay di' kalupahan It should not be forgotten Bang di' da ba.lubahan If you do not alter it Kamu magkàlagihan You will , bene fit [by it]. Isalin ta in maksud 80 Let us now change Pakapatut sin usug [the topic] Asawa mamawgbug What rightly belongs Supaya way lingug to man Woman must acknowledge To avoid trouble. Amanat sin Tuhan 81 The message of God Pa manga kababaihan To all women is: Addat ha pagbanahan The laws of marriage Subay niyu tagguhan Should be kept firmly. In mi amanat 82 This message Pa katan sin ummat To all in the community Katu' hipaingat [of believers] Bat sa sumariat Is for us ito obtain the knowledge In order to fulfill the law. Tuhan amu nagsara' 83 God gave the law, Hadis timugila' Tradition interprets it. to emphasize God's punishment for injustices. 80 Pakaipatut, from ettut, "fitting, proper, right." 146 SULU STUDIES 3

Ha babai tirnanda' It is signified to the wives Hukum pagpalihala' As a commandment, that they care. In hukum ha babai 84 The commandment to the Parayawun kaagi woman is Wajib kaw magagi That her actions be good. Ha bana magparuli You should • express Concern for your husband. In hukuman kaymu 85 It is required of you Bang awn na bana mu That as long as you have Mumusa in langkap mu a husband, In pamaybay mu You keep your things [And] your house in order. Hikaisa kulangan mu 86 First your beddings, Hikaduwa pagkaun mu Second your food. Na wajib kaymu It is your duty Magmumus sin anak mu To attend to your children. Minsan bana wa' duun 87 Even when your husband Mumusun mu kawaun is not there, Anak palihalaun Gather [and] get Ayaw mu puhingaun [what is needed]. Take care of the children; Do not mistreat them. In panyap sin bana mu 88 The belongings of your Katan mumusun mu husband Bang yan pasaran mu You should gather them all. Na wajib kaymu If you, leave them [unattended to] It will be to your blame. Hadis iban parman 89 A tradition and a decree Dayn ha Tuhan rahman From God ithe, Merciful, Hukum mi matuman This commandment is true Wa' kita piyanglibunan [And] is not hidden from us. Hukuman upama 90 A commandment, a lesson Pa babai katan na For all women; Bang umatud in bana If your husband looks 90 Upama (Sanskrit ?), "example, lesson." A DIDACTIC BALLAD ON MARRIAGE 147

Subay kaw kugan na [at you] You should be happy. Hti bang daakun 91 If your husband gives Kawaun sautun an order, Pangayu' kamu ampun Follow it immediately. Bat sin bana maapun Ask his forgiveness And he will grant it. Manga babai kam 92 Oh! you *omen Addat sangunan niyu Who follow the law, Pagtawbat da kamu Ask forgiveness Pa manga bana niyu Of your husband. Kaniyu wajib na 93 It is your sacred duty Magtaat ha bana To obey your husband Tantu kabaakan na reverently Karayawan landu' na You will truly find Most beneficial results [from it]. Pagtaat kamu tantu 94 Obey [God] reverently; Sin hinang Jima waktu Observe the five daily Hallian ta in didtu prayers.' Bat sa way sakutu Prepare for the future To ensure [salvation]. Awn hadis sin Junjungan 95 There is a tradition of Wajib ta gungungan the Prophet Imig sin langan Which we must follow: Bat awn kasannangan Forsake the forbidden And find comfort. Parman sin Tuhan rabbi 96 The decrees of the Pagammal kamu huh Lord God 91 Ampztn: pardon, mercy. 92 Tawbat (Arabic: Tawba), "repentance." 93 Ma.gtaat and pagtaat have their roots in taat, "obedience to God or strict, compliance in the performance of religious duties." Since the singer applies the sacredness of obedience to that of the wife for the husband, it seems appropriate to apply this sacred character to duty and to emphasize the absoluteness of obedience by the addition of the word "reverently." 94 T'Vaktu (from the Arabic), "fixed time." Lima Waktu, the five daily prayers of the Muslims. Bat so. way sakutu, literally, "so that there is no doubt." 96 Surga' (from Sanskrit: swarga), "heaven."

148 SULU STUDIES 3

Bang niyu maparuli You should observe. Surga' ha mahuli If you are concerned [with them] Paradise'aradis [will be yours] in the hereafter. Than sin magpuasa 97 And the Ramadan fast Suku' sin ummat bangsa Should be kept by the Siyusiyu magdusa community, the people. In Tuhan di' malasa Whoever fails [to fast] God will not love. Than magpalihala' 98 And you have to take care Sin baran anggawta' Of the whole body. Hadis in namata' It is mentioned in the Makusug in Surga' tradition That Heaven is great, Than siyusiyu na 99 And whoever In magtaat ha bana Obeys her husband, Bang ha adlaw mahuli na On the last day Surga' niya awn na Will gain Heaven. Pangayu' kaw duwaa 100 Offer a prayer of In rnagtaat ha bana thanksgiving; Bukun mi daawa In obeying your husband Karayawan landu' na You will doubt, not About your own salvation. Manga manukmanuk mataud 101 The many flocks of birds Sampay ista' ha laud And the fishes in the seas Mangayu' kita suhud Will obtain for us Magbarakat ha taud Blessings in abundance. Sampay malaikat 102 From the angels Ha langit pitu pangkat In the seventh layer of 97 Magpuasa, from puasc (Sanskrit: upzwasa), "to fast"; here, the Ramadan fast. Bangsa, (Sanskrit: wansa), "nation, people, race." 98 Avggawta! (Sanskrit: an.gg.a-itha), "the body, the limbs, merftbers"; baran, "the body, trunk." 100 Dnwaa (Arabic: dxa, "blessing, prayer"), "prayer"; in this context, a voluntary prayer of thanksgiving. Ka/rayawan la,ndu/ na, literally, "goodness is consummated": salvation. 101 Magbarrakat (from bctraJcat, Arabic plural of barakc), "blessing," "beneficient force which comes from God." A DIDACTIC BALLAD ON MARRIAGE AS SUNG 149

Mangayu' na barakat heaven Ha babai malingkat Beg for blessings For beautiful women. Salugay rnagtaat 103 In the performance of Ha bana magpamaap religious duties Amu mahinang ubat Ask pardon from [your] In ammal sariat husband. A source of remedy 'r,\Till be in [your] religious deeds. Ayaw tuud masasat 104 Do not succumb to Ha bana magmaasihat temptation, Bang pindahun in niyat Attend to your husband. In babai yan la'nat If [you] change your attitude [You] women will be rejected. La'natun kaw sin Tuhan 105 God will reject you Bang in addat pindahan If you change your conduct. Ampa di' kapulihan Then, nothing can be done; Siksa' ha ulihan Punishment will come at the end. Than siyu-siyu na 106 And whoever In mangalu ha bana Quarrels with her husband Tuhan magmurka' na Will incur God's wrath; Kasiksaan awn na There will be punishment. Ayaw pamissarahan 107 Do not talk Ha bukun karusahan Falsehoods, Kamu kababaihan For you, women, Hibaus da sin Tuhan Will be punish by God. In salugay sin bana 108 As long as your husband Di' makakatawa Is under your thumb, In tumungbas Tuhan na God will punish [you] Baya'baya' niya na [For] he is omnipotent. 103 Mactp (Arabic), "pardon." 106 Magmurk&, from murka' (Sanskrit: iiwrha), "wrath." 108 Di'makakatawa, "cannot laugh"; here, "henpecked, under the thumb." 150 SULU STUDIES 3

In hadis mi tuman 109 This tradition is true, Dayn ha • Tuhan rahman It came from God the Bawgbug kamu ha iman 0 Merciful. Bat awn na katanaman Keep the faith And be granted its comfort. Wassalam. 110 Peace. 109 Iman (Arabic), 'faith." 110 Wa,sa,lam (Arabic) usually ends speechs, songs,, and such. Here, it was said by the player of the biyula, native violin.

In Sultan Sulayman Than in Sumayang Galura'

Editor's Note The narrator of this story, Imam Ibbalahim, is from Lampas, Indanan, Job. Mohammad Daud Abdul, a research assistant of the Coordinated Investigation of Sülu Culture (CISC) collaborated with Gerard Rixhon director of the CISC, in translating the text. 1 In piyagsultanan hi Sultan Sulayman bukun pagkahi niya ma- nusya' didtu ha hula' niya sa' manga manukmanuk. In dakula' sin manukmanuk, amin umbul hambuuk amu na in Sumayang Galura'. In asibi' nla tuud amuna in pagngannan Pipintut. 2 Duun mayan siya ha manga manukmanuk amin piyagsultanan niya, nagpipikil isab sin Sumayang Galura' sin nakapagsultan siya sin anakanak in baran niya. Napikil niya mayta' siya in malaggu' dayng ha katan sakali bukun siya in nakapagsultan. Ha • lawm sin pikilan sin Sumayang Galura' pagka siya in dakula' agawun niya in pagsultan dayn kan Sultan Sulayman. 3 Hambuuk waktu nagsuysuy in Sultan Sulayman ha parkala' awn hipaganak babai didtu ha Taksina'. Marayaw babai, way sabanding niya. Salta' namayta' pa hi Sultan Sulayman awn pa isab hipaganak usug ha Maksina'. Marayaw usug, way sabanding in dayaw usug. Than namayta' pa hi Sultan Sulayman pagubus niya namayta' Su.mayang Galircs': Samayang from sayang, "to raise the hand") means "soaring" and Galara refers to a mythical giant bird, known as Garada in India. and Indonesia. Walker (1968: 381) says that in Hindu mythology, Garuda "was hatched from an enormous egg 500 years after his mother laid him. Half-giant and half-eagle with the body and the limbs of a man, he had the head, the beak, and the talons of an eagle." A vehicle of Vishnu, he is "depicted with a white face, red wings and body of gold"; he "became famous in legend as a destroyer of serpents." Umbul ham buuk (or umbwl satu) means "number one," "best quality," here, "the greatest." Pipintut is an unidentified bird that approximates the humming- bird.

152 Sultan Sulayman and Sumayang Galura: A Story Told by Imam Ibbalahim Translated and annotated by Mohammad Daud Abdul and Gerard Rixhon

The text presented here is numbered by paragraph (or, in some instances, by part) in order to key the explanatory notes found at the bottom of the appropriate pages. Words enclosed in square brackets have been supplied to minimize syntactic discontinuities brought about by translation. Except for these, the translation follows the Tausug text faithfully. 1 During his reign, Sultan Sulayman ruled not over the people but over ,the birds. The largest of the birds, and greatest, was Sumayang Galura'. The tiniest of all was Pipintut. 2 In the sultanate; of birds, Sumayang Galura' started wondering why the ruler, Sultan Sulayman, was of very small stature. He also thought how strange it was that he, the largest bird of all, was not the sultan. That gave him ideas: Sumayang Galura', as the large bird], would wrest away the throne from Sultan Sulayman. 3 One day, Sultan Sulayman predicted that a baby girl would be born in the East - a girl whose beauty was beyond compare. It was also foretold by Sultan Sulayman that a baby boy would be born in the West - a handsome boy without equal. After [fore- telling] that this boy and girl would be born [respectively] in the

in size. Some claim that it is the Philippine weaverbird. This bird is also called pawpit (Tagalog pipit) The term "ppintnt" is used affectionately in addressing very small children. 3 Parkctla' comes from the Sanskrit prctkara, "affair," "problem," "case," "story," "an event with import," here, phenomenon. Taksina, means "East," "direction," and rnaksmnd means "West," "direction." Note that the origin of birth is inverted in the sentence immediately succeeding. The use of both terms, Taksna' and Mak- sinai, indicates that both undefined places were as far apart from each other as can be (see paragraph 11). Way sabancling is translated "without equal" or "beyond compare."

153 154 SÜLU STUDIES 3 sin usug iban babai hipaganak ha Taksina' iban ha Maksina', malayngkan in bayta' niya makapagtiyaun misan bihayan in layu' sin hulaan nila. 4 Naghuna'huna', in Sumayang Galura' dupang in Sultan Sulay man. Sabab mayta' makabayta' sin awn hipaganak ha Taksina' iban awn hipaganak ha Maksina' marayaw usug sin wala' siya nakakadtu iban nagbayta' pa siya makapagtiyaun. Na huna'huna' niya hangkan da in Sultan Sulayman sibi' sibi' in baran bat dupang. 5 Pagka sin malugay na, magtuy na tuud piyaganak in biyayta' sin Sultan Sulayman ha Taksina'. Babai marayaw, way sabanding niya. Salta piyaganak na tuud in pagiyanun niya ha Maksina' amu in usug way sabanding niya. Dayn didtu timagu'tu inpangata- yan sin Sumayang Galura'. Bunnal huna' huna' niya in bayta' sin Sultan Sulayman. Salta' piyaganak. 6 In napikil sin Sumayang Galura', magtuy niya tiyupad pa Tak- sina' amin piyaganak babai. Paglupad niya pa Taks.ina', kita' niya na tuud in babai amu in way sabanding niya. Salta' diya niya na nagbissara: "Miyari aku kaymu, subay kaw magad sin kabayaan ku." 7 Lawn sin babai: "Unu in kabayaan mu agarun ha hal namayta' kaw kaku?" Agi sin Sumayang Galura': "Hangkan kaw subay magad kaku' sabab bang kaw di' magad ha pikilan ku in ikaw magmula dayng ha pikilan sin sultan namu', amin Sultan Sulayman." Lawng sin babai: "Mayta' unu in pikilan sin Sultan Su.layman? Unuhun baha' aku?" 8 in agi sin Sumayang Galüra': "Bang kaw kaabutan sin Sultan Sulayman tantu patayun kaw misan kaw babai." Lawng sin babai: "Bang pikilan mu in agarun ku, unuhun mu aku?" Lawng sin Sumayang Galura': "Subay ta kaw dahün madtu pa batu ka'patan mamasagi'. Hitapuk ta kaw." Lawng sin babai: "Bang amuyan in hikahaba' sin umul ku, in aku daha." Salta' diya na sin Sumayang Galura' pa batu ka'patan mamasagi'. Pagkadidtu n narnung in Sumayang Galura' ba babai: "Hibin S Batu kcilpcttan rnama&igi literally means "stone forty square large." No specific measurement is given. SULAYMAN AND SUMAYANG GALURA' 155

East and the West, Sultan Sulayman added that they would get married, although their countries were far apart.

4 Sumayang Galura' suspected that Sultan Sulayman had gone mad. How could the sultan say that a baby would be born in the East and another boy born in the West, while he had never been there himself, and say that they would get married? His feeling was that Sultan Sulayman, because of his small stature, was really mad.

5 Long after this, the baby Sultan Sulayman referred to was born in the East - a beautiful girl without equal; at the same time, a baby was born in the West - a boy without equal. At [the news of] that, Sumayang Galura' got palpitations. He feared that what Sultan Sulayman had said about these births would come true.

6 Sumayang Galura' flew to the East, where the girl was born. When he arrived there, he saw the baby girl whose beauty was beyond compare. He said to her, "I came here to [see] you because I want you to follow me." 7 'The girl said, "Why do you want me to follow you?" Sumayang Galura' answered. "You must follow me, because if you do not heed my counsel, you will be harmed by Sultan Sulay- man." "What will he do to me?" Sumayang Galura' replied, "If Sultan Sulayman ever gets hold of you, he will kill you even if you are a girl." 8 The girl said, "In the event that I go along with your plans, what' will you do to me?" Sumayang Galura' said, "I must bring you to the stone of forty squares to hide you." The girl said, "If it is to prolong my life, then take me [there] ." Then Sumayang Galura' took her to the stone of forty squares. When they arrived there, Sumayang Galura' told the girl, "I will 156 SULU STUDIES 3

ta naa kaw di, in aku magbing na sa' mahuli kakapun ta da kaw man." 9 Magtuy na nagbing in Sumayang Galura' salta' wala' siya himapit hariin dim sa' timuy siya pa Maksina' amin piyaganakan ha usug, amin malingkat, way sabanding. D2imikkiyan in hinang sin Sumayang Galura' diya niya nagbissara. Lawng niya: "In ikaw subay kaw magad sin pikilan ku. Misan na kaw na tau di' da humaba' in umul mu bang kaw di' magad kaku'." 10 Lawng sin usug mi: "Mayta' kaw nagbissara in aku di' humaba' in umul ku? Unu in sabab mayta' di' humaba' in umul ku?" In sambung, sin Sumayang Galura': "Hangkan di' humaba' in umul mu, bang kaw kaingatan sin Sultan Sulayman, hipalag da kaw ha tau niya ampa hipapatay." Lawng sin bata' bata' usug: "Unu in napikil mu ha supaya aku di' mapatay sin Sultan Sulayman?" 11 Lawng sin Sumayang Galura': "Bang kaw hitapuk ku misan kaw lawagun sin Sultan Sulayman di' kaw kabakan." Lawng sin bata' bata' usug: "Bang amu yan in hikahaba' sin umul ku in aku daha." Magtuy na diya timapuk sin Sumayang Galura' in bata' bata' usug. Piyalayu' niya tuud ha supaya di' magkugdan iban sin babai amin tiyapuk niya yadtu. 12 Asal in pulitik hinang niya ha duwa tau ha supaya di' maagad in agi sin Tuwan Sultan Sulayman makapagtiyaun in duwa tau mi. Mahuli namaid na isab in Sumayang Galura' ha bata' bata' usug mi: "Di na kaw, kiyatapuk ta na kaw marayaw. Pagpahum- put kaw in aku magbing nasa' balikun ta da kaw." Magtuy na limupad in Sumayang Galura' nagbalik pa hula' sin Sultan Sulayman. 13 Sakali hambuuk waktu, nakalugay mayan, magtuy na kiyakap sin manga tau sin Sultan Sulayman, amin manga manukmanuk dugaing dayng ha manukmanuk dakula' mi, in manga tau amin piyaganak biyayta' niya bunnal da atawa bukun. Piyalawag. Ma- huli dayn duun, palawag sin manga manukmanuk kiyabakan na tuud in manga tau mi. 12 Pctgpcthif.mput comes from humput, "formal," "modest," "demure." SULAYMAN AND SUMAYANG GALURA' 157 leave you here; I am going back now, but I will return; I will visit you here." 9 Sumayang Galura' immediately turned around. Without stop- ping anywhere, he went directly to the West, where the boy was born. 'When he arrived there, he met the boy who was handsome beyond compare. As he had told [the girl], Sumayang Galura' addressed him. He said, "[You are still a baby, but] even if you were a [grown-up] man, you must follow me if you want to live long."

10 The boy said, "Why do you say that I will not have long to live?" Sumayang Galura' replied, "You will not live long, because if ever you are found by Sultan Su1aiman, you will be caught by his men and be put to death." The young boy said, "What have you in mind to save me from being killed by Sultan Sulayman?" 11 Sumayang Galura' said, "I can hide you such that how ever much Sultan Sulayman searches for you he will never find you."

The young boy said, "if you can prolong my life, then take me." Immediately Sumayang Galura' hid the young boy. He placed him in a faraway place so that the boy would never meet the girl he had also hidden. 12 He played this trick on the two people so that Sultan Sulay- man's prophecy concerning their marriage would not materialize. Then Sumayang Galura' bid the little boy good-bye, saying "Stay here, you are very well hidden. Stay put. As for me I have to go now, but I shall return for you." Sumayang Galura' then immediately flew back to the land of Sultan Sulayman. 13 One day, after some time, Sultan Sulayman summoned all the birds; all came except the giant bird. He asked everyone to verify whether or not the babies had been born. The birds searched all over. Then. they found the babies. 158 SULU STUDIES S

14 Nakapagkugdan na sila. Magtuy na minuwi' in manga manukmanuk salta' dimatung na sila. Na mayta' na sila: "Ampun, amin biyayta' mu in babai hipaganak ha Taksina' iban usug amin hipaganak ha Maksina' bunnal tuud in bayta' mu salta' nakapag- tiyaun na sila yadtu ha batu ka'patan mamasagi." 15 Magtuy na limupad in Sumayang Galura', kitaun niya in manga tau tiyapuk niya. Pagdatung niya, kita niya na tuud in manga tau mi nagtitiyaun na ha batu' ka'patan mamasagi. Mahuli, ampa diyatungan buga' in Sumayang Galura' ha sultan. Salta' timuy na miyaguy sabab bang siya kaabutan, punggutan in hug niya. Magtuy na limupad in Sumayang Galura', landu' tuud malayu' in kiya luparan niya. 16 Magtuy na tiyawag sin Sultan Sulayman in katan manukmanuk amin piyagsultanan niya. Tanda' sin pagsultan niya, napun na tuud mawn in katan manukinanuk tinggal dakuman in Suma- yang Galura': "Hangkan ta kamu tiyawag katantan sabab ha Sumayang Gali,ira' hipaurul ku. Hipada ku kaniyu mail, punggutan ku in hug, sabab in katantan himumungan ku diyurusta' niya." 17 Saka' in rr'anukmanuk nagurul na. Hambuuk dakuman rnanukmanuk amin wala' miyagad nagurul aming Bulantuk. Bang bukun buga' sin manga manukmanuk ha Sultan Sulayman di' sila murul, sabab di' da sila makaabut iban di' da sila makahinang unuunu amin malaggu' dayng kanila katan. Wala' mayan iyabutan nagbing na sila katan. 18 Pagdatung namayta' na sila ha Sultan sin wala' nila iyabutan. Pagka ubus na nãmayta' in manga manukmanuk amin imurul ha Sumayang Galura', nagtuy na namissara in hambuuk manukmanuk amin Bulantuk ha alupan sin sultan. Lawng niya: Pagka sila wala' nakaabut ha Sumayang Ga- lura', malayngkan in aku sumubli lumawag ha Sumayang Galura'." Lawng sin sultan: "Marayaw, urula na.' - 19 Magtuy na iyurul sin Bulantuk ampa niya liyupad. Malayu' na in kiya luparan niya. Pagka. malayu' na in kiya luparan niya, kiyatandawan niya na in Sumayang Galura'. Dayn duun pagsu- sungan niya in lupad niya. Pagka maabut na in suwara niya bang niya tagun, magtuy niya na kiyambay. Lawng niya: "Tagari aku!" 17 Bulantvk or Btthuia-ntuk is the woodpecker. SULAYMAN AND SUMAYANG GALURA' 159

14 The birds assembled and immediately reported home. When they arrived, they told [the sultan], "Sire, what you told us about the birth of a girl in the East and the birth of a boy in the West has come true. Furthermore, they have gotten married at the stone of forty squares."

15 Sumayang Galura' left immediately to check on the people he had hidden. When he arrived there he realized that the two had really gotten married at the stone of forty squares. That finally made Sumayang Galura' afraid of the sultan, and so he left in •a hurry because he knew that once he was caught, his head would be cut off. So Sumayang Galura' flew away as far as he could.

16 Sultan Sulayman then promptly summoned all the birds whom he ruled. All the birds convened, except Sumayang Galura'. "I summoned all of you because I want Sumayang Galura' followed. Bring him to me; I will cut his throat because he always contradicts my pronouncements."

17 So the birds gave chase. Only one bird did not do so. It was Bulantuk. Had they [the birds] not feared the sultan, they would not have given chase, because they knew they could not catch him [Sumayang Galura], nor do anything to him, for he was much larger than they. They all returned without having seen him.

18 Upon arrival, they told the sultan that they had failed to catch him. After the birds were through reporting on their search for Sumayang Galura', Bulantuk spoke to the sultan, saying, "Since they have failed to seize Sumayang Galura', I volunteer to search for him." The sultan said, "Good. Pursue him."

19 Wasting no time, Bulantuk started in ptirsuit. He flew and kept flying for some distance. He had flown quite far when he detected Sumayang Galura'. From then on, he flew more swiftly. When he came close enough to be heard, [by the Galura'], he beckoned him. He said, "Wait for me." 160 SULU STUDIES 3

20 Wala' nagkayba' in Sumayang Galura'. Gam mayan pagkuku- sugan niya in lupad niya. Lawng sin Bulantuk: "Tagari aku, sabab bukun hadja ikaw in punggutan hug sampay aku kalna' kita hangka dusa." 21 Tiyagaran na siya sin Sumayang Galura'. Pag tagad lawng niya: 'Ayaw mu aku bugitan. Pakain pakain kaw in kita mag- bunyug sabab in kita hangka dusa. Bang punggutan in hug mu, in aku punggutan da." Lawng sin Sumayang Galura': "Bang bunnal in bissara mu paagarun ta kaw bisan pakain." 22 Lawng sin Bulantuk: "Patapua aku duun kaymu, sabab di' na aku maka tatas lumupad." Lawng sin Sumayang Galura': "Tapu' na kaw duun ha tahud ku." Magtuy na timapu' in Bulantuk ha tahud sin Sumayang Ga- lura' ampa na sila limupad. Paglupad hangkaray' namaspad, nag- , patihulug. in Bulantuk. 23 Lawng sin Sumayang Galura' ha Bulantuk: "Bang kaw di' makatatas duun ha tahud ku, kawn kaw pa taykud ku." Magtuy na timapu' pa taykud sin Sumayang Galura' in Bu- lantuk. Pagtapu' limupad na isab. 24 Paglupad nagpatihulug na isab in Bulantuk iban bissara niya: "Matay na aku, di' da aku makatatas ha taykud mu." Namung na isab in Sumayang Galura': "Tapu' kaw mawn pa babaw sin taynga ku." Magtuy na isab timapu' ampa himupad. 25 Paglupad nahulug na isab in Bulantuk iban bissara niya: "Di' da aku makatatas ha babaw sin taynga mu. In aku mapatay da di' da aku makatatas." Lawng sin Sumayang Galura': "Bang kaw di' makatatas duun ha babaw sin taynga ku, sud kaw maun pa lawm sin lungag sin taynga ku." 26 Magtuy na isab .simud, ampa himupad na in Sumayang Ga- lura'. Paglupad niya, lawng sin Bulantuk: "Pikil ku minsan pa pakain in abutun ta bang aku di' da mapinda dayng ha lawn sin taynga mu in aku makatatas na." Lawng sin Sumayang Galura': "Marayaw na. Palayuun ta na in lupad ta." StJLAYMAN AND SUMAYANG GALURA' 161

20 Sumayang Galura' refused to talk and flew away faster. Bu- lantuk shouted, "Wait for me. You know, you are not the only one in danger of being beheaded, because I, too, am in the same situation." Sumayang Galura' flew more swiftly. [Bulantuk] kept on calling, and said, "Wait for me. We are guilty of the same crime." 21 Sumayang Galura' [stopped and] waited for him. When [Bulantuk] reached [the Galura'] he said, "Do not' leave me behind when you go. We must go together as we have committed the same offense. If you are to be beheaded, so will I [suffer the same fate] ." Sumayang Galura said, "If you are saying the truth, then I will take you along, everywhere I go." 22 Bulantuk said, "Let me ride on your back for I cannot last long." Sumayang Galura' replied, "Perch here on my spur." ,So Bulantuk right away perched on the spur of Sumayang Galura' and they flew away. They had flown but a short while when Bulantuk was in danger [of falling off]. 23 Sumayang Galura' then told Bulantuk, "If you cannot hold long on my spur, then ride on my , back." In no time, Bulantuk was on the back of Sumayang Galura'. [With Bulantuk] perched there, he [Galura'] continued the flight. 24 After some time, Bulantuk again was on the point of falling off, and so he said, "I am going to die, I cannot last on your back." Sumayang Galura' answered. "Then you can perch on the top of my ear." So he [Bulantuk] climbed [on the ear of Galura'] and they flew away again. 25 In flight, Bulantuk again was about to fall off, and lie pleaded, "I can no longer bear it on your ear. I will die. I cannot stand it." Sumayang Galura said, "Since you can no longer endure it on my ear, then get inside my ear." 26 He got inside immediately. Sumayang Galura' took off [again]. As they were flying, Bulantuk said, "Now, I think that if I am not taken out of your ear, I an stand going anywhere." Sumayang Galura' said "Very good, let us fly and go as far as we can." 162 SULU STUDIES 3 / 27 Pagka nakalugay na in lupad, namung na in manukmanuk Bulantuk: "Bibura in lupad mu pa hula' ta, pa sultan ta, amu hi Sultan Sulayman." Lawng sin Sumayang' Galura': "Bang kita lumupad rnadtu in kita matay na kalna' punggutan kita hug." Lawng sin Bulantuk: 'Di' kita mapatay sa' bibud na kaw pa

hula' ta." 28 Di' da magad in Sumayang Galura'. Lawng sin Bulantuk: "Pagkahagad kaw sin agi ku. Magbalik kita pa sultan ta. Bang kaw di' magkahagad sin agi ku, bihaun hukhukun ku na in tutuk mu." Salta' tiyangkugtangkug na sin Bulantuk in utuk sin Suma- yang Galura'. Sa' na nagbing in Sumayang Galura' pa hula' sin Sultan Sulayman. 29 Nagbing mayan sila, lawng sin Sumayañg Galura': "Biya' mu aku, Bulantuk, iyakkalan." Lawng sin Bulantuk: "Ayaw kaw mabuga'. Mahibri kaw dayng ha thulka' sin Sultan Sülayman, bang aku in makabissara.' Lawng sin Sumayang Galura': "Biya' diin in kaagi mu mamissara ampa aku di' kapunggutan hug sin sultan?" Lawng sin Bulantuk: "Subay kaw migkahagad sin pag agi ku. Mamayta' kaw ha sultan sin sumanggup na kaw, di' na kaw mag- dusta' dusta' kaniya, ihan di' na kaw tuud umagaw sin pagsultan niya. Tantu mapangayu' ku ha sultan. Lappas na kaw dayng ha dusa mu. Di' na kaw kapunggutan hug." 31 Mahuli marayaw na in atay sin Sumayang Galura' iban namung na in Bulantuk: "In kita, tumuy na pa Sultan Sulayman. Bang mu aku mapangayu' da, magad na aku sin kabayaan mu, sumanggup na aku, di na aku' magpangdusta' ha himumungan sin sultan, ibañ di' na aku umagaw sin pagdatu' niya." 32 Mahuhi dimatung na sila pa Sultan Sulayrnan. Pagdatung nila, lawng sin Sultan ha manukmanuk Bulantuk: "Wayruun na tindug ku, iban wayruun na manukmanuk umbul hambuuk sin taga akkal tunggai na ikaw, sabab bang bukun ikaw di' na makabahik in manukmanuk Sumayang Galura'. Pagka mi yari na, hibaid ku

30 Lappas na kaw daing ha dusa is, literally, "you will be freed from your sin," or "your offense will be forgiven." SULAYMAN AND SUMAYANG GALURA' 168

27 After they had flown quite far, the bird Bulantuk ordered "Change the direction of your flying [and proceed] toward our home place and our sultan, Sultan Sulayman." Sumayang Galura' answered, "[But] if we fly back there, we shall be beheaded." Bulantuk said, "We shall not die, but turn back to our home."

28 Sumayang Galura' refused to follow [the order]; 'Bulantuk said, "Follow what I say. Let us go back to our sultan. If you refuse to follow my order, I shall peck a hole in your head." At this point, Bulantuk made a move toward the brain of Sumayang Galura. So Sumayang Galura' turned around toward Sultan .Sulayman's land. 1

29 As they turned around, Sumayang Galura' said, "Bulantuk, you really fooled me." Bulantuk said, "Do not be afraid. If I have my say, you will be freed, [you will not be touched] by Sultan Sulayman's anger." Sumayang Galura' said, "How can you say that on your word I shall not be beheaded?" -

30 Bulantuk replied, "You must follow my . instructions. You will tell the sultan. that you are surrendering, that you will no longer go against him and that you will not wrest the sultanate away from him. I am sure I can ask the sultan [that favor]. Your offense will be forgiven. Your neck will not be cut.

31 In conclusion, the disposition of Sumayang Galura' [changed] for the better and he told Bulantuk, "Right now, we are on our way to Sultan Sulayman. If you can intercede for me, I shall obey what you want. I shall surrender. I shall not go against the sultan nor usurp his power."

32 They finally arrived before Sultan. As they alighted, Sultan Sulayman told the bird Bulantuk, "I have no follower, no single bird with so much brain as you. If it had not been for you, the bird Sumayang Galura' would not have returned. And since he is here now, I request you that this bird, who opposed me and who wanted to wrest my power away, be beheaded." 164 SULU STUDIES 3

na kaniya in manuk mi, punggutan ku na hug, kalna' in manukmanuk mi nagdurusta' kaku' iban umagaw sin kusug ku.". 33 Lawng sin Bulantuk: "Ampun, pangayuun ku kaymu in manukmanuk mi, bang mayan in siya mi bat sumanggup na siya di kaymu. Ku'nuku'nu in di' na siya magpangdusta, kaymu, hipa- mung sin simud niya iban dayng la lawm sin atay niya, bang sumanggup kaymu sin di na siya umagaw sin pagdatu' mu, kawasa mu, malayngkan in manukmanuk mi maapa." 34 "Ha sabab mu ikaw in nakaurul sin manukmanuk mi iban magad na siya sin agi mu, marayaw na maapun ku na." Amu na in kasanggup sin Sumayang Galura' ha Sultan Sulay- man. Dayn didtu kiya dihil sin Sultan Sulayman in kuppiya niya pula pa Buantuk. Sampay pa bihaun in Bulãntuk in u pula' kalna' pagpusaka' sin Sultan Sulayman kaniya sin kuppiya pula.

34 Ku.p'piya is the cap or fez usually worn by devout Muslims.

agog SULAYMAN AND SUMAYANG GALURA' 165

3 Bulantuk said, "Sire, in defense of this bird, I ask you to pardon him, on condition that he surrenders to you, that he refrains from contradicting you. He speaks from the heart, he promises not to touch your leadership [and] your power." 34 "Because you were able to get this bird for me and since he followed your instructions, I gladly forgive him." Sumayang Galura' then surrendered to Sultan Sulayman. At this juncture, Sultan Sulayman gave Bulantuk a red cap. Up to now, the head of Bulantuk [the woodpecker] is red, the legacy of the red fez that Sultan Sulayman gave him.

Reference Walker, George Benjamin 1968 The Hindu world.: an encyclopedic survey of Hinduism. 2 vols. New,York: Frederick A. Praeger. The Creation of Palay: A Story told by Mullung

Translated by Kalbi Main and Mohammad Daud Abdul

Editor's Note

This kwiwn, or creation story, was narrated by Mullung, an old and blind storyteller introduced to readers of this journal earlier (Rixhon 1972: 172-189). This story was recorded in his home at Anak Jati',, Indarian, Sulu. Kalbi Asain and Mohammad Daud Abdul, who ttanslated the story, were both research . assistants at the Coordinated Investigation of Sulu Culture (CISC). Ricardo Adjawie, who prepared the final text for publication, is a faculty member of Notre Dame of Jolo College. 1 Manjari hi Adam pa in nagdatu'. Asal in tubu' sin Adam mi, hangkan na1 yn biya bayta' tubu'sin Adam, kakaun niya haram; in pangkat niya sumbang. 2 Nagtuy na nanganak in Adam. Nakaanak siya lima usug. Dayn duun miyanghuran. Hikaunum pa karayaw yadtu paganak, bukun sa biya' sin manga 'anak niya kaybanan. Bunnal bang basaun sin tubig mabasa' isab. Wayruun simud, way mata, way buhuk,' way buW, way taynga, way siki, way lima, way unu katantan. Biya' bunga kahuy maggulung gulung, way buli', hat tangkup, biya' sapantun biya' buwahan yan. 3 Na nasusa in Adam. "Mayta' aku mi naka anak, sin in anak ku kaybanan jukupjukupan ampa. in mi bukun mi., Di' kita makaiyán ipun iban unimat sabab biya' mi bunga kahuy." Bang biya' diin in kaagi niya magakkal ha yaun, in ngan siya in taganak sakali bihaun bukun yaun jukup. 4 Manjari pagka malugay lugay na, nakaingat na in anak, amu na in Jabrail. Pagingat, nakawn na. Lawng niya: "Mayta' ama? Awn bissara mdtu kaku' naganak kunu' hi ma'?" "Ah, lawng niya, "naganak hi ma' mu, ayan na. Yan di' aku makaingat, manga anak. In kamu katan anak ku lima, na biya' da kaku' saputika' yan pakaunun di' makakaun. Wayruun sungi tan. Mihi' di' maka ihi'. Mintaw' di maka intaw'. Way buli, punud." I Mtnnjari, "it happened," "it came about," is a linguistic marker which connotes an important event in •a story, or locates an event in a distant indefinite past. It is translated here as "at that time."

166 The text presented here is numbered by paragraph (or, in some instances, by part) in order to key the explanatory notes found at the bottom the appropriate pages. Words enclosed in square brackets have been supplied to minimize syntactic discontinuities brought about by translation. Except for these, the translation follows the Tausug text faithfully. 1 At that time, Adam was the reigning datu. [His] progeny [was well known, not because of any great achievement, but because its members] ate frbidden foods and practiced incest. [Such were] Adam's [own] offspring. 2 Adamhad five sons. Then [his wife] gave birth [to another' being], but it was [entirely] different from his other children, it had no mouth, no eyes, no hair, no anus, no ears, no feet, no hands. It was like a fruit that [could only] roll—a lanzon. It had no posterior, only a receptacle. [However] it got wet when water was 'poured on it. 3 Sadly Açlam muttered to himself, "Why have I begotten a child like this? My other children are complete except this one. [It] cannot be called a servant nor a follower [of God] because it looks like a fruit." He [did not know what] to do with it [although],he ivas its father, for it lacked [any semblance of humanity]. 3 Bukun mi literally means "not this." Here, it is translated as "is totally different from them." Di' kita makaiyan literally means "we cannot say." "It cannot be call2d" is the translation used. 167

168 SULU STUDIES 3 5 "Na bunnal kaw," lawng niya "ama', biya' diin kaagi yan magakkal?" "Na yan," lawng niya "pagka kaw yari na ikaw dakuman, sabab aku nagkilakila way na kugdanan sin pamikil ku bang biya' diin. Biya' amu dakuman mi pikil ku sa lugay duun hayan kitaun." Lawng sin anak: "Marayaw na, ay na kaw masusa, unu bang unu na makaingat cia sa kaw yan." Na lawng sin ama": "Marayaw na." 6 Amu na in ka uwi'. Paguwi' himalihali sadja . ha bay niya, ampun da isab, amu na in kapangarap niya. Pagpangarap niya, limingkud na siya tahayat. Nanaug in Parman: "Mayta' kaw Jab- rail? Unu in kuwan mu?" 7 Sabda sin Jabrail: "Ya Saydi, ya Mulliya, ya Tuhan ku, Maha- sussi, Mahatinggi, way Sali', way Sabanding, way Sakutu, Tunggal Kaw, miyari aku kaymu, naganak in ipun mu iban ummat, hantang aku na inuinu. Ah, in parman, mayta' in anak hi ama' biya' sin katan ampa in yaun bang awn bunga kahuy umagiyad bunga kahuy, maggulung-gulung sadja. Di' makapamung karna' way baran, way buli', punud katan. Wayruun •taynga, wayruun mata, wayruun simud, wayruun buhuk, way siki, way lima. Uyl bunnal bang isab bu'sugan sin tubig mabasa' isab sin tubig." 8 Na lawng sin Parman: "Wa' ku yan nalanggal bang unu yan." "Na ya Tuhan ku, aku pa isab in nalanggal ha yan in Raw wala' da malanggal, ampa yan na sa yan. Pagka yari na kaymu, na. Raw dakuman." Pagpuas hidtu, nanaug na in Parman: "Marayaw na Jabrail, kadtua hi ama' mu, patanuman. Ayaw magparuun ha lawm bay na di' ta kaingatan pa mahalu' di' mahalu'. Na wayruun yan pamikil unu. Subay hitanum na." 5 Sa lugay duun hayan literally means "as long as it is there." It is translated as "since it is already with us." 6 Tahayat (Ta-s ha-had in Arabic) is the ninth essential position (there are 13 essential positions) for prayer in Islam. It is a sitting position in which the right foot is inserted behind the left knee. The buttocks therefore touch the left foot.. - Kuwan has no exact equivalent in English. It is a word in Tausug (and other Philippine dialects like the Tagalog, and Visayan) that can be used to refer to anything. Here, it obviously refers to Jabrail's purpose in invoking God. He "anu is kuwan mu" is translated "what is you purpose?" THE CREATION OF PALAY 169

4 Sometime later, IAdam's] son Jabrail learned [that his mother had given birth]. He [therefore] went to see [his father]. "Word reached me that Mother has given birth . . . [But] why [are you sad], Father?" - Adam replied, "Oh yes, your mother has given birth [to] there lt is. I do not know, my son . . . You and my other four children are like me, but that one cannot eat [even] when fed it does not have a mouth through which food can pass. [Even] it it wants to urinate, it cannot; [neither] can it defecate, for it has no anus. It is [like something] solid." 5 "I see you are right." [Then] the son asked, "Father, what do you think of it?" "Now that you are here," he said, [I am leaving the thinking to you]. I thought all I could, but I could not decide what to do [about it]. I guess the only thing I can do now is look at it since it is already [with us] ." "All right, stop worrying now," Jabrail said, "I will let you know whatever I decide to do [about it]." "Very well then," answered his father. 6 Then Jabrail returned [to his] home. After having rested for a while, he appealed [to God], then sat in a tahayat manner. [Upon hearing his invocation], God asked, "Why [have you in- voked me], Jabrail? What is your purpose?" 7 Jabrail replied: "My Lord, the Honorable, Immaculate, One and Only, Unequaled, Incomparable, Perfect God, here I am .before you. I [wish to consult] You about ithe child Your slave and follower has begotten. It has made me wonder. The children of my father are just like everybody else, but the [sixth] one is, like a fruit, capable only of rolling. It cannot talk. It does not have [a human] body, has no anus; it is [like a] solid [objet]. It has no ears, no eyes, no mouth, no hair, no hands nor feet. [But] it gets wet when water is poured [on it]." 8 "I have never encountered such a thing," God commented. "Even You, my God, have never encountered such a thing. How much less it is with me . . . but it exists! Now that I have told You about it, [please tell me what to do] ." God decreed thus, "Very well, Jabrail, go to your father and tell him to plant it. He should not keep it in [his] house. We cannot tell whether it rots or not. It should be planted. It cannot think (anyway]." 170 SULU STUDIES-3 9 "Ya Tuhan ku, jbang Ikaw na in magpatanum marayaw na, hipatanumku." Amu na in kauwi' sin Jabrail. Paguwi' himapit sadja ha bay day'day' nagbing madtu kan ama' niya. Pagdatung, lawng niya: "Ama', tanuman sa' bang mu hika- tanuin hipaad kaymu iban bang awn sagbut pasdwatan kaymu. Amu na yadtu in Parman."

10 Na lawng ni'a: "Huu, hitanum ta." Tiyanum na. Ubus tiyanum iyad. Na ubus pa karayaw yadtu n Amu na in' kauwi' niya. Na lawng sin asawa: "Kiyatanum mu Lawng niya: "Huu". Na lawng niya: "Misan na kita magpikil di' ta .kugdanan pikilun."

11 Naabut hangka pitu kiyakap. .Pagkakap way sagbut, way unu. Diyumuldumulan bihayan, awn sa kita' niya, bukun hambuuk sa' mataud biya' tuud pussukpussuk jawn yan. In tagna' niya kita' gimuwa' way isab yadtu inuinu niya. Naabut pakarayaw yadtu hangpu' dum, kiyakap. Ah, ,na pagkakap na muliyat na. Di' na isab aku makatantu bang awn pa ka ha Iawm atawa awn pa ka ha guw', atawa ha guwa' na katan.

12 Naabut hangpu' taglima adlaw, kiyakap. Ahat pagkakap bukun na puti', ta dahun na, nagbubuyuk na pàwyupawyq. Sa' in dahun niya gadIunggaddung. Nainuinu na. Suwatan way sagbut Bang upamakun amu in itiyanum yadtu in timubu', unu in karna' tumubu' wayruun ha lawm. Wayruun na isab napikil sa' minuwi'.

13 Naabut hangka bulan, kiyakap. Pagkaka .p duwa na in buku, mahambug, masanga. Way mâsuwat, way suwatun. Sa' amu na sadja hinangun niya in ad. Unu in hinang bang biya' lagus ma- guya' hati' amu na in dayaw pagka sagbut way. 14 Naabut duway bulan na nimahut na in pagbuli' iban gj'tung. Na inuinu isab: "Ari, jambangan mi." Nagpamungmurig na isaisa "Mayta' in sagbut mi pagtubu' mi sakali mi nabiya' ha ixli limaggu' in pa ugbus mi- in pa bulian sin ugbus mi nimahut." nagdu'yag na. Way, minuwi'. - Sarta' 12 Wayruun ha kiwm literally means "nothing inside." Here, it is translated as "did not seem to contain life." THE CREATION OF PALAY 171

9 "Well, my God, since You have ordered "it to be planted, then I shall have it planted." Jabrail then returned home. After having stopped by his house for a while, he went back to his father's [place]. Upon arrival he said, "Father, plant it, then build a fence4 around it]. ['Do not forget to] weed the place if grass [grows on it]. This i§- what God has decreed." 10 "Yes, we will plant ft," Adam concurred. It was therefore planted and fenced. When [the work] was finished, Jabrail went home. "Have you already planted it?" his wife asked Adam. "Yes," he replied. "[Let us forget it now]. We did not know [what to do with] it [anyway]," concluded the wife. 11 After a week, [Adam] visited [what he and Jabrail' had planted]. He saw no weeds nor anything else at the place. But when he took a closer look at the groiind, he saw many [things] that resembled needle tips. He did not mind them at first. After ten nights, he visited the place again. [To his surprise, what he saw during his last visit] had sprouted. I cannot tell [you] for sure whether there were more [of the plant] underground, or all of it had already appeared [above the ground]. 12 Fifteen days had, passed when Adam revisited the plant. Aha! It was no longer whitish; leaves were all around it. The leaves were green. Adam began to wonder. [It did not seem possible' that] • what had grown was the thing they planted for it did not [seem to] contain [life]. Again, [Adam] could not think of anything [useful about it]; he went home [more confused than before, after] finding nothing to weed. 13 After a month he revisited [the plant]. • It already had two robust buds that had [tiny] branches. [Finding] nothing to weed, Adam repaired the fence which was aireatly worn out. 14 Two months later,"the lower and the middle [portions of the bud] had become smaller. Wondering, [Adam muttered to himself], "Ali, [look at] this plant! I winder why this' grass has grown like this . . . the tip [of its] bud has grown bigger while its lower portion has become smaller!" [unable to think of any suitable explanation], Adam went home. ' 172 SULU STUDIES 3

15 Pagka yadtu duway bulan na iban tunga', uhu magtuy na giyuwa sin Datu' Saytan. Pagguwa' sin Datu Saytan tu.y na tuud miyadtu ha jambangan yadtu ampa nagkugkug ni Datu' Saytan. "Kailu isal in jambangan ku mi sampay miyunga, miyunga na." SAwn hambuuk sahabat nakarungug. Wa' sin Datu' Saytan kita' sa in sahabat yadtu kita' niya in Datu' Saytan .naglibut sin ad yadtu sabab in jambangan niya na buhi' da. Unu magsuwat, unu in suwatun way sagbut. 16 Pagka yadtu nakalugay na,-minuwi' na in Datu' Saytan. Paguwi' magtuy na in sahabat miyadtu kan Adam. Lawng sin Adam: "Ikaw sa yan." Lawng niya: "Huu.. Ari layn sambung in jambangan yadtu pariksa' ikaw in nagtanum?" Lawng niya: "Huu. Kiyatanum yatun dayn ha sabda iban parman." 17 "Aha," lawng niya "bat ikaw ka. Hangkan aku miyari kaymu, sa' ayman kaw magbayta' manga hangkan kaw nakaingat dayn kaku'. Nakawn in Datu' nagkugkug bat kunu' jambangan niya. Wa' aku kita' ampa in Datu' Saytan kita' ku nagkugkug tuud sin nabuyuk na bihan. Saga' in kuwan yadtu puti'puti' ha duhul. Katantan awn sa' in para hambuuk batangan, in bunga niya inday maitung ka isab in taud, maray' bukun hanggatus in bunga sin hangka puun yadtu." 18 "An," Iawng niya "magpasaulaula in Datu' Saytan, babuy yan kumawa' sin jambangan ku. Na ayaw siya magisabisab mawn bat bang siya magisabisab mawn ampa ku siya yan abutan pakdanun ku sa siya yan sin puddang." Na lawng sin sahabat: "Bang mayan kaw makaingat da sa' ay mu mayan Au baytaan." Lawng niya: "Di' ta da kaw hibayta'." "Magbunu' sa karnu yan," lawng niya, "kay Saytan." 15 Kaiju isab in jambangan ku 'jul literally means "this plant of mine is pitiful." But since Satan is supposed to be happy when he says these words, the line is translated as "oh, my wonderful plant." Sahabat literally means "assoéiate." Here, "somebody". seems more appropriate. In succeeding lines "the man" is used. 17 Hangkan kaw . nakainga,t dayn kaku literally means "you knew because of me." It is translated as "this information comes from me." "Kuwan" here refers to the fruit.. Bukun hanggatus in bunga sin hangkc& puun yadtu literally means "each stem had not one hundred fruits." It is translated as "there are at least a hundred grains in one stalk." THE CREATION OF PALAY 173

15 Two months and a half had passed when Datu Satan appeared [at the garden]. Rejoicing, [he said], "Oh, my wonderful plant... It has already borne fruit!" [Without Datu Satan's knowledge], somebody heard [what he had said]. Neither did he see the man, but the latter saw him running around the fence rejoicing that his plant had already grown. Like Adam, Datü Satan looked for weeds [to be uprooted], but there were none. 16 [Quite] a long time afterwards, Datu Satan went home. Then, the man [who saw him at the garden] went to see Adam. [Upon seeing him], Adam said, "Oh, it is you." "Yes, [it is I],' the man answered. "By the way, were you the one who planted that plant?" "Yes. It was planted in obedience to a divine saying and decree," Adam replied. 17 "Aha," continued the man, "so you were the one. Thereason I have come is tq tell you that—[Please] tell no one that [this in- foration] comes from me—Datu Satan went [to the garden] and rejoiced there, saying that the plant was his. He did not see me, but I saw him really happy [upon discovering that the plant] has already borne fruit. [Its fruits] have white tips. All [stalks] have them but each has such numerous [grains that] I am not sure if they are countable. I think thçre are at least a hundred grains on one stalk." 18 "Aha, so Datu Satan thinks he is somebody of great authority that he can take my plant, away from me [just like that] . . . the pig!" said Adam. "[I hope] he does not go back [to the garden]. [If he does and] I catch him [there], I will skin him alive with the sword!" "[Now] you know [his intention] . . . but please tell no one that I [am the source of your info'rmation]," requested the man. [Adam] answered, "I will not betray you." 18. Bang mayan kaw inakaigat literally means "so that you will know." Here, it is translated as "now you know his intention." Akn pa in di' inaisup aku in tagnnuunu, misan siya maisug da literally means "I am the owner so why should I not be brave, even as he is also brave." This line is translated here as "I am the owner .so I must be courageous enough to defend my right. If Satan has the nerve to try to steal something that belongs to me, I should have more nerve in defending it." 174 SULU STUDIES 3 Lawng niya: "Aku pa in di' maisug aku in tagunuunu, misan siya maisug da."

19 Lugay sin lugay siyud na unud. Ahl na in bunga niya, in pais niya sin bunga umagiyad lag puti'. Na nagsagga' na, karna' nakaingat na in Datu' Saytan. Sibu' sibu' na sila* nagingat ingati na. Pamung sin Datu' Saytan: "Bang awn kumawa' sin jambangan ku yan lu'nurun ku in hula'." Lawng sin Adam, "Maray' na yan awn kumawa' sin jambangan ku yan magusus isab, hisiyusiyu na • ka, hilantup." Magtuy na nakaingat, amu na in Jabrail. Pagingat kiyawn na.

20 Lawng sin ama':"Marayaw tuud, utu', nakakari kaw." "Mayta', lawng niya "ama', unu in kuwan mu?" "Biya" lawng niya, "sin piyatanum mu kaku' dayn ha parman, na miyunga, nabuhi'. Sagbut inday sagbut unu baha' yaun di' ku kaingatan in ngan yaun sa' nagbunga na. Kawun hi Datu' Saytan bat kunu' kaniya, siya in nagtanum. Ampa di' ku hipakawa' bat bang yaun kumawa' mawn ampa ku yan iyabutan sipakun ku sayan sin puddang."

21 Lawng -iya: "Ayaw kamu magsagga' sa' na paghatihan ta marayaw." Na lawng sin ama': "Nakaymu sayan anak in maagad."

22 Lawng niya: "Ay kamu magsagga', muwi' aku naa." Paguwi'. Biya' na sin bissara ku yadiu, biya' iia salawat, hima- - pit na isab ha bay day'day' amu na in nangarap na isab nagbing. Pagpangarap niya, amu na isab in kuwan: "Ya Tuhan ku, nagsagga' na isab in ipun iban ummat amu in Datu' Saytan. Biya' nasin piyatanum mu na nabuhi' iban mataud iban nagbunga. Na iyagaw hi Datu' Saytan bat kunu' siya in nagtanum. Than siya kunu' in tutup usba, siya in nagtanum."

20 Again, "kuwan" is used. Obviously, Jabrail is referring to his father's problem, hence the translation "what is your problem" for "unu in kuwan mu." ' 21 Na kaymu sajan in macgad literally means "well, youris to be followed." Here, it is translated as "well, have it your way." THE CREATION OF. PALAY 175

"I guess you will have a fight with Datu Satan," he said. "I am the owner [so I must be] courageous enough [to defend my right]. If Satan has the nerve to try [stealing my property], I [should have even more] nerve in defending it," [Adam] concluded. 10 After a long time [the grains developed fully.] The skin of its fruit was now light yellow, [Adam and Datu Satan] had already quarreled after Datu Satan found out [that Adam meant to contest his. claim]. Both already knew [what each had in mind]. Datu Satan declared, "If anyone claims ownership over my plant, I will [have] this whole place flooded." "Let somebody take my plant away from me . . . whoever he is, [his corpse] will float [on the water] ," countered Adam. Upon learning of his father's quarrel with Satan], Jabrail went to see [Adam]. 20 [His] father said, "My son, it is good that you have come." "Why, Father? What is your problem?" Jabrail asked. "It concerns what you told me to plant in accordance with the divine decree. It has grown and has already borne fruit. I do not know whether it is grass or not, but it has borne fruit. Datu Satan claims it is his, he argues that he planted it. [But I cannot give it up]. If he goes' [to the garden] and I catch him [there], I will cut him in two with the sword!" 21 [Please] do not fight with each other. Let us settle [the matter] amicably," Jabrail said. Then Adam said, "Well, have it your way." 22 "[Remember]," Jabrail said, "do not fight with each other [yet]. [Allow] me to go home now." Jabrail, [however], jjst like [what he did after his first visit with his father], stayed home only for a short while. Once again, he 'appealed [to God]. , "My God, Datu Satan, Your slave and follower, has again created trouble. What You ordered tobe planted has already grown and multiplied and has borne fruit. Datu Satan, [however], [claims it is his], arguing' that he was the one who planted it. He also says that [he has] the right [to claim it] since he planted it." , 22.' Nagsagga' na ?sab iA 'ipin ummat ainu in Datu' Saytan literally means "the slave and follower who is Datu Satan fought again." The

176 SULTJ STUDIES 3

23 Lawng niya: "Bunnal kaw!" 'Na hangkan aku miyari kamu, na ikaw dakuman." "Na mayta' isab in Datu' Saytan yan? Asal ba," lawn niya "in Saytan yan lingug. Ay mu pagsaggaa. Kadtua. Hukumun ta sila sila sa' papagtupura sila yatun, pa daha hi Adam, pa kumkuma ha tuu, ay mu tuud patanaki. Hi Datu' Saytan pa kumkuma ha lawa." 24 "Na ya Tuhan ku, bang baha' di' magad hi Datu' Saytan?" "Magad sa yan. Bang di' magad bugtuun ta in napas niya." Amu na in kabing. Pagbing piyakawa' in Datu' Saytan. Na matuud namayhu isab. 25 Lawng niya: "Piyakawa' ta kaw, biya' kamu magsagga' mag. taymanghud." Na lawrig niya: "Amu na sa. Kawaun hi ama' mu in lam- bangan ku.' Di' ku isab hipakawa' kan ama' mu bat kapatutan ku. Na in hi ama' mu isab di' hipa kawa' kaku' bat kapatutan niya." Na lawn niya: "Ay kamu magsagga' sa' dahun ta kamu karuwa." Na lawng niya: "Bang kabayaan mu, labi in kabayaan ku isab." "Na kumkum kaw," lawng niya, "isab, hipua in lawa mu yan. Ay mu tanaki. Raw amura. Kumkum kaW." Na nagkumkum na sila. Mahugut. In kahugut wayruun natanak. 27 Na hawpuun ta na nagbing na. Pagbing Na lawng niya: "Duun na kamu ha higad sin tahanan bulawan yan. Madtu pa aku." Na lawng niya: "Huu." Na miyadtu na. Pagkadtu nanaug in Parman "Yan na ka?"

translation used is"Satan, your slave and follower, has again created trouble." 23. Bun'iul kaw literally means "you are true (or right) ." "I see" is the translation used. 25. Amu na sa literally means "that is so." It is translated here as "we do have a quarrel." THE CREATION OF PALAY 177

23 "I see," God said. "This is why I have come to You. [We need] Your advice." "Why does Datu Satan act that way? [But] it is unusual Datu Satin is a troublemaker," God said, "Do not argue with him... Go to him. [And] tell' Adam to bring [some grains of the plant in his right hand. Tell Datu Satan [also] to bring [some] . . . in his left hand. [And] tell them not to drop [even a single grain]. [I] will judge them [when they come]." 24 "My God, suppose Datu Satan refuses to come with us?" "He will follow. If he will not, [I] will [see to it that] he stops breathing." [So Jabrail] went back [to his father's place]. [Contrary to his suggestion], Satan came to meet with him willingly [after receiving his message]. 25 "I have sent for you because it seems that you have a quarrel with [my father]. [There should be no misunderstanding between] you [two since you] are like brothers," Jabrail said. "[We do have a quarrel"], he said. "Your father claims ownership over my plant. I cannot allow it for I have [every] right [to it]. But he refuses [to recognize my claim, arguing that] he, [too], has a right [over it] ." 26 Jabrail then said, "Stop fighting with each other [now]. I will take you two" [before God]. "If you think it is the best thing to do, I [welcome it]," [Datu Satan] said. [So] Jabrail told him, "Now hold [some grains] in your left hand . . . Do not drop any of it." [To Adam, he said] "And so with you, [Father], but with your [right] hand." Both [readily did what Jabrail directed]. Thus held, no grain dropped. 27 To make the story short they went to see God. [Upon reaching the portals of heaven], Jabrail said [to his companions], "Stay here on the golden porch [for a while]. I am going ahead." "Okay," said he. 26. Bang kabayaan nu, labi in kabayan kz isab literahly ,means "if you think it is the best thing to do, I welcome it." The literal meaning of kumkun kaw (addressed to Adam by Jabrail) is "you clutch." "With your right hand" is the translation used, for it is obvious that Jabrail directs his father to clutch some grains. 27. Pagbing literally means "upon the return." It is translated as 178 SULTJ STUDIES 3 "Ya Tuhan ku, saga' yadtu ku pa piyahapit ha tahanan." "Na pakawaan na madtu." 28 Na piyakawa' na ha manga malaikat. Na nakawn na: "Na amu na ka yan?" "Ya Tuhan ku, amu na." Nanaug in Parman: "Mayta' Datu' Saytan nagsagga' kamu kunu' kay Adam? Unu in piyagsaggaan niyu?" 29 Lawng niya: "Ya Tuhan ku jambangan ku kawaun niya. Na di' ku hipakawa', aku in tagtutup, tagkausbahan." "Bang bihan," lawng niya, "kaymu?" Lawng niya: "Kaku', ya Tuhan kul" "Na duhung kaw. Raw!" 30 "Ya Tuhan ku kaku'. Sampay nagdaak ha ipun iban ummat nagpatanum Raw. Na tiyanum ku. Pagtanum ku nabuhi'. Inday bang sagbut unu. Sampay nagbunga, sarnpay nahinughinug na di' ta kaingatan ya Tuhan ku bang unu in ha lawn, bang sagbut unu." 31 "Marayaw na, bukiara kunu", lawng niya, "Datu' Saytan, bang unu in ha lawa mu yan." Biyuklad na bihayan. Pagbuklad bisan hambuuk pagl.iling wayruun unud, apa lunlun. "Ikaw isab," lawng niya, "bukiara kunu'.' Pagbuklad bisan hambuuk wayruun da apa.. Dagsuk sin unud. 32 Na nanaug na in Parman: "Datu' diyaug kaw. Bukun bunnal in kaymu. Amu tagbunnal in yadtu, ahl unud lunlun." Lawng sin Saytan: "Ya Tuhan ku, unu in jambangan yan? Way kulang in luun sin dunya." "Pay", lawng niya. 33 Lawng niya: "Pay? Na subay isab awn saw ku." Sabda sin Jabrail: "Biya' diin kaw subay awn saw?"

0 "upon reaching the portals of heaven," which is a more accurate interpretation. 28 Na. duhvng kaw. Ikaw literally "so you stop. You." The translation used is "all right, be silent now. Adam, what have you to say?" The second ikaw refers to Adam. THE CREATION OF PALAY 179

[Jabrail] then [entered heaven]. When he arrived, God asked asked him, "Are they coming?" "Yes, my God, but I told them to wait at the porch." "Send somebody to fetch them." 28 The angels were therefore sent to fetch [Adam and Datu Satan]. Wheh they arrived, [God asked Jabrail], "Are they the ones?" "Yes, my God, they, are the ones." God interrogated [Satan first]. "Datu Satan, why have you quarreled with Adam? What has made you quarrel?" 29 Satan replied, "My God, he intends to take my plant away from me. I cannot let him have it [because] it is mine. I have every right to own it." "If such is the case, [then it is] yours?" "Mine, my God." "[All right], be silent now. [Adam, what have] you [to say] ?" 30 "My God, it is mine. [In fact], You were the one who ordered [me] Your slave and follower to plant it. [Now] it has grown. I do not know what kind of grass it is, [but] it has borne fruit. We still do not know what is inside it and what kind of grass it is [even] 'up to the time the fruits ripened." 31 "Very well then." God said, "Will you open your left hand [and show me] what is in it, Datu Satan?" [So Satan] opened [his left hand]. Upon examination, there was nothing on it but chaff. [Then] God addressed [Adam]. " You, too, open [your right hand] ." When it was opened, a multitude of husked grains [were on it]. [The grains had] no chaff. 32 God gave His judgment then, saying, "[Satan], you have lost. You have not spoken the truth. The truth [is shown by the pure substance] on [Adam's hand], there." Then Datu Satan asked, "What is that plant, my God? The world is already complete [without it] ." "Palay," God answered. 33 "Palay? then' I must have a share of it," said he. - J abrail asked [Satan], "How would you have your share?" 33 Way kulang in luau sin dunya literally means "the world's contents have no lack." Here, it is translated as "the world is already complete without it." 180 SULT.,T STUDIES 3

Lawng niya: "Bang mayan aku pasawhun da. Bang magman. yatakan na pa mu'min dunya. Bang hinangun jambangan, sin luun dunya, bang awn makapin subay sa pagduwahan aruwa, bang mabut na di' na kumaun in tagdapu bang di' naa kapagduwahan iban di' makadjari hibutang pa timbangan. Na amu yan in kaku'." Hatihun ta," lawng niya: "Aruwa kapin binhi', pay ba'gu na mayan subay awn tahalil misan tiyu'tiyu' dakuman." THE CREATION OF PALAY 181

[Satan] replied, "I hope to be given a share. The moment [it is seen] by the people of the earth, they would surely cultivate it. When that happens, the owner [of the crop] should not partake of it unless it has been first used for duwaa. Neither should it be placed on the weighing scale [without the offering]. Whatever is left must be used for duwaa. Then that would be my share." "Meaning," [Jabrail] said, "for any seedlings left or when [a new crop of palay is harvested], a small amount of it should be used in an offering [to God]."

Reference Rixhon, Gerard 1972 Mullung: a. Tausug storyteller. In Sulu Studies I, Gerard Rix- hon, ed., Job, Sulu, Coordinated Investigation of Sulu Cul- ture, Notre Dame of jolo College. Pp. 172-189. Katantan Bungang Kahuy Kakanun Than Sin Binatang Halal The Origin of Edible Fruits and Animals: A Story Narrated by Saluan Panay Translated by Tuwan Ikiali Jamal and Mohammad Daud Abdul Editor's Note This usu1an (origin story), which was narrated by Saluan Panay,, 65, of Ratag Lansa Lansa (Tapul, Sulu) was taped and transcribed by Tuwan Iklali Jamal in early 1972. 1. Bihaun mamissara mi sin kaawn sin Adam iban sin sulga' ha kapagsunnat sin Adam iban sin kaawn sin manga sattuwa halal iban sin kakahuykahuyan. Naawn in dum iban adlaw na bahag' nahinang in sulga' muna. Miyangsut in sahaya muna pa sulga' nahinang Apu' Adam. Limaggu' laggu' in Apu' Adam duun ha sulga'. Nakaingat siya sin dum iban sin adlaw. Siyud na siya napsu. In napsu niya diyatungan siya dayn ha Awlia Hu Taala, in manga lawm sin sulga' yadtu kiyalummian na karna' dayn ha hinang niya. Landu' na siya siyud lasig. 2. Nangarap in manga malaikat pa Awila Hu Taala: Malayng- kan in sulga' ngimi' na tuud in bahu'" In tugda' sin Awila Hu Taala: "Mayta?" Lawng niya: "In Adam nakaliyu na in hinang. Nakarihil na tamak karna' nakalandu' na lasig." Nanaug in Parman sin Awlia Hu Taala ha manga malaikat. "Subay sunnatun in Adam ha supaya mahinang in junub iban istinja' ha supaya maig in bahu' sin sulga' ." Imasubu in malaikat ha Awila Hu Taala bang biya'diin in hikasunnat ha Adam, maka- sud pa ka Islam. r Parman sin Awila Hu Taala: 'Daha in basi' mi hipagsunnat mu ha Adam." 3. Minuwi' in malaikat diya in basi'. Siyunnat in Adam. Di' in Adam masunnat sabab in di' ukun. Nagbing in malaikat. 2 Ngimi' na taud in bahu' literally means "smell very bad." It is translated as "has lost its fragrance and freshness." Majg in bahit' literally means "rid the stench from." The translation used is "be made fragrant again."

182 N_

The text presented here is numbered by paragraph (or, in some instances, by part) in order to key the explanatory notes found at the bottom of the appropriate pages. Words enclosed in square brackets have been supplied to minimize syntactic discontinuities brought about by translation. Except for these, the translation follows the Tausug text faithfully. 1. Now I am going to talk about the origin of Adam and heaven, about Adam's circumcision, and the origin of edible animals and fruits. Night and day were created and differentiated, but heaven was created first. Then radiance sparkled in heaven; from it came Adam. Having grown up in heaven, there Adam learned [the difference] between day and night. By the power of Allah, desire was born in Adam's heart [one day]. [Unable to control his desires], Adam polluted heaven by his [undesirable] deeds. He had become overly foppish. 2. The angels appeared before Allah and reported, 'Heaven smells very bad!' "Why?" Allah asked. "Adam has abused. He has disgraced heaven by [his] prig- ism. [Thus] a divine decree was issued to the angels: "Adam should be circumcised so that heaven will be cleansed and be made fragrant again. [When] asked by the angels how Adam should be circumcised so that he may become a believer of Islam, Allah directed, "Take this [piece of] iron to circumcise Adam." 3. So the angels went back [to heaven] with the [piece of] iron. They tried to circumcise Adam [with it], but it could no pierce Adam's skin because [he] was invulnerable. [Dejected], the angels went back [to Allah]. 183 184 SULU STUDIES 3

Hawpuun ta sadja, nakakasiyaman tagsiyam pa Awlla Hu Taala in Adam di' masunnat sin basi' kasiyaman tagsiyam sabab sin di' rnaglilla' iban di' maig sabab sin di' ukun. Nanaug in parman sin Awila Hu Taal.a ha manga malaikat. Binga in Adam. Daha in basi' manahut iban sin lapal mi daha amu in hisunnat mu ha Adam." 4 Pagbing sin malaikat pa Adam, pagdaggut pa awrat sin Adam malunuk pa in tubig iiyabihan. Nasunnait na in Adam. Naabut tu adlaw kiyaulian in siyunnatan sin Adam. Nangarap in manga malaikat pa Awila Hu Taala bang ha unu hibutang in piyagsunnatan sin Adam. Parman sin AwI1a Hu Taala: Hipabutang na ha lawang sin sulga' ha higad sin lawang duun hipatanum." 5. Kahandak sin Awlia Hu Taala tiniubu' in piyagsunnatan sin Adam sin adlaw Salasa'. Pagabut adlaw Arbaa limaggu' laggu' tiyu' tiyu'. Pagabut adlaw Hammis •magsusung in laggu'. Pagabut adlaw Jumaat naabut labi hangdupa in laggu' sin kahuy timubu'. Naabut hangka pitu magsusu in laggu'. Naabut hangka bulan sipat na malapat in lawang sin sulga', amu in lawang kuta' sin sulga'. 6. Nangarap in malaikat pa Awlia Hu Taa1a "Ya Saydi, Ya Mawlay, hambuuk in Awlia Hu Taala, nasusa aku. In piyatung. guam mu kaku' in sulga' karna' sin Adam nasunnat na. In siyunna. tan sin Adam timubu' matambul in lawang sin sulga." Parman sin Awlia Hu Taala: "Daha in basi' mi magbalik, manahut pa dayn sin kiyasunnat ha Adam." 7. Agi sin malaikat: "Di' sa mi hikagaga ha kahuy timubu'." Lawang sin Awila Hu Taala: 'Butangan sadja ampa mu utunga in basi' yan." Nagbing in malaikat pa sulga'. Pagdatung sin malaikat pa sulga' biyutangan na in kahuy ha lawang kuta' sin sulga' ampa diyabisan. Malunuk in itubig liyabihan sin lunuk sin kahuy. Na- utud in kahuy. Kiyakapinan in pagung. hangka sinsi' pa bulian in taastaas dakuman sin kahuy. EDIBLE FRUITS AND ANIMALS 185

To make the story short, the angels [consulted] Allah ninety- nine times [the same number of times they failed to circumcise Adam]. For Adam was adamant; moreover, he was invulnerable. [For the hundredth time], Allah ordered the angels [to circumcise Adam]: "Go back to Adam. Take [my] word and [use] this thin [piece of] iron to circumcise him." 4. [Once more] the angels tried. [But lo!] When [the piece of iron] touched Adam's organ, its skin [gave in] - it became softer than water. Only then was Adam circumcised. After three days, [as] Adam was convalescing, the angels asked Allah where the remnant of Adam's circumcision should be placed. [In this connection], a divine decree was issued thus: [The remnant of Adam's circumcision should be] planted beside heaven's door. 5. With Allah's blessing, the remnant of Adam's circumcision grew on a Tuesday [not long after it was planted]. [The next day] it grew a little higher. On Thursday it grew still higher. By Friday, the tree was already more than six feet high. A week passed [and] it was still getting higher. After a month, it blocked the door of heaven, the door of heaven's fortress. 6. An angel appeared before Allah and said, "My Lord, my Master, the one and only God, I am sorry. You ordered [me] to circumcise Adam; [I have done this]. [Lately, You assigned] me to guard heaven. The remnant of Adam's circumcision has grown [to be a tree so high and large that now it] blocks the door of heaven, [and I am unable to do anything about it] ." Allah [said to him], "Take back [with you this piece of] iron; it is sharper than the one used to circumcise Adam." 7. The angel [complained], "[I do not think] this can fell that tree." "Just [touch the tree with it] and pull it," directed Allah. The angel returned to heaven. [When he came to the tree], the angel touched it with the piece of iron, then pulled. The tree fell. Softer than water it was. A stump one inch high was all that was left of the tree. 186 SULU STUDIES 3

8. Sin limabay na in malaikat upat pa lawn sin sulga' sambung saya, na sila sabab naig na in tambulan amu in kahuy napila'. Pagka in malaikat didtu na ha lawm sin sulga' nakarungug sila nagbang iban nagkamat iban nagsambahayang. Na inuinu na in malaikat iban sin Adam bang unu na. Nangarap in malaikat nagbalik pa Awila Hu Taala: "Biya' sin sabab sin sulga', in Adam nakasud na karna' siya ,sunnat na. Nakarungug kami nagbang, nakarungug kami nagkamat, nakarungug kami nagsambahayang. Unu baha' Awila Hu Taala, di' namu' kakitaan?" 9. Parman sin Awila Hu Taala: "Ayaw kamu maginuinu. Amu na in kiyatukbalan ku iban napi' ku maglimaya. In ngan niya arnu na yatun in Nabi Muhammad. Naabut adlaw Salasa', ha ka- tubu' sin kahuy in piyagsunnatan sin Adam, matun aku nyumata' Minuwi' na in manga malaikat naabut adlaw Salasa'. Miyurul in Awila Hu Taala pa sulga' nyumata'. Pagdatung sin Awfla Hu Taala nanyatakan na in dagbus sin Nabi Muhammad miyak ha Awila Hu Taala. Kita' na sin Adam in Nabi Muhammad. Pagka duun na in manyatakan iban sin kakayaan ha kiyasuysuy iban ha bin sin kamaasan kiyabutang biya' kajari kiyasud, pa kissa. Nakabin hat kiyahatihan hangkan mi kiyapagsuysuy. 10. In manyatakan gimuwa, dayn ha utud piyagsunnatan sin Adam. Sin waktu subu gimuwa' in kabaw. Pagguwa' sin kabaw timudju pa buli' sinkayawan. Gimuwa' imurul in sapi'. Gimuwa' imurul in kambing. Gimuwa' imurul in manuk limupad pa biyubungan sin sulga'. Gimuwa' in kura' nagdagan ha halaman si'n sulga', nagtumbangbing. Gimuwa' in assang dayn ha utud sin kahuy imurul tudyu pa biyubungan sin sulga'. In manuk dapit pa lawang timapu', in assang dapit pa sugud sin biyubungan sin sulga.' 11. Namung in Adam pa Awila Hu Tiala mangayu' ni'mat iban ra'mat. In ni'mat iban ra'mat piyangayu' niya pasal isaisa niya, way punubun way istinjaun niya. Kawasa sin Awlia Hu Taala, napaanjari niya in Hawa. Tiyukbal ha Adam piyanyat' ha manga malaikat upat. Ubus tiyawag niya in gimuwa' dayn ha utud sin siyunnatan sin Adam, kawasa sin Awlla Hu Taala, sabab napikil niya awn na punubun, awn na istinpaun, in kakayaan sin dunya iban manusiya'. 8. Bang is a call to prayer; Kamctt (Qamat in Arabic) is the third verse to be recited before saying the prayer proper. 187 EDIBLE FRUITS AND ANIMALS

8. Four angels happily entered heaven now that the tree that had blocked [its entrance] was cut down. Once inside, they heard someone saying] the bang, the kamat, and the prayer. Adam and the angels wondered [what was happening for they could see nobody there]. The angels went ,to see Allah. "It is about heaven," [they said upon arrival], "Adam has been admitted since he is already circumcised. [But while we were there], we heard [someone saying the] bang, the kamat, and the prayer. Who it was, 0 Allah, we could not see." 9. "Do not wonder," [Allah said], "he is the one I have chosen and authorized to redeem [mankind]. His name is Prophet Mu- hammad. On Tuesday, when a tree grows out of the remnant of Adam's circumcision, I will go there to clarify [things] ." When Tuesday came, the angels went home [to heaven]. Allah followed them to heaven [for his planned] visit. On His arrival, Prophet Muhammad appeared in all his splendor to meet Him. Adam [then had the opportunity to] see Prophet Muhammad. Since Allah already reigned from heaven, everything [our] forefathers said and endured, like the things mentioned in the story happened. Understanding it is up [to us]; this is why it is being told. 10. [All edible animals] came from a piece [of skin] - the remnant of Adam's circumcision. The carabao came out at dawn [and] went to the foot of a bamboo tree. [Next] came the cow, followed by the goat. Then thechicken appeared [and] flew to the ridge of heaven's roof. The horse appeared next; it ran around the garden of heaven. The pigeon came out of the stump and followed [the chicken] to the ridge of heaven's roof. The chicken perched [on the part of the ridge] nearest the door, [and] the pigeon [sat at the] uppermost part of it. 11. [One day] Adam asked Allah's favor and mercy. He asked because he was alone, having no one to care for [and frolic with]. By His power, Allah [therefore] created Eve. She was turned over to Adam with an explanation by four angels. Then [Allah] called all that came out of the remnant of Adam's circumcision by His power, because He reasoned that mankind and the world now had somebody to care for. 12. Adam and Eve were [then] placed in [a state of] purification. 188 SULU STUDIES 3

12. Biyutang na in Adam iban Hawa ha junub iban istinja. In binatang halal amu na in hisuku' ha supaya in sunnat magjukup. lyasubu na in kabaw bang unu in kapangkakuhan (inday bunnal ka in ijaja' sin kamaasan mi. Bang bunnal, na bunnal da isab in bissara ku. Bang bukun na way da isab.) Mangaku siya jamuhun sa' in panghu' tuud maglilla' siya subay bang sarang na in umul niya hangkan naawn in hakika. Kapaghakikahan in kabaw. Yadtu in diyul niya ha kabayaan sin Awila Hu Tãala. 13. lyasubu in sapi'. Damikkiyan maba' da isab siya jamuhun sampay pa bukug. Sa' in labilabi marayaw bang sarang in umu] niya maba' tuud siya sin kapaghakikahan da isab siya. Hangkan in, hati niya in sapi' kapaghakikahan. 14. lyasubu in kambing simud pa lawn sin sulga'; "Mayta' kaw sinud pa lawm sin sulga'? Unu in kabayaan mu iban unu in kapangakuhan mu?" Namung is kambing: "Bang siya sumbay'un, di' hilabay ha duwaa siya di' mabaya'. Sa' in paglillaan niya iban pangakuhan niya tuud: isa, duwaa pa taas; duwa, kurban." 15. lyasubu in manuk bang unu in kabayaan niya. In kabayaan niya iban kapangakuhan niya mabaya' da isab siya jamuhun iban pagduwaahan pa taas. Piyapanjari sin Awlia Hu Tàala dima sin junub iban istinja'. Bang siya hilabay ha istinja' iban dayn ha junub makabatuk siya pa lawm alam nila sa bunnal, sa' malayng kan tuud in pangakuhan: kaisa, duwaa pa taas; karuwa, kaja. Namung in kambing: "Kami, amu da pangakuhan namu' kaisa, kurban; karuwa, kaja; katu, duwaa pa taas."

12. "Junith" and "Istinja!' here retain their true meaning. 13. The main purpose of the hakika ceremony is to ask the person and the things involved to bear witness that the child for whose sake it is held is truly the son (or daughter) of his father. It is believed that the goat or cow slaughtered, the candle lighted during the ceremony, and the white headband used by the fakir, shall all bear witness of the fact on the day of judgment. Hakika, therefore, is performed for the purpose of identifying the child. It can be performed on any day of the year when the parents can afford it. Although it is not obligatory, all Sulu Muslims are expected to observe it for each of their children. Hakika, however, is not limited to children; it may be performed for an adult who has not undergone it in childhood. EDIBLE FRUITS AND ANIMALS 189 the animals [were asked about their share] regarding the completion of [Eve's] circumcision The carabao was first to be asked... I am not sure whether what [our] predecessors said is true or not. If [what they had told us is] true, then what I am about to say is also true; if not, [then I] cannot do anything about it. [The carabao offered its meat for feasting on condition that it should be slaughtered] only when it reaches the right age. This [marked] the beginning of hakika. Carabao [meat] can be used for hakika. This was what [the carabao] offered with the consent of Allah. 13. The cow was asked [next]. It also [offered its meat for feasting], and its bones [if needed]. But it preferred [to be slaughtered] at the right age; it also wanted very much to be used for hakika. [For this reason] the cow's meat can be used for this ceremony. 14. As it entered heaven, the goat was asked thus, why have you -entered. heaven? What do you want, and what have you to give?" The goat replied, "[I do not want] to be slaughtered without prayer. [I shall] gladly give myself up [if my meat will be used for the observance of] first, duwaà pal taas; second, kurban." 15. [Then] the chicken was asked what it wanted. It, too, [offered its meat] and expressed its desire [to be used for the observance] of pagduwaa pa taas. [The chicken was thus allowed] by Allah to be purified. [One] cleansed and purified, it would 14. Duwaa pa taas is a supplication, to Allah to safeguard the health of the family. It lasts for 36 hours - from 6:00 a.m. of one day to 6:00 p.m, of the following day (see Sulu Studies 1:254). Kurban is similar to hakika in the sense that both usually concern children and are not obligatory. Furthermore, the animals slaughtered for the hakika can also be used for the kurban. Kurban, however, can be observed only on any of the first three days of the month of Julhaci5i (month of pilgrimage to Mecca). Thus, kurban cannot be observed on any of the other 27 days of Julhadji, or on any day of other month. The kurban is performed mainly to prove to Allah that the person concerned is faithful to His laws. The example given in the Holy Koran is that of Ibrahim (Abraham), who was willing to sacrifice his son in obedience to God's command. Kurban is also performed so that • the person concerned may be given swift transport to heaven after death. 15. Although kaja is similar to duwaa pa taas, it lasts only 12 hours - 6:00 a.m. to 6:00 p.m. of the same day (see Sulu Studies 1:253.) 190 SULU STUDIES 3

16. lyasubu in assang bang unu in kapangakuhan iban bang unu in kabayaan. Lawng niya: 'Mabaya' tuud kamu halal sa' in , halal kamu' subay paghakikahan. Bang kami halalun ha bukun pagha- kikahän maguy kami pa Tuhan." 17. Malayngkan, hawpuun ta na sadja, iyasubu in kura' bang unu in kabayaan, di' maglilla' hibutang halal subay siva mamural. Siyumu in Awlia Hu Taala ha mangayu' hibutang da mayan siya ha binatang halal di' mabaya'. Amu na in kahug sin Parman sin Awila Hu Taala: "Bany awn kumawa' nyawa iban humalal ha kura' pag- mulkaan. Sabab minsan in siya makahalal iban di' da maglilla'." Hangkan manga tüwan in mamumU' kura' iban maminasa kura' makaguwa' sara'. Makabusung sabab in sukna' sin Awlia Hu T'aala. Subay tumtümum tuud, maganak apu', ayaw mamunu' kura' sabab in kabugaan ta in pamung sin Awlia Hu Taala in makabusung. 18. Na malayngkan, bihaun, hambuuk waktu, pag adlaw Arbaa, timubu' in punjung sin kahuy .amu in pila' sin manga malaikat sin bas' ganap kikahanggatus. Ampa napila' nahinang kahuy nagba- uk. Timubu'. Paglaggu' sin kahuy timubu' nagarap in manga ma. laikat pa Awlia Hu Taala: "Timubu' na in kahuy." Parman sin Awlia Hu Taala: "In tiyubuan yatun amu na in iyalup sin narka'. In tau maghihinang bardusa, in tau maghihinang yatun amu na in biyutangan sin saytan, magjijilaka' ha manga tau j ahulaka'. 19. Gimanap in kahuy hangka bulan miyunga. In bunga niya ha lawm sin tu bulan iban siyam adlaw, kasiyaman, isab tagsiyam kasuiag in bunga niya. Tiyagnaan nahulug in bunga, piyardu' sin Awila Hu Taala, adlaw Jumaat. Hangkan naawn in manyatakap sin bunga kahuy hinang limbangan sin Awila Hu Taala. Na rayn didtu bang bunnal in bissara mi magsukul. Bang bukun bunnal way da isab. Nahulug sin adlaw Jumaat. In puunan niya tuud dagbus sin kahuy mampallam in ngan niya. Hangkan in mampallani yan, bang patayun subay mu da pitlaan, subay kita 17. Mwnutral, which comes from the root mural, is a modifier used to refer to an animal that dies of sickness or accident. Sulu Muslims consider as unfit for eating the meat of an animal that dies in this manner. An animal's meat may be eaten only if the animal is slaughtered in the way prescribed by Islamic la'c. EDIBLE FRUITS AND ANIMALS 191 know the true way to the- world. [Nevertheless, it pledged its willingness to be used on two occasions]: first, duwaa pa taas: second, kaja. "[Our kind] can only [provide for the following]: first, kurban; second, kaja; third, duwaa pa taas," interjected the goat. 16. The pigeon was asked [next]. [Addressing first its fellows then Allah], it said, "You really want to be eaten on condition that you be used for the observance of hakika. [Our kind does not want to be-eaten except for hakika. If we shall be slaughtered not for hakika, we will [fly back] to God." 17.- To make the story short, the horse, [when] asked, did not want to be among the animals that can be slaughtered. [If it should die], it preferred [to die] of old age or sickness. Allah [tried to convince it to join the class], but it refused. 'Thus; Allah decreed, "He who slaughters [for] eats a horse's [meat] will be cursed, for he [himself does not have the power to make animals] edible, and [proves to be disobedient to my laws]. This, is why, sirs, to kill [or] punish a horse violates [divine] law. It is punishable owing to Allah's imprecation. [Therefore], all generations must bear in mind not to kill a horse. They should fear Allah's curse. 18. One day, however - it was a Wednesday - the stump of the tree the angels cut down by [a piece of] iron grew. [It was exactly one hundred [days after the tree was felled]. It was cut down [again], [but] once again, it grew. When the tree grew higher, the angels appeared before Allah. "The tree has 'grown [again]," [they said to Him]. [In this regard], Allah [issued] a decree:"Hell faces the place [where the tree] has grown. [It] belongs [to] the sinner, the liar, the gossiper. That tree is the [home] of the devil, the accursed troublemaker." 19. After a month the tree bore fruit. Within three months and

19. Hinang limba.ngan sin Awlia Ha Taala literally means "made by Allah to match." Here, it is translated as. "fall at a certain time," since fruits do not have the same qualities. Similarly, however, fruits ripen and fall at a certain period. Pitla' (Pitra' in Arabic) means "alms." 192 SULU STUDIES 3 magjakat ha kahuy yan sabab amu na in piyaawn sin adlaw Jumaat, jambangan sin manga malaikat. Katantan sin kakahuyan hati niya masussi pa baran iban mahinang makan makanan. Ayaw kita niyu mainu-inu dayn didtu ha pasal sin Adam piyaawn sin Awlia Hu Taala mahulug in hambuuk ngarian sin Awila Hu Taala. 20. Di' na aku magtadyaki sin biya' diin biya' din, sa' in taud kasiyaman tagsiyam nahulug ngiyanan hambuukhambUUk sin Awlia Hu Taala. Malayngkan nahinang napaka ha ummat niya di ha adlaw dunya. Na bihaun bat niyu tuud isab kahatihan sin kamu katantan, na bihadtu isab in ijaja' sin manga kamaasan hangkan naawn in kaja dayn ha Adam hangkan naawn in sambahayang, in puasa, in j.akat, in pitla' dayn ha Nabi Muhammad karna parman sin Awlia Hu Taala amu in katibuukan si ginhawa natu' katantan hangkan magsukul tuud aku kaniyu katan. 21. Suran niyu aku pa ampun iban maap. Wajib in manga katan pitla' karna' amu na yan in timubu' sin ginhawa baran ha simila' sin junub iban istinja' ha supaya di' makahinang sin kasaan iban langgal sara' pa Tuhan. 22. Hal sin aturan sin babuy. Gimuwa' dayn ha tuud nakahuli dayn ha siyunnatan sin Adam. Malayngkan napariksa' sin Awlia Hu Taala bang unu in kabayaan, di' m.akatugada' ha Awlla Hu Taala bambuuk napas niya dakula' iban maghaguk sadja. In malayngkan mabut simambahayang in Awlia Hu Taala wala, kaingati in tugda' Awlia Hu Taala amu in kapaguy sin babuy. Kita' in kagang kalimangu ha higad sin daplakan sin suba' amu in kalaksu sin babuy pa taykud sin kagang kalimangu, amu na in kapaguy pa hansipak sin suba', kapaguy pa basi' amu in miyaguy dayn ha Tuban. 23. Naawn in Parman sin Awlia Hu Taal•a: "In humalal ha babuy, katan ummat niy, piyapanjari niya namawgbug sin ka Islam, haram pa in babuy, liyabihan. Hati niya in ngan babuy lagi'lagi' pa kagang kalimangu na da sin kaharaman sin babuy." 21- Di' makahinang sin kasaan Than langgal sara' pa Tuhctn literally means "not to do what is wrong and violative of the law of God." The translation used is "avoid committing sin and thus abide by the laws of God." 23. in humalal ha babwy, katan ummat niya literally means "all His followers who slaughter a pig." The line is translated as "none of people." EDIBLE FRUITS AND ANIMALS 193 nine days it [had borne] ninety-nine fruits. They began to fall on a Friday as willed by Allah. This is why all fruits fall [at a certain time]. From then on I am grateful if what had been told [us] is true; if not, [I cannot do anything about it] [the fruits always] fell on a Friday. The tree looked very much like a mango tree. [Whoever] cuts down a mango tree, [therefore], should give pitla' because this tree was created on a Friday, [and it belonged] to the angels. All trees [that came from it] are clean, and their fruits are edible. We should not wonder [why it is so] because for Adam's sake, [Allah] gave a definite name to every [fruit] that fell [from that tree]. 20. I will not anymore enumerate them one by one. [Suffice it to say] that all ninety-nine [fruits] that fell were each given a name by Allah. He turned them all over to the people of the earth [afterwards]. Now, so that all of you will really understand, [I wish to say that] this is what [our] forbears told [us]. Kaja was introduced by Adam; praying, fasting, giving of alms, [and the value of the] pitla' were introduced by Prophet Muharmad for the wholeness of our spirits in accordance with Allah's decree. I thank you all [for your attention]. 21. I beg your pdon and forgiveness . . . [I have something more to say]. All these must be taught and learned. When a child reaches the right age, he should be taught how to pray. He should also know the [value and] manner of fasting, the manner of praying, of giving alms, [and] the [value of] pitla', for these are the bases of purification. [All these must be taught] so that the child can avoid committing sin and [thus abide by] the laws of God. 22. With regard to the pig, it came out last from the remnant of Adam's circumcision. Allah asked what it wanted, but it could not answer Him properly. [All it did] was breathe loudly and snort. Up to when Allah• said [His] prayer, [the pig's] wish was not known. [Then it] fled while Allah was praying. [On its way], it saw a mud crab by a riverbank. [The pig] jumped on its back [and was ferried] to the other side of the river [where it joined] the iron, which was also running away from God. 23. [In this regard], Allah decreed [that none of the] people 194 SULU STUDIES 3

Manga tuwan suran iyu aku pa ampun iban maap ayaw daku. man natu' biya' pagba'lihan atay. Ha tungud sin babuy iban kagang kalimangu, in kita niyu katan simaggaw sambahayang, bang agarun in kissa sin manga kamaasan, nan di' mi mapatut biya' hinangun makanmakanan karna amu na mi in hiyaram sin Awila Hu Taala. Na mahuli dayn duun wassalam. Suran niyu aku pa ampun iban maap ha manga bissara ku yan. EDIBLE FRUITS AND ANIMALS 195

He created to uphold .Islam may eat [pork; any violator will be regarded as] more undesirable than the pig [itself]. [Hence], pork and the mud crab's [meat] were forbidden [as food]. [The mud crab earned the wrath of Allah when it ferried the pig across the river]. Farewell. Forgive me for the things I have said. •t. , Munabi: A Story Narrated by Mullung

Translated by Efren Alawi and Gerard Rixhon

Editor's Note "Munabi," the title of this kataicata, or folktale, is taken from the name of one of the characters of the story. On first reading, Munabi seems to play only a minor role as the jealous husband of Fatima' Assa. However, in an interview, the storyteller Mullung notes that his main purpose in narrating the Munabi tale is "to teach the slaves and the community of believers ['ipun Than umnzat] that man ought not to be jealous... when there is no proof, no reason for it. It is bad, especially when man persists tin it]." Munabi's punishment is the loss of his wife. Thus, the title. Saupi, the principal character and winner of the resurrected Fati- ma', becomes the example for the other lesson of the story, according to Mullung: "When one makes a promise..., he should keep it [as] Saupi did when he accompanied Fatima' Assa to heaven." Regarding the morality of Saupi's abduction of Fatima' and his being rewarded by God rather than punished for it, Mullung says: "It is wrong... [but] he was not punished by God because it was not yet time. He was still alive when he went to heaven. He will be punished when he dies. He won her alive because of the agreement made between Munabi and Saupi... in the presence of people... witnessed by God and the Prophet." In the story, Saupi does not tell God the 'whole truth and yet He seems to accept the mortal's statements without question. Mullung's explanation: "God knows everything. He knows that Fatima' Assa's death was caused by the snake and not by Munabi's kick." For Mul- lung, her death is an accident for which Saupi is not responsible. Furthermore, Saupi does not give God what may well be incriminating details because his main concern was merely to report the circumstances surrounding the agreement between Munabi and himself. As far as we know, the Munabi tale does not belong to popular Tausug lore, although there are not a few similar ones around. Mul- lung does not remember where he obtained the material for the story; it is likely a product of his rich imagination (note the lively and anthropomorphic dialog among the angels and between God and His visitors). Yet the tale reflects aspects of Tausug culture, among them, burial rituals, palaver or long discussion, and certain social values. The idea of the living accompanying the dead in the hereafter is possibly a recollection of ancient burial customs in the area - a subject well worth investigating. 197 198 SULU STUDIES 3

"Munabi" was narrated by Mullung, an old and blind Tausug storyteller of Anak Jati', Indanan, Sulu. He was introduced to the readers of Sulu Studies earlier, (Rixhon 1972: 172-189). The story was recorded by Efren Aiawi, Maduh Damsani, and Ernesto Garilao of the Coordinated Investigation of Sulu Culture (CISC), Notre Dame of Jolo , College Sulu. The research was conducted under the CISC's Sulu Folk Literature Projects partly supported by grant number 2683 of the Wenner-Gren Foundation for Anthropology Research. The transcription and a preliminary translation were undertaken by Alawi, a former research assistant at CISC. The final translation was made by Gerard Rixhon, O.M.I., director of CISC, with the assistance of Mohammad Daud Abdul, Irene Hassan, Tuwan Ikiali Jamal, and in an earlier version, Don Beaudreault. Copies of the Tausug text of the narrative are available in typescript and on magnetic tape at the CISC library. The text presented below is numbered by paragraph (or, in some instances, by part) in order to key the explanatory notes found at the bottom of appropriate pages. Within the text proper, the translators have supplied the necessary words (in square brackets) to minimize syntactic discontinuities brought about by translation. Except for these, the translation follows the Tausug text faithfully. A list of references is found at the end of the text.

I It came to be that Munabi and Fatima' Assa got married. Fatima' Assa was a good woman, but she was childless, and soon her husband's personality changed. For no reason Munabi became very jealous. He had become jealous without cause and that changed him. Whenever Munabi went to work in his fields, he made her lock the door of the house with a coconut grinder and forbade her to open the door to anyone. The wife obeyed her husband's orders. 2 Sometime later, as it was the beginning of the year, Munabi went to his farm. It was on the second day that Saupi, [a friend of Munabi] who was in the forest, heard the news [of the husband's jealousy and the wife's predicament]. He said: "Munabi is really spoiled; his personality has changedi" 3 Saupi went into deep thought. He really felt very sorry for the woman because of the way her husband had been treating her. Disgusted by what he learned of Munabi's behavior, he went to the house of Fatima' Assa, Munabi's wife. He knocked on the door. 4 Fatima' Assa asked: "Who is it?" Saupi said: "It is I. Open the door for me." MUNABI 199

5 "I cannot open the door for you because my husband has gone to the fields and has ordered me to keep it closed and securely locked with a coconut grinder while he is away. No matter who comes, I am not allowed to let anyone in. That is why I cannot open [the door] for you." 6 "You had better open [it]! " Saupi said: "I have put a charm on it." "No! I will not open it. My husband ordered me not to. I may be afraid of you, still I am more afraid of my husband." 7 Saupi was very mad and threatened to break the door down if she would not let him in and at last, Fatima', taking a chance, decided to open the door. Saupi said: "When I get in, close the door: anyone passing by will see that the door is really closed and that nobody is inside." 8 Then the door was opened and Saupi went in. The door was closed. Had anyone passed by, he would have noticed that the door was well secured, as usual. Fatima' Assa sat at the head of the bed. She got the betel-nut box, took a nut out, and started to chew it. She then passed the box to Saupi [for the same]. As they both were chewing, Fatima' advised him: "When you spit, there is the window [and use it]. Were you to spit in here, your red sputum would stick to the floor and my husband might discover it. If he realized that somebody had been here, bad as he is now, he would become angry." 9 So Saupi spat out the window. After they were through, Fatima' Assa said: "I undestand that you came here for some purpose, SaupL What is it?" Saupi answered: "Ah, you should not have asked. Even if you had not asked, I have a purpose. Truly I am here for nobody else but you alone. I love you. I came here to take you away in spite of [your] a husband. I will take care of you until [we reach] the day of judgment and and [see] the face of God." 10 She said: "Saupi, do remember God! You are just ignorant and mistaken!" Saupi answered: "Why am I ignorant and mistaken?"

8 The sputum is red from the active ingredients found in the chewed betel nut. 200 STJLU STUDIES 3

11 "Because [you do not realize that] I have a husband." "Ah, I am neither that ignorant nor mistaken! I know very well that you have a husband. In fact, it is because of this husband of yours that I am here. Why is your husband acting this way? He has no reason, no evidence, no basis whatsoever to be, jealous. That is why I am here, to take you away from him." 12 "Do not get me wrong Saupi, I will not go with you. Though I am afraid of you, I am even more afraid of my husband." 18 "Ah, you will go with me!" insisted Saupi. "No, I will not follow you!" 14 "If it is the difficulty of closing the door [after we have gone]. that stops you from following me, [do not worry] we will close it as your husband did, so that he will think that you got out without opening it." 15 But still, Fatima' Assa was afraid; Saupi insisted again but to no avail. Then, suddenly, Saupi grabbed his kris and shouted. "Well, if you do not go with me this day, I will cut you [into two] with my kris. One half of you will stay here and the other half will go with me." 16 So she decided she had better do as he wished. They left together, locking the door from the inside with the coconut grinder. (That way, anybody who passed by the house would think that Fatima' Assa was still locked in.) 17 The couple headed toward Saupi's house. It was quite far. I think it was three kilometers away. The house was quite near the land owned by Munabi. Although the tract of land was not very large, they had to pass through it to reach Saupi's house. Along the path they were following, there was a big 'banyan tree. It had a huge trunk. There was another way but farther about, and it would have taken them much longer [to reach Saupi's house]. [Besides,] it was Saupi's habit to pass through Munabi's

10 The term paniyabut kaw ("do remember God"), is a warning to a person about to do evil and a request to bless or mention the name a God as a protection against the devil. 17 Us'uk batu, literally, "stone pole," or "three kilometric posts away." The nurnilc, or banyan tree, is believed in the rural areas to be the dwelling-place of spirits, saiytan. MUNABI 201 land. They were now entering the premises. Saupiwas'leading the way, with the woman following. 18 They were now nearing the banyan tree. They walked until Saupi felt that he had already passed the tree. When he was at a distance from the tree and was about to leave Munabi's land, he looked back to see if the woman was following. He had told her [earlier] to go ahead of him, but she declined the offer. Suddenly, he heard a swoosh from the banyan tree, as it if had been hit by a strong wind. Then the tree swayed. (But the worst was to come.) The woman was no longer following him. [Alas,] she was not there anymore. Saupi felt sad. 19 Saupi began looking for Fatima'. He thought first that she was hiding. So he looked for her in the land, around the base of the tree, in the tall cogon grass, [but] he could not find her. He looked up and down. He searched until he was all covered with sweat. Tuwan was very sad. He finally decided to go back to her house, thinking that she might have escaped. Sadly he returned to her home. The front door was locked just as they had left it. He searched for the girl there, but he could not find her. So he went back to the banyan tree. As he was wet and filthy with sweat, he removed his clothes and squeezed them dry. Then he rested. He was now sitting under the tree, when he heard something big moving. He sensed that the sound came from up the tree. So he looked up. As he looked up, there it was: the head of a big snake coming down at him. It was an amamatun snake, as big as a coconut tree. 20 Saupi jumped. As he did so, the head of the snake retreated; it retreated to lie on a big branch. It was then that Saupi noticed that the snake's stomach was very big. He thought for a while, then decided to climb the banyan tree. He climbed, inching slowly toward a branch pointing south and out of which a new branch was sprouting. The snake. was now coiled all around the tree, the tail near one end of the tree and the head at the other end. Truly it was a big amamatun snake. Now its head was resting on the newly sprouted branch. Reaching 19 Tuwan, "sir" or "lord," is a title given to members of the salip (Arabic: shari!!) family. The amainatun snake has not been identified. It is probably a large python. 202 SULU STUDIES 3

for the new branch, Saupi stopped to take hold of a small grow- ing branch with his left hand. Then he sat. He sat in the manner of one who rides a cow. At that moment, the snake's head jerked and its body hit Saupi. It came as near as a fathom from him; Saupi intended to hack it [with his blade] to avoid [its bite; otherwise] he would have no more chance to escape. He drew his kris and immediately hacked at the snake. One blow was enough to make the snake dangle like a stick of cut sugarcane. It went down roaring. 21 Half the snake was still up the tree. His kris was red with blood. He put it back in the scabbard. He examined the snake's head, turned it around to make sure that it was dead. There was no more second chance. But one thing puzzled Saupi. He wondered why the snake's stomach bulged so. Thinking it unusual, Saupi turned the snake's body with its belly facing him. He took hold of the body and cut it from navel to gill. He opened it, and there was Fatima' Assa inside, crumpled and crushed. She was dead! 22 He took her out and cleaned her. Now he had a problem. [At first,] he did not know how to go about it, [but] he thought of something. He dressed Fatima' Assa with the pis and cloth and then carried her to her house. With just one kick, he sent the door tumbling down. He sat her upright, putting two pillows in front of her face, two pillows on one side and two on the other— that's four— two in front— six— at the head, two pillows. He dressed her with a sarong. After that he combed her hair back. She sat upright as if she were alive. He got her a mirror and placed it in front of her, then her make-up box and a saucer where he mixed oil with hair oil. He also put a lice-comb, a coconut husk and all the things a woman uses to make herself beautiful. There were all kinds of face powder and perfumes. And now sitting upright as she was, she looked like a kite ready to fly steady. Saupi then closed the door, locked and barred it, and went down the stairs, set to go home.

22 Pie, from fez, is a square cloth woven in the interior of J010. 23 The eambibilan tree, is an urticaceous plant, Leuco8yke capitte1atLi Wedd. MTJNABI 203

23 But he did not go home; he hid under the Sambibilan tree and waited there for the handsome Munabi who would shortly return from his fields. At about one o'clock, when the sun had climbed to the middle of the sky, Munabi came. Mu- nabi's carabao was first while he walked behind carrying a plow on his shoulder. Then handsome Saupi saw him, the handsome Munabi coming home with his plow on his shoulder. Reaching home, Munabi tied his carabao to the Kayam tree. He then proceeded to the porch, the plow still on his shoulder. Stepping before the door, he called his wife. He then put down the plow and said, "Darling! Please open the door for me. I am tired and exhausted." 24 There was no answer. How could she answer since she was dead? He called again. No reply. Munabi tried again, "Oh, my diamond, my precious gem, my love! Please open the door to your tired husband." 25 No one answered. He made a last attempt [with the same result]. How can a dead person answer [anyway]? By this time, Munabi was furious. With all his might he kicked the door. It crashed down on the floor. Contrary to his habit on returning [to his home], he no longer sat down but went directly to his wife's bed. There she was, sitting with all her things around her, as if she were making fun of him. [This enraged Munabi all the more] so without saying anything, he kicked her. She collapsed beside the mattress, unable to stand up. Munabi exclaimed: "How can you be this way! I called out to you to open the door for me, and you did not answer. It is but right that you taste of my anger now." 26 Still there was no answer. Munabi removed the bolo from his waist, put it aside, then picked his wife up and helped her. He pressed her to revive her, blew in her ears, and sucked at her nose. "Oh, my diamond, my precious gem, my love! Why are you unconscious?" 27 Still she did not move. How could she? She was already dead. Again he did all the things to make her regain consciousness. It was useless. Finally, Munabi called his younger brother and told him to tell of it to all their relatives, on his father's and mother's side, his in-laws, his mother and father. 204 SULU STUDIES 3

28 His brother went [about his sad errand]. They all came running, old and young. Even the leaders assembled there to investigate Munabi's misfortune. Since many more people came inside and [milled about] outside the house, Saupi came out of his [hiding] place and walked toward the house. Arriving, Saupi acted as if he knew nothing of what had happened. "Why are there many people here? People milling about inside and outside? I better investigate why there are many people around." 29 So Saupi went upstairs. The people at the door gave way to him. "Let the man pass." He went right in and sat on a bench facing the dais. With all the people, women and leaders, he saw two leaders seated and approached them. "I am somewhat confused as to why there are so many people around. I saw the crowd and decided to investigate. I was walking east. What are you gathered here for?" 30 The Panglima said, "We cannot tell you yet, instead let your brother tell you." 31 "Who is that?" "Ah, there, the one holding his wife." 32 "Is she weak?" "No, it is not that, young man. She is not weak anymore." 33 "You are right, respected Panglima. How about you, friend Munabi, what do you think hurts your wife?" 34 Munabi said: "I do not know. This is what happened. The sun was already very high, it was about one o'clock [in the afternoon]. I left my fields for home. When I arrived from the fields, I saw that the door was closed. I was carrying the plow, and my carabao was ahead of me. When I set down the plow on the porch, I called for my wife to open the door. The door remained closed. As there was no answer and the door was not opened, my heart got mad. I took hold of the door and I kicked it. The door went down crashing." 35 Saupi said: "Is that so?"

29 Palangka is the raised platform in the house for sleeping (San- skrit: parayank). 30 Panglima is a nonhereditary title given by the sultan to one of the leaders under him. MUNABI 205

36 Then Munabi continued: "After that, I went in. Going in, I saw she was making herself beautiful with the make-up kit. I went to her and, when I got near, I kicked her. I gave her. one blow only; she rolled on the mattress. She never regained consciousness. I removed my bob, picked her up, helped her up,. I massaged her, tried some charms on her, and shook her. But she did not come back to life." 37 Saupi said: "Now that you are all here, including the respected panglima, [what do you say of] this case? He kicked her once only, her parents understand that it immediately killed her." 38 The leader replied: "We cannot answer your question because our answer might not be the correct one.". 39 "That is right, respected Panglima, we are confused. Friend Munabi is straight. Your wife does not breathe [anymore]; it means that she is dead." "Yes, that is how it looks." 40 Saupi said: "Since it is that way, what will you do now? Munabi answered: "The right thing should be done. If she is really dead [she should be buried] like a plant that must be planted." 41 Saupi said: "Ah, is that so? What you say is fine. My friend, there are many people in the house; I would like to cite an example. I put myself as the example, as though I were in your situation. If I were the cause of my wife's death because I kicked her, I too would have done everything to bring her back to life. Had I gotten no answer [from her], still I would try everything in my power not only here but even in heaven and until the day of judgment; I would help her by going with her, because I caused her death. She had died because of my misdeed. A person wronged must always be repaid. A husband, he should be willing to help to the end. He should go with her. Yet, aive, how can he accompany the dead? But if I were the husband, even if going were impossible, I would go to help her." 40 Hibarat tanum svbay na hitanum, literally, "compared to a plant that should be planted," could be rendered in English simply but prosaically, "a dead should be buried." 206 SULU STUDIES 3

42 Then Munabi answered him: "Fine, my friend. You have spoken well. Though she is not your wife, you pity her. And [since you are willing to go] to heaven with her till the day of judgment, I am giving her to you." 43 Saupi replied: "Do remember God, friend Munabi. Do not say that. Do not talk this way to me, for many people in this house witness this. It was as an example that I put myself in your place. But now you say that, if I pity her and I am willing to help her in heaven and on the last day of judgment, you will give her to me, I think that this is a good idea, although what I had said earlier was only by way of example. Now make it clear. If you show that you are sincere, then I take her, I will go with her. The people here inside [the house] and outside will testify to it as they have heard it." 44 Munabi said: "If you really pity her, I will give her to you. The prophets- will testify to what I say, and also God." 45 "If this is your word, then I humbly accept it." Munabi added: "Very well, because of your pity and truthfulness to your own word, I will take care of the burial expenses from this day on. All of you here, respected Maharaja, respected Panglima, witness what we have agreed upon. Now what are we to do tomorrow?" 46 They agreed that the time [of burial] would be at one o'clock in the afternoon. 47 Munabi said: "Very well, do not break the agreement. What 1 have said will be done. There should be no breach of promise." Saupi answered: "Very well, it is agreed upon. There will be no breach of promise. I will wait for the time to come. Do not worry, I will fulfil my promise. I shall wait until I hear the songs for the dead, and then I will come." 48 That was what they agreed upon. Saupi went home. When he arrived, his sister Annang Kabila asked: "Utu: why are you so 46 The dead are usually buried in the afternoon, after the sun begins to set. 48 Utu, "boy" (vocative), is preferred throughout the text. It is a term of endearment which the English equivalent connotes poorly. Likewise, the female equivalent, 'indc' "girl" (vocative), is used. MUNABI 207 late?" Saupi answered: "I will not tell you. I am a young man, you know it, and young men seek happiness and contentment." 49 She said: "Ah, you are right, Utu!" 50 "Prepare the table; I am very hungry!" 51 So the sister prepared food. He ate. They finished eating. It was getting dark, past the evening prayer. They would eat again in the morning. Although Saupi had come in from a long walk, he could not sleep immediately. He was thinking of the agreement and of what the old folk had said. He studied it thoroughly. He was still pondering what the old folk had told him when morning came and the sun was rising. When it was past seven he ate the food his sister had prepared. They drank [tea] and ate some biscuits. They finished. At about eight o'clock, Saupi's mind was still at work. When it was nine, Saupi asked his sister: "Prepare the food now. Cook just one plate of rice and wash it seven times. As you put the water [measure] the same quantity of water as you have of rice." 52 It meant, as the old folk, say, that the rice would be half. cooked. She started cooking. The rice and the viand were cooked. After eating, he rested. He laid down, got up, then went back again to bed. He kept thinking. He put reason and judgment to what he was to do, did not allow his heart to interfere with his thinking regarding the agreement. After a while, he stood up, opened the chest, and took out a white calico cloth. He tried it on. 'Then he began to measure and make a coffin. After that, he folded the cloth back lengthwise. All along, his sister was watching him doing all these things. She said: "Utu', what are you going to do with this white calico cloth?" 53 "Inda'! Do not ask questions. Eat when you want to eat. Do whatever you want to do, but just let me do what I want to do and think. Do not interfere. Maybe luck and mercy [will be with us]. Just do your work. But bring me a kettle." 54 He got the kettle and went to the well to take a bath. Afterwards, he rinsed himself, according to rules of the "nine 54 Liguun sin ligu' siya.m, or "the ritua bathing of the nine bathings," is the cleansing of the body, before a burial. It refers to the empty- 208 SULU STUDIES 3 bathings." On his way back to the house, he looked up and saw that the sun was beginning to set. He walked faster. Ar- riving home, he told his sister: "Indat, squeeze dry the clothes I used at the well, and take care of them." 55 His sister agreed. She was now crying, but not loud for fear that her brother might hear her, and get angry. Not long after, from far off, he heard songs for the dead. Saupi prepared to go. He opened the coffin and crawled in. Then he tied his kris around his stomach and wrapped himself in the white cloth from , head to foot. When the burial procession neared his house, Saupi immediately stood and got ready by the road without saying anything. He started toward the garden, without any word to his sister except a grunt. He left and joined the people on their way to the grave, walking ahead of them. The people did not say anything because they already knew. 56 At the graveyard, Saupi was first. Immediately he crawled

ing of the nine bodily orifices (two eyes, two nostrils, two ears, one mouth, one rectum, and one urinal tract) of all dirt and other matter. The ligui.n is the first of five rituals; the second is the wrapping of the corpse with a white cloth (sa'putun); the third, the recitation of prayers (&imbahayang); the fourth, the lowering of the body in the grave itself. (hikibu.l) ; and the fifth, the special instructions (tulkin) given the dead to prepare him to face his investigators for a place in heaven. 55 While the body is carried to the grave, the imam reads and some women chant passages from the kitab Mctwlud (the entire text of which is sung on the Mawlid at Nabi, the feast of the birth of Prophet Muhammad) and passages from the Holy Qur'an. Parts of the lugu' mawlud used for this occasion are called lugt.' taatlaw, the lugu' for the dead. The 8a'pwtwn is the wrapping of the body with an unbroken length of white cloth from head to foot. 56 This part of the burial practice, hi ku but, requires that a niche within the hole be dug north to south so that the body faces the Kiblat, or the direction of Mecca, the proper praying position for the Muslim. The man under whose direcction the grave is dug properly is called mangtiliyang (after tiyang, "the niche dug within within the first hole"). The man who receives the body is often the same man who directed the orientation and digging of the hole. He also whispers the preliminary instructions to prepare the dead for the tulkin. As such he is called mangdarayaw (from nurayww, "good.") MUNABI 209

in the hole and laid facing west. There was enough room. A man carried [Fatima' Assa] and lowered her down. They rested her head on the wrapped wood from the platform on which she was carried. The five knots holding the cloth were untied, [the cloth] rolled at the feet; the face was then uncovered and made to face in the direction of Mecca. Her arms were crossed on her stomach. Words were then uttered to her by the man inside the grave: the name [of the messenger], the straight way [to heaven]. Sweet perfume exuded from her, a scent beyond compare. Saupi could hear everything that was said. So that all admonitions and reminders he repeated'carefully to himself. After all [teachings] were said, the boards were lowered down to cover [the first niche of the grave]. The imam then recited the teachings of Islam. Then the hole was closed. Inside, it was pitch dark. After that the imam threw a handful of soil on the boards. All the people did the same and filled in the hole. There was a marker placed on the grave. 57 After this, the imam immediately recited prayers and the profession of faith, giving the tulkin. The imam stood, sat down, then crossed his legs. The tulkin was opened and recited. That over, the dead, itall and well built, remained [in the grave]

57 Sinw1awat from wawctt (also the Arabic plural of salat, "prayer") refers here to the basic Muslim profession of faith: "There is no other god than God, and Muhammad is his Prophet." The tulkin, the fifth component of the Tausug burial ceremony, is the last instruction given the dead by the imam to guide him in answering the questions when interrogated by God's investigators, Munkar and Nakir. At that moment, the dead "awakens and takes a listening position resting on one arm." The prayers help the dead to face this interrogation which bears on the basic elements of the faith: Who is your God? Your prophet? What is your religion? Your guide? Who are youre brothers? A true Muslim who dies in the faith will answer Munkar and Nakir's questions without hesitation: "Allah is my God, Muhammad is my Prophet, Islam is my religion, the Kaaba is my kibla, the Qur'an is my guide, and all Muslims are my brothers" (Nawab 1963: 53-56). The right answers will allow the dead to continue his sleep until the Day of.Judgment. Wrong answers mean tortures in the tomb and later in hell. After the instructions, the dead returns to his "sleeping" state. The tulkin is a tradition dear to the Tausug. Its neglect by a few foreign Ahmadiya movement preachers from Pakistan who sim- plified ceremonies resulted in heated discussions in some Sulu areas 210 SULU STUDIES 3

While water was being sprinkled [over the grave] the corpse awoke, remaining in the soil, (still) with a white complexion. When it was all over, children, men and women, went home. At six o'clock in the evening, after everything was finished, Munkal came [to the grave] to investigate the dead. Drawing near, he shouted [to Saupi]: "Stay on earth." 58 There was no answer. Munkal then muttered: "I have never met the likes of you, so impolite! I call you [but] you do not answer!" 59 Munkal went forward and thought first of opening the door to the grave, for no one answered. He shouted again, but there was no answer. At the third shout, Saupi rose, drew his kris. Suddenly the grave was [lit], as though it were on fire, [lit] from within. Munkal was startled. He shouted, a fourth time. Then Munkal grumbled, for nobody answered his calls. He muttered: "We better go home. It makes us mad when we call and are not answered." 60 They immediately went home [to heaven]. When they arrived, the favorite angel said: "You people! I ordered you [to get the dead], where is the one you were to get?"

and prevented the movement from establishing itself in Sulu. The sprinkling of a can of water over the grave symbolizes the cleansing of the dead. This is repeated once a year before the start of the Ramadan fast, from the wispu, on the fifteenth of the month of Saaban, until the day preceeding the beginning of the fast (the last day of Saaban). Words which accompany this ceremony affirm the intention of the person bathing or of the dead being sprinkled to start the fast, or to be in a state of purity. God sends His investigators, Munkar and Nakir, to interrogate the dead. Their mission is to ascertain the quality of the faith of the person who has just died. Munkar stands on the right and Na- kir on the left of the dead. In this story, Mulling recognizes the first one whom he names Munkal then later passes to the plural without explanation, referring indirectly to the presence of Nakir. Wakang Rabbulca! So far we have not been able to ascertain thG full and strict meaning of this command. it is said to be the investigation's announcement and also an order to the dead to remain where he is. 60 The "favorite angel" here is not identified. At first he Is alone, then, later on, as the narrator switches to the plural form, there are two of them. SULU STUDIES 3 211

The one [called] Munkal answered: "We could not bring the [dead] person. When I looked, [not] one person [but] two were there, the one alive and the other dead." 61 He said: "Au, how is it that when I ordered you to get the dead person, you did not get it? [You say that] you could not get [the dead one] because there were two of them. Only one should be brought [here] ." Munkal said: "And 6ne still alive!" 62 "But why did you not bring only [one]? I mean, what did you do 'that you could not bring [the dead]?" He said: "We could not force ourselves to do it because because of that one still alive. It is not within the law." 63 The angel answered: "Very well. If that is what you think, then you had better go back to your place. I shall go myself. I will try to get the civilian believers from earth myself." Munkal replied: "Very well." 64 Two angels went. On their way, they both agreed to use force. Like thieves they would steal the dead person. Saupi then would lose. 65 But Saupi [who had heard] said: "If you Want to get her by force and without taking me along, then I will slash you with my kris." He then drew his kris. 66 The angel said: "Although we came here with good intentions, you fight us. This is not within the law." He said: "This is it. If you take her by force and do not take me along, I will surely cut you down with [my] kris." 67 The angel said: "Do not quarrel [with me] or talk in anger. Let us talk calmly. Our intentions are good. We do not want to fight or quarrel or cause disputes." Saupi said: "We will talk calmly then. I' did not come here to quarrel with you, either, or fight, or debate. But if such a thing happens in. the future, you will be held responsible." 68 The angels said: "Very well, if that is what you have in mind. But [for now] will you agree?"

212 MUNABI

He said: "With what?" 69 "We came here to carry her with our own hands, for no one should walk. Since you are alive, we cannot carry' you." "You should take me along even [if you have to] carry me with your hands." 70 [The angels] said: "That is what you think, but [if we did] we would go against the law." • He said: "Why is it against the law? You do not go against the law. But if you refuse to carry me along, then you would break the law, for I would slash you with [my] kris, leaving one half with you, and the other half with me." 71 Thus it was agreed. He was taken along, the angel said: "Can you manage just by walking?" Saupi said: "Whatever route you take, I will take." 72 So she was carried and [Saupi] followed. On the third day [the angels] said: "Let us stop and rest. We will wait for something." That was the time of the duwaa prayer for the dead. After the faithful on earth had finished praying and eating, they continued their' journey. [The angel] said: "It is all over now; now what we have waited for has arrived." 73 They had reached the seventh day [of prayer]; it was no longer like before. What they had expected had come. In brief, as the 'young people [of today] say, they had walked "diritsu," without stop, after the third [day]. They had finally arrived. Jabbarail [the head of the angels] said: "Hey, angehi

70 ". . .would slash you. . ." the narrator's word is kamu, "you." The context would favor "her." 72 This is the third day of prayers, or the third day after the death of Fatima' Assa. Seven days of prayer follow death which start, on the first evening when passages of the Holy Qur'an are sung by ladies chosen for their talent and beauty. Food is served to the people who condole with the family. As much as possible, if the family can afford it, this goes on for 24 hours. This is interrupted for the burial rites if the burial occurs on the following day. Part of the ceremony is the daily recitation of the duwaa- tahatil: La iktha-'Ula-'Uah, "there is no [other] god than God." According to an informant, the chant is offered "in order to help the dead and to assure him of the best conditions possible." MUNABI 213

Why did you bring two [persons]? And one is alive, the other one is not! What happened?" He answered: "I brought him along because otherwise I would not have been able to carry the dead one; he would have engaged me in. a quarrel; then we would have had to fight. I would have had to fight. And if had I fought, I would have violated the law." 74 He said: "Ah, is that it?" [Munkal said:] "Now that they are here I entrust them to you. It is up to you [now]; I am getting out [of this predicament]; I leave it to you." Jabbarail replied: "Very well." 75 The angels went home. After their departure, Jabh.irail said: "Hey, you! Why did you follow? You who are alive followed the dead one? Explain in detail." [Saupi] answered: "I was able to follow because there was a promise and an agreement. This person is not related to me, but [this is how] I got involved. She was dead and her husband was embracing her. She had died because of a kick from her husband. Her husband could not make her regain consciousness. I did some thinking and proposed: 'Mu- nabi, if I could use an example, I would like to say this. All of you here listen, this is just an example. If I were in your place, and she had died because of my kicking her, if I had been responsible for her death, I would do everything I could to help her on earth, even in heaven, until the day of judgment comes." (A "In short, Jabbarail, Munabi said to me: 'If you pity her, I will give her to you. That is if you really pity her.' I said,

73 The term diritsv is from the Spanish, derecho, "straight." The equivalent of the name Jabbarail (Arabic: Djabrail) is Gabriel. In other texts, it is Jabrail. "And one is alive, the other one is not!" The narrator's words are: Ampa jukup in haimbuuk, Iculang in hambuuk, literally, "and then one is right [with the exact amount], one [the other] is lacking." In the context, it means that the first is alive, and the other, "lacking life," is dead. 75 "The person is not related to me... ." In tau duggwing kaku, literally, "a man [or person] different from me." 214 MUNABI 'Good. Make it public that you are giving her to me.' It was publicly announced. The announcement was witnessed by the leaders, the imam, and forgive me for mentioning [them], the Prophet and God." 76 Then Jabbarail said: "Is that so? It is good, Saupi, that you have told me of what happened. Had you not told me [just the same] I knew. But I had to question you because you are alive. It is good you have explained. Have no fear, for I shall take you both." 77 He took them [to another part of heaven], carrying the dead [Fatima' Assa]. Jabbarail placed them on the golden threshold. This golden threshold had forty-four posts. It was shiny, bright like the sun. Even at night, it was as clear as daylight. Nowhere was there anything like it. [Jabbarail] then said: "Stay here; there is a rule forbidding two, one, or even three persons coming here to be taken in there." Saupi said: "Very well." 78 Then Jabbarail went up to see [God]. He ascended quickly. [God] said: "Hey, Jabbarail, why are you [here]? What do you want?' He said: "My God, no one but you alone [can decide on this matter]. There came to me, brought by your angels, two faithful from the earth. One lost [her life], the other is whole." 79 God's word came down: "You mean alive?" "Yes, my God! One is alive, the other is dead." 80 "Hey, you are right; [for me] this is the first time [I come across a case like this] although, Jabbarail, you might have met one like this before." [Jabbarail] said: "My God, this is my first time." 81 The words of God came down: "You are right. This is the first time it happens; this is the first time I witness this. - Now, what do you think?" He said: "My God, it is up to you."

79 In Parman is translated here "God's word came down," although the word parman (from the Arabic) means "divine decree, divine revelation." MUNABI 215

82 "All right, get the dead one and bring her here." 83 [The dead] was to be fetched by the angel. He said: "My God, what if the live man does not let the dead go?" "If he refuses [to let her go], then let him come along." 84 Then he left to bring them. He said: "I have been sent to get you." [Saupi] answered: What about me? Is she the only one to go? Am 1 to remain here? Am I not allowed to go?" 85 He said: "You do not fall within [the] law." "Ah, if [I am] not within the law, then go away. I will not let her go unless I am with her." 86 Finally, he was also taken along. She was carried; he walked. [God] said: "Hey Jabbarail! Is that the One?" Jabbarail said: "It is!" 87 "Jabbarail, have you questioned him?" "I have. I have interrogated him, but since he is here, it is up to you [to do it again]." 88 He questioned nim. There was no need for it, for He knew everything, still He interrogated him. God is the Supreme Ruler who knows; He knows what I say by night and by day; He knows when I stand, when I sit down. He said: "Jabbarail, what do you think?" "Since he is here before you, it is up to you." 89 God's words came down: "It is difficult to understand. What do you say now that you can claim her as your wife because she was given up to you sincerely? She was given to you sincerely. She was given to you in the presence of witnesses. We ourselves witnessed it." This was the word of God. [Jabbarail] said: "My God, that is so. This man, this young man, must be pitied because he is alive [and] by accident his wife is dead. My God, it is a fact. It is truly a wonder." 90 God said: "We will give [her life] back, Jabbari1, because she is pitiable. [Otherwise,] it is impossible [for them] to go back to their home." 216 MUNABI

Jabbarail said: "Well, my God, it is up to you." 91 In short, her soul was given back. I do not know for how many minutes, but she was fanned thrice with a white fan. [Her soul] returned [at the precise time that] the clock pendulum reached the exact spot. Jabbarail said: "Sit down." She sat down. Jabbarail said: "Recite the prayer." 82 She prayed. Then the word, of God came down:'"Jab- barail, tell her she is just like before at the beginning." 93 Jabbarail told [Fatima']: "I was told to tell you. Here is God's word to you: you are now like before, you are now like a [newly] born person, truly. Your soul was given back to you." Fatima' Assa said "I thank you." 94 God's word came down: "Jabbarail, what did she say?" "She is now talking and she now prays. She is fine." 95 [God] said: "Since it is the seventh day [of prayer], let [them] go home. They cannot be allowed as yet to make this place their home. I cannot think of, a place where they can live here. Let them return; send them home to earth. A length of time [should be allowed] them, the man and woman. The time given to the man will be sixty years; the woman's time will be [also] sixty years. Therefore the two will be married for a total of one hundred and twenty years together. Now they should go home. They cannot live here." J abbarail answered: "My God, how can they possibly go home?" 96 He said: "Make sure that [they arrive] on the seventh day, counting from the [day of the] woman's [death] ." The woman said: "It is difficult [for us] to go home this way, with the clothes we are now wearing. It is not the way people dress." Jäbbarail answered: "Why? How? My God, she says they do not wish to go home [like this]. She says that 'she is em- barrassed because of what she wears now. They will go provided they change their clothes. My God, can we buy them some clothes?" MUNABI 217

97 [God] answered: "If such is the reason that they cannot go home without changing the clothes, [then] the clothes should be changed." They changed clothes, the man and the woman. if you had seen them, if you , had touched the clothes, you would not have burned, but the clothes really looked like [they were] on fire. They had received new clothes - shirt, native pants, shoes, and an umbrella. They were able to get a complete set. On the seventh day, they were sent home. Saupi said: "My God, how do we go home? We know not the way." 98 He said: "You go home when the time comes. At the [proper] time, there will be a signal." Saupi said: "My God, how can we make it home?" 99 God said: "Both of you should close your eyes. Even if you happen to go astray, do not worry." "Very well, my God." Jabbarail said: "My God, if they are going to close their eyes, they will not find the way. But if I had my way, I would let them open their eyes so as to find the passage. [On our way here] it was impossible for them to be conscious and to know the way. They came directly, and stopped only once [waiting for the third day of prayer to end] ." 100 God's word came down: "Ah, Jabbarail, you are right. Both of you should go back walking directly, without fear, and with haste. Upon arrival, there will be a sign, that of the marker [on your grave, indicating that you have arrived] ." 101 When they reached the gravemarker, at the appointed time, exactly on the seventh, day, they came out, [back] on earth. How happy was your Inda, with the umbrella carried over her and her shoes! They came up [from the grave] and made an agreement. She said: "Saupi, let us go home to your house. Let us go." Saupi answered: "Very well, let us go home!"

101 "How happy was your Inda'...... Mullung uses here the second person, makakvgkar na hi Inda mt., a common Tausug expression of admiration for beauty. 218 SULU STUDIES 3

102 "There is a celebration [for the dead] at my house; we should drop in," she said. Saupi said: "That would be good!" 103 They stepped forward and walked. After a while they arrived. They were dropping in for a while at Munabi's house. There they saw many people on the ground and in the house. The people wondered if they were royalty and where they came from; for they glittered, the path and the grass [on which they walked] glowed, according to one civilian who saw it. Shortly they came to the house and went upstairs. The old folk waited. [Fatima' and Saupi] went immediately to the head of the bed. The woman sat there on the mattress. Saupi drew his kris and put it down. All the people inside and outside were stunned. Drinks were served. 104 "Drink, lady; drink, lord." One [Saupi or Fatima'] said, "Do not be offended, if wc do not drink [with you], for we had just finished drinking when we came in!" . 105 [Someone] said: "It is all right." 106 They were not forced to drink. Now the food was served One said: "Young man, young lady, eat now, lady, young man." 107 Saupi cleared his throat, and his wife understood [the signal]. Among friends and lover, such a signal is enough to understand each other. 108 The woman said: "Respected men and women, and all, we thank you very much for your hospitality, your entertain ment, your respect. Forgive us, if we have not partaken of the food. We were walking. Ah, and our hands had dried up already. Just pretend that we we have eaten your food; we, too, shall pretend that we have eaten." 109 The imam said: "You speak very well. First class. You do not beat around the bush. Now, remove that [food tray]."

106 It is impossible to give the tone of Mullung's voice which, through the repetition of the address terms, indicate wonder, respect, and insecurity - all at the same time. Wonder for the luminous beings, respect because of the mystery behind their appearance, and the insecurity as they are a foreign couple as yet unrecognized. SULU STUDIES 3 219

110 The food was taken away. The woman cleared her throat. She cleared her throat as a signal to her husband, very much like that of a telephone. This was the signal to stand up and leave. This meant that they were going to Saupi's house. Saupi said: "You who are all here, I would like to talk, but not for long, because what I am going to say is difficult." The leader said: "Very well, highness." 111 He said: "Now that you are all here, we are asking you all to forgive us." The old imam said: "Very good." 112 When the woman stood up; she also asked forgiveness from all.. They said this in place of the [usual] farewell [to people] one by one: "Old man, we are going home; old lady, we are going; girl, we are going home, and so on." They bade goodbye to all at the same time. It is just like in the army; if you greet the lieutenant you greet all the soldiers [under his command]. 113 They were now about to go home. They turned their backs. It was at that moment that Munabi recognized them. He was shocked and confused. He remembered her, for only she looked like that. Her appearance, her figure, her build; it was his wife all right. Even if she were skinned, scratched and all, he woulli still recognize , her. But what could he do now? He had already given her to Saupi and could no longer win her back. He was also confused, and he wondered as to how they had returned [to earth]. Then he remembered the agreement. There was no use [for Munabi] to speak now; his eyes were more eloquent. It ended there. 114 Finally, they arrived home. Reaching the yard, Saupi imme diately cleared his throat. Then Putli Kabila rushed out of the house. She was her brother and recognized him. She exuded joy and knelt before him. The handsome Saupi told her sister: "Inda', please stop [this]. We will go upstairs." 115 She stopped. Upstairs, the sister knelt down [again.] He stopped her. Saupi said: "Do not do that to me, Inda'! Do not 110 Talipun, from the English "telephone." it is interesting to note that before World War II. all of the towns of J010 Island were - linked by telephone. ULU STUDIES 3 220 come near your older brother yet. Think, restrain yourself. Ar- range you dress and then sit down properly. But do not touch us, kiss our hands - like this." 116 So she stopped. She would do it after they exchanged words. It was only after Saupi and his wife had removed the clothes• given by God that he allowed her to come near them. Saupi then said: "Now, you may greet your older brother now, kiss his feet and his hands." 117 It was only then that Putli Kabila was able to approach her sister-in-law. Then, tearfully, she kissed the face, the forehead, the hands, the feet. 118 She said, "Hey, Inda', why do you cry when you kissed me It is better that you work and give a and your brother?" thanksgiving prayer." 119 The wife continued, "It is a good idea." 120 And that is the end.

References

Nawab, Mohjuddjfl, A. 1963 Islamic institutions among the Tausugs in the Philippines. M.A. thesis, Institute of Asian Studies, University of the Philippines. Rixhon, Gerard 1972 Mullung, a Tausug storyteller. In Sulu Studies 1. Job, Sulu: Coordinated Investigation of Sulu Culture, Notre Dame of Jolo College, pp. 172-189. SIJLU STUDIES Published annually by the Coordinated Investigation of Sulu Culture, Notre Dame of jolo College, Job, Sulu, Philippines

SULU STUDIES 3 The Coordinated Investigation of Sulu Published 1974 Culture (CISC) gratefully acknowledges the subsidy given by the National Science Development Board (NSDB), Manila, for the 'publication,, of Sulu Studies 3

EDITED BY Gerard Rixhon, OMJ The.'editor wishes to thank Esthr M. Pâcheco and Alfonso .de Guzman Ii, both "Universty Press, COPYRIGHT 1974 BY .ofAtèneo de Manila for their editorial asststance the Notre Dame of Job College tnd Dr. Felixberto Sta; Maria, director All ights 'reserved Ateneo de Manila University Press, for the use of press facilities.

Owing to space limitations, not all the COVER ART AND research papers and oral literature previously ILLUSTRATIONS BY announced have been included in this issue. Abdulmari A. Imao "An Eighteenth-Century Description of the Sulu Empire" by Howard Fry and Gerard Rixhon is still in preparation and, because of its length, may appear PRINTED IN THE next year as an independent monograph. PHILIPPINES BY Bustamante Press, Inc. j Quezon City Sulu Studies 2 and Sulu Studies 3 copies are available at: Central Subscription Service Philippine Social Science Council 53-C Roces Avenue, Quezon City, Philippines (or: P.O. Box 655, Greenhills, Rizal, 3113 Philippines).

Sulu Studies I is out of print.