SERINO, Alain Delon L.

Eng 76 EDA

INKABUKA: Cultural, Social and Political Issues of the Talaandig Illustrated Through Its Folk Literature: A Review
INAKABUKI literally means disguise, to hide or conceal; also means to suppress the struggles and hopes of the Talaandigs found in their culture.

INTRODUCTION The Talaandigs are one of the few earliest tribes in Mindanao. Their ancestry came from Apu Agbibilin and Apu Ginamayun who both survived the Great Flood. The word Talaandig came from two root words; talaan, meaning to be marked with, noted, trustworthy or respectable and andig, which was derived from the word sandig or to lean upon. Making the Talaandig a respectable person who can be responsible and worthy.

Their estimated population is 100,000. The Talaandigs are located around Mt. Kitanglad amd Mt. Kalatungan, Father and Mother mountain respectively (Bukidnon and Agusan del Sur area).

THE STRUGGLES There are many struggles and issues concerning the Talaandigs but the main matter is with regards to their recognition and protection of their Ancestral Domain. Another issue is the preservation of their culture and traditions. The third considered is their recognition of the leadership and governance of their ancestral domain. Next would be their Intellectual Property Rights related to their traditional medicines, arts and creations, music and their control and management of their resources. Lasly, their preservation of their sovereignty of the tribe as a people and nation against foreign invasion and suppression by outside forces.

Kinds of Talaandig Oral Literature: 1. Antuka (riddles) 2. Basahan (proverb) 3. Nanagen (folktales) 4. Gugud/Batbat (historical legends) 6. Sampitan (case reference) 7. Sala, Limbay, Bayuk-bayuk (lyric poetry) 8. Kaliga (religious literature) 9. Ulaging (epic)

5. Mantukaw (prose)

The NANANGEN Nanangen came from the word nangen which literally means to teach or tell.

Aside from teacher lessons and values, the nanangen is also shared towards the preservation and promotion of their indigenous cultures and identity as a people. The interest of telling this story by the kagnanangen use humor to make people laugh, melancholy to make people sad or simply annoy to make listeners angry. Basically, nanagen is used to set humans as human; having emotions not limited to things mentioned above.

The nanagen also shares about leadership, organizations, the economic life of the Talaandigs and also of their spirituality. The use of nanagen has also its gender appropriateness; some nanangens are only for men and women or both, for children and adults too.

Accordingly, nanagen is time appropriate which makes it dynamic. The palagnanangen must have creative interpretations in able to relate the story to an existing event. The story teller always relates concerns of the community.

In the story telling or chanting, the role of the use of language is import because the use of words would then allow the audience to encourage themselves to feel what should be felt.

ULAGING (EPIC) The ulaging is similarly found among the Manobo and Higaonon tribes. Its function is also the same but its presentation is through song or chant. The ulaging, on the other side, deals more on the heroic dead of Agyu, the famous character of the ulaging.

The ulaging deals with courage, fame and valor of leadership and basically ends with the victory of the protagonist.

The characters and personalities in the ulaging are important factors in the Talaandig literary tradition. For example, when the character of Agyu is mentioned, strong, aggressive and determined are the description of this character but when ulaging is mentioned, the image of Agyu disappears.

Agyu of Nalandangan, an epitome of confidence, superiority and prowess, is also names as Mayumba (huge man), Diglen-awen (undefeated), Ligaya Tindeganen (Great in Stature), Bagyasan ta Kapukaw (Hawk of Kapukaw), Agyu Mandigdagaten (One who never gets sea sick). There are many versions of Agyu not only among the Talaandigs, but also among the Manobo tribes. The description of Agyu and the symbol of his character will suffice to relate its political significance.

In the narration of Agyu, the palce where he lives is always mentioned which is Nalandangan, meaning where peace reigns. This is because Nalandangan could not be conquered by enemies. Nalandangan, in the ulaging, is an ideal place; the home of the immortal beings that have transcended life beyond earth. It is the place of everlasting life where death, worries and fear do not occur. In the Christians point of view, heaven.

The Nalandangan has several names: Nangkapukaw Nangumbaw (Fame Achieved Overnight), Landang Nanguyaw-uyaw (Supreme Peace). Another one is Dagunalan ta Yugung (Blasting Place of Thunder). Before Nalandangan existed, the Talaandigs lived on earth in their own homeland in Lambaguwen, one of the early places in the city of Cagayan de Oro. The famous forth of Agyu is known as Iliyan Sumanday, Kuta ha Makasandig (current location is in Barangay Macasandig).

In history, Agyus territory is known as gaun, that is why many of Agyu;s descendants call themselves as Igaunon.

Nalandangan as a territory defines the ancestral domain of the tribe; the struggles of the nalandangan people to preserve their culture, identity, fame and glory which is a genuine aspiration of the tribe to gain recognition and respect. The character of Agyu, his authority and leadership, is similar to the asseryion exerted by the tribe in its struggles for governance and self-determination. Agyu is a model; of confidence in his cultural identity, a firm leader who holds authority of leadership.

Another example of a great leader of the Talaandig tribe, who is referred to the ulaging was Datu Kinulintang, the speakers great grandfather. He was a famous historian, oralist, arbitrator and spiritual leader of the tribe. By worshiping Agyu, Datu Kinulintang became a firm and dynamic leader. He always believes that defeat, or failure is temporary and that victory is a destiny of the spiritually guided people like Agyu, his clan and tribe.

During Agyus time, the Talaandigs were supreme in their territory. Nalandangan is even called as the eluded fortress; freedom, independence, power, unity and prosperity reigned. The Talaandigs would trade with the Muslim tribes, the Chinese and Visayan groups thus the forgtresses of the people were even described as made from batulinao trees, imported from Ilo-ilo and Cebu.

NANANGEN (FOLKTALES) The nanangen on the other hand, is famous of their two characters, Bataay, who is the hero of the nanangen; he is calm and not aggressive but has magical powers and the other is Walu, the funniest and most innocent character of the nanangen. Also considered by the Talaandigs as their Mr. Bean.

The stories of Walu portrays undesired personalities that are usually shunned by the society. The funny stories about Walu is aimed to provide moral and lessons to the audience. The stories of Walu are intended to be funny to make the story more lively and entertaining. Walu, in the folktale, is desgused because of the hidden story about the man that he considers himself as the strongest and most handsome.

GUGUD/BATBAT (LEGENDS/MYTHS) The gugud is another important oral literature of the Talaandig that deals with histories and myths of their creation. Like the nanangen, the gugud is spoken but is a long and comprehensive narration about the history of the people.

KALIGA (RELIGIOUS LITERATURE) The kaliga, also found among the Manobo and Higaonons, are likely to be chanted or sung. Being sacred in nature, the chanting of the kaliga is done only with a ceremony that is related to the installation of leadership, thanksgiving or healing. Like the ulaging, language plays a vital role in the kaliga because descriptions of spiritual world are done in a poetic and artistic way.

Other literary traditions of the Talaandig includes rhymes, riddles, lullaby, sayings, particular songs like sala or limbay but nanangen, ulaging, gugud and kaliga may be considered as major forms of literary art and tradition of the tribe.

RELEVANCE Its relevance to modern times, cultural identity, preservation and longevity of the past has not reached to critical point. Accordingly, the issue of identity, trademarks, rights and ownership apart from education, politics, leadership, economy, environment, spirituality and ideology are relevant concerns that are significantly embodied in the Talaandig literary arts. The oral tradition is losing its grip as modernization and technology come into play; contemporary stories like Spongebob and superheroes have replaced the role of Agyu and Walu.

The Talaandig literary arts gives emphasis on space, time, events, resources and people in the context of identity and rights which indigenous people carried out in their assertions to become part of the local, national and international community. Their reality is also the reality of the world, only in a more mild and superficial world but nonetheless, as explained in class, everything must be believed and taken as reality.

The Talaandig people can be nothing or nobody in the society apart from being imitators that are totally dependent from the minds of other being. Again, social identity and trademark plays a vital role.

SOURCES: Mr. Arbie Llesis Presentation