NOTECARDS

Direct Quotation:

the hankering after the spirit world can be related to the need of Labaw Donggon to be married to women not only
from this world, but also from the underworld and the sky world. It spells a need not only to propagate the race, but also to
connect this propagated race backward and forward through time, to tell the world today and tomorrow of their ancestors, who
now inhabit other spheres, continuing to live as spirits in the imagination of the present generation.

(Aguilar, 2001, para 4)

Direct Quotation:

Aligned with the enclosure Pinemegsesendulug

Is the road to the water point. Te dalan teg sekeyduwan.
For this is the path of Pinintu Tubengen te Pinintu
Since this is the road of Pinaiyak Deyha te Pinaiyak
Disappears not its fragrance Digkuyakasan mamut
Fades not its sweet smell. Ne dig kelasan pentiys.
The line is for hanging clothes Uyane ey te tempi
Of the favorite Pinintu Te talutanda Pinintu
The pole is for the dresses Ugsaka te petula
Of the beloved Pinaiyak Telehew Pinaiyak
When taking a bath in the waters Kug peikebung te dagat
While swimming in the sea. Payukbu te layagen.
It is enclosed with big rocks Tineyetek ku datung
Fenced with boulders Tinengkal te yekungan
Oh, huge rocks with lines of glittering yellow Ay de yekungan piglintipan
Oh, boulders with stripes of golden hue Ay gatung pigbantulisan
With the gilded lineament Pigbantulisan gimba
Longitudinal strokes of gold Te piglintipan buyawan
By her brother for protection Isu paalaw te muug din

About the path of the married women Te tugbengen dun din timbang
Concerning the way of the telayu Te dayha dun din telayu
The sweet smell is gone Sug kuyakasan en mamut
The fragrance has vanished Negkel asan en pantiyas
Observe keenly Egpenggeyageya te
Watch intently Penggalugampa ta
The telumbayaw tree cut down Telumbayaw pinakatan
The lulang tree felled Te lulang binalayanan
Serving as rack of the bamboo tubes Pasaya te laya
For the buckets to lean on. Ne sendiga te tibaney.
An indication that each has a child Su kilala dun din tampad
A sign that each has a toddler Endan dun din tambeleng
Spread along the lane Nekeayun ku dalan
Broken parts of twigs taken home Te pinegtigputigpuan
Scattered on the pathway Nekepegelinunug
Portions of broken shrubbery Pinemenbuntialan
Isuisu shrubs lining the trail Te isuisu su dalan
Liugkug bushes bordering the walk. Liugkug su beyakan.
The path to the water source for young women Te sekeyduwan te hayag
Who have just gotten their partners Begubegu ke nu timbang
The path of the girls Deyha te dinansuli
Recently married Ne yampa ne telayu
The path has faint scent Egkehiwada su mamut
Its aroma partly vanishing Negkesangbe su beyeba
This happens when one has a partner Su ganin dun den timbang
Such is the case with a spouse Ne genta dun den telayu
Half gone the fragrance Su wedeen su mamut
Half vanished the scent. Ne sengheen su beyeba.

Lines 1250-1321 of Agyu

(Castro,Antonio,Cruz,Mariano &Puno, 1983)
Direct Quotation:

The stimuli and the material for these epics appear to be of native and pre-Spanish vintage. The bases for this view are
as follows. First, all of these epics have local heroesSecond; the exploits of these heroes are not of the type that could be
identified with contaminating cultures. Thirdly, the epic verses, with the exception of Hinilawod-II, have no regularity, which
are unlike the literary creations of the historic period. And fourthly, these epics are mostly to be found among pagan and
Muslim people who are never in reality brought under complete subjection by either Spanish or American rule and hence can
be expected to be carriers of ancient traditions.

(Manuel, 1963, p.62)

Direct Quotation:

It is not difficult to establish the traditional nature of Philippine epicsIn the first place, present day singers can tell
from who they learned their songs. Most of Bagobo songs I recorded could be traced back to three generation of singers.
Secondly, variants and versions do tell storyThough not entirely a satisfactory method, certainly, the fact that contemporary
chanters could trace them back is sufficiently firm evidence. The only exception in the total corpus is the Bicol epic. It seems
strange that ever since Fr. Castafio recorded, no one has spoken further about it, as though Fr. Castafios informant were the
last living singers of the epic.

(Manuel, 1963, p.49)

Direct Quotation:

Epic literature is one of those enduring monuments of our past that binds us because this sprung from our peoples
early beginnings, experience and achievements. It is one tie that withstood time and change among aboriginal ethnicities, a link
to unity and national identity.

(Manuel,1980,p.321)
Direct Quotation:

men and women of power were known by the following signs: physical prowess, shamanistic abilities, oratorical
skills, the quality and quantity of talismans possessed, and beauty as manifested in ones radiant looks, fragrance and other
physical attributes

(Menez,1996,p.28)
Direct Quotation:

Nevertheless, these scholars fail to note that shamanism in most, if not all, indigenous societies of the
Philippines, privileges women over men and provides access to heroic powers equivalent to those won on the
battlefield

(Menez,1996,p.38)
Direct Quotation:

it has often been said that Filipino society is a matriarchy. But it is a kind of underworld matriarchy.
Ostensibly, it is a mans world. But women rule without anybody but themselves knowing it.

(Nakpil,1963,p.25)
Direct Quotation:

As a result of their training at home, women were adept at various skills like sewing, weaving and other forms of
handicrafts. And since in most cases, these arts or trades were deemed as proper to or as exclusively for them, they were
usually the sole providers of the communitys supply of mats, blankets, baskets, hemp, many-colored cotton cloth, tapis or
skirts, jacket or blouses, g-strings and sashes.

(Patajo, 1972, p.103)

Direct Quotation:

The heros mother, although a secondary character in the story, is always given prominence as she is the first to be
consulted for all the prestige feasts, especially in arrangement of marriage feast for her children. Hence, her home is the
starting and ending place of all the stories.

(Revel, 2005,p.120)
Paraphrase:

The epic, as a tale which concerns magic, showed the importance and construct of Filipino women in our society. In every role
they portrayed, they have the power to bring peace and the guardians which helps everyone in times of want and need.

Original:

The full view of Filipino women comes not through the few trickster tales that involve them. It comes from the rest of the tales
that involve magic, as well as from the epics. For in these we see the true value of women in Philippine society: they serve as helpers
in time of need and want, and it is they who bear the magic that stops all war and hurt. If they do engage in war it is to stop war.

(Aguilar, 2001a)
Paraphrase:

In the epics of Humandapnon and Labaw Donggon, as said by Jocano and Magos. The hero Labaw Donggon was revived by
the use of magical powers and was argued upon his polygamous acts by his wives wherein dominance is the only accepted reason for
them.

Original:

In Sulod society, as described not only by Jocano butMagos, as well as by the two epics LAbaw Donggon and Humandapnon,
women are very central in society. In Labaw Donggon, despite the heros polygamous adventures, it is the women who revive him
with their magic and argue with him over his actuations, the argument of the need to propagate the race alone wins them.

(Aguilar, 2001b)
Paraphrase:

According to Maquiso, a hierarchal society was present in the epics where there are the shamans, the warrior, the commoner
and the slave classes. In the Agyu epic it was noticed that men and women posses magical powers and as warriors they are also rulers
of their land without mentioning the commoners and slaves.

Original:

Of their political and social system, Masquiso says that they had five classes the ruling class, the walian or shaman, the
warrior, the commoner and the slave; but in the Ulahingan itself, we seem to see only a warrior class supported by men and women
with the power of magic, and none of the others. The warriors are the rulers themselves, and are sometimes magicians too; the women
have special magical powers, but are sometimes warriors too. None seem to be commoners, and certainly none are slaves.

(Aguilar , 2001c)
Paraphrase:

Tthe epics became the vital source of information for the survival of certain societies because it functioned as vehicle of
transmission of cultural customs and knowledge. With this, continuous transmission of epics becomes a practice and reflects the
societies from which they originated

Original:

On the other hand, these epics are also reflective of the society whence they originated. They reflect a tribal society before the
coming of the Muslims (1380) and the Spaniards (1521). They are vehicles of transmission of tribal customs and wisdom the
conduct of relationships between classes, between relatives, how courtship is conducted and how marriages are concluded. They give
vital information on shelter, food and clothing, even birth, necessary for the preservation of the tribe.

(Castro, Antonio, Cruz, Mariano and Puno, 1983)

Paraphrase:

According to the Kinadaman, anthropologists acknowledged women as an epic chanter in which for most illustrations are
taught by their lineage of maternal informant. This is not only for the Southern part of the Philippines but also of the Northern epics
because legend says that ascended folk heroes appear only to women as intermediaries

Original:

In Kinadaman, I read some of the tribal epics of Mindanao gathered by various anthropologists. In many accounts, the
anthropologist acknowledge a woman storyteller or poet as the chanter of the epic. And in almost all of these cases among the
Subanons and the Manobos, the women storytellers had learned to sing the story of their tribes epic heroes and heroines from a long
line of maternal talebearers. Such phenomenon, however, is not isolated in Mindanao. For among the mountain tribes of the North, the
epics have always been sung by women. Among the Ifugaos, it is believed that folk epics may be sung nly by women because legend
says that ascended folk heroes appear only to women as intermediaries.

(Evasco, 1984)
Paraphrase:

Our various religious traditions as consequence of historical events are largely attributed with the conservation of our
indigenous epics from the different tribal groups of the Philippines. According to Francisco Demeterio, these epic narrations provide
legitimacy and valuation to the societys lifestyle wherein representation of certain attitudes, beliefs and practices is seen until today.

Original:

Various narrative related to different religious traditions exist in Philippines society today as a consequence of historical
experience. Traditional religious narratives before Spanish colonization have been preserved among some tribal groups who continue
to tell folktales and to chant indigenous epics during ritual feasts and events. Francisco Demetrios overview of Philippine epics shows
how their narration of heroic deeds provides legitimacy and valuation to the particular tribes ethos and way of life. Contemporary
attitudes, beliefs and practices of indigenous people often find representation in such narratives.

(Francisco, 1997)
Paraphrase:

For the Ilocanos and the Sulod society, a certain resemblance could be seen by the way of dressing the heroes. These practices
in the attire of the heroes are usually attributed with their female relatives especially of their mother and at times their sisters where
increase in prowess was noticed that made them ready for any events

Original:

Dressing the hero is often the task of his mother or sister. The hero usually request his female relative to open a chest
containing his magical clothes and ornaments. Despite the geographical and cultural distance between the Ilocano and Sulod, the
dressing scene in the Sulod epic bears a striking similarity to that in Lam-ang and Labaw Donggon. The heros clothes and ornaments
transforms him into a man of prowess, ready for war and adventure. This scene is reapeted several times in the Sulod epic with
departure of each hero.

(Menez, 2004)
Paraphrase:

The hero and the heroine of the epic of Sandayo have a certain name connotation in which their descriptions and attributions
could already be seen. These have become a tradition in some of our epics. The hero Sandayo which means birds or rooster and
for the heroine Bolak Sonday or Pailalamin ri Bolak meaning Flower on the Comb or The Loveliest of Flowers, respectively.
These pertained also to the masculinity and femininity of the protagonists which concludes to a counterpart of equal partition.

Original:

The heroine of the guman has two names Bolak Sonday and Pailalamin Bolak which translate as Flower on a comb and
The Loveliest of Flowers. But beyond their feminine association, these names connote the fragrance exuded by heroes a recurring
motif in Philippine epic traditions. Her cousin, the hero Sandayo, bears the name which means bird or rooster a common
allusion in Philippine epics to the power of song, orality, and the voice of the hero. Birds and flowers, the roosters cockscomb and the
heroines flowered comb, while referring to the masculine and the feminine, also are equally, potent signs.

(Menez, 1996)
Paraphrase:

Although women are involved in religious practice and rituals there are no indications of them making it as a profitable job
like men. Instead, they convey in their homes to assume their roles as a wife, a mother and a grandmother.

Original:

Despite, however, their involvement in religious activities, there was no indication that they made it a full-time occupation
unlike the male religious practitioners. When they were not needed they carried on with their life at home, as a wife, mother or
grandmother.

(Patajo, 1972)
Paraphrase:

The characters of the epics have their own social and customary laws which they follow that gave a certain reason for their
action. Firm views and concepts of the characters life were revealed and remembered by the listeners of our time. Thus, the epics
functions as a way to teach, to transmit a heritage.

Original:

A cosmology and social rules, regulated by customary law, Adat ,underline the whole story and give coherence to the actions
and behavior of the heroes, his helpers, and enemies. Hence, a world view and a set of values of na given society with traditional ways
of life in todays world are revealed to the listeners or remembered by them. It is a way to teach, to transmit a heritage.

(Revel, 2005)
Paraphrase:

The epics are collective imagination from anonymous composers that are build-up by the traditions and customs of cultural
community which is sung from home, to a community. In addition, the bard of these epics, as well as the listeners, needed to
emotionally and intellectually feel and express its meaning while performing.

Original:

Epics, like myths, do not rely upon individual creativity .they are the anonymous composition of a cultural community and a
tradition. However, they also encapsulate the sensitivity and emotions of the singer of tales, at the very moment of his performance.
Epics are sung for a village community or for a home, and require the intellectual and emotional participation of each listener, as well
as the whole community present there and then.

(Revel, 2005)
Paraphrase:

The people of Nalandangan are brave with strong kinship, a reason for calling it the eluded fortress. Their bravery was also
shown by the women and children who were not afraid of war and enemy attacks and treasuring the women of their society shown in
courting and marriages. This is portrayed, in most cases, by the dowry asked for marriage which was always of impossibility
especially to a normal mortal being.

Original:

The people of Nalandangan are known to be tough and fierce warriors. Even the children and women are not afraid to go to
war. This is why Nalandangan is known as the eluded fortress by the cowards of war. The people of Nalandangan are sovereign and
would never allow their territory to be enslaved or be under the control of the invaders. In Nalandangan, the spirit of kinship is strong.
Thus, a brother is willing to die for the misfortune of his sister. The women are treasured and only those who have equal power or are
even more powerful than the warriors of Nalandangan are allowed to propose marriage to them. The usual ordeals for the suitors of
women in Nalandangan are those who could divide the ocean or reverse the direction of the river upstream.

(Revel, 2005)
Paraphrase:

The epics acts as a force that unifies different societies and families which further strengthen it by the themes that are repeated
in many of its stories. It gave visual picture of the world they lived-in and how it helped for their survival. It expressed peoples ideals
and thoughts to become the law of our present actions and as a tribute to our ancestors.

Original:

Its recurring theme of family and clan unity strengthens their well-organized social system. It describes the rich natural world
and the landscape, where he lives, which make his emotions and senses sharp and keen. It is also a form of outlet of their emotions
expression. To sing the epic is more than an entertainment and source of mental and aural pleasures. The performance and the
participation in epic singing are acts to honor and pay homage to the revered ancestors. Finally, it becomes one unifying force.

(Revel, 2005)
Paraphrase:

In our world of technology today, to imagine a life of its opposite is hard but in some societies around the world, the
preservation of such indigenous customs; traditions and social obligation are present and transmitted orally. These become the medium
of our past to the present and of these oral materials are the epics which are sung or chanted and tell the adventures of heroes that gave
us certain ideas and understanding of life that merges the I into a We.

Original:

We, who live in a world where information of all kinds is readily stored and available in books and computers, find it hard to
imagine a world that is otherwise. However, in many communities in the Philippines and elsewhere, vital information crucial for
tapping the natural environment and for fulfilling ones social obligations continues to be stored and transmitted orally. One important
medium is the epic those long, sung narratives that recount in vivid fashion the trials and triumphs of a hero. To chant an epic is to
recount the key ideas and images that make life meaningful for ones self and ones community. In addition, to chant an epic is to enter
into a ritual that merges the I into a We.

(Revel, 2005)
Paraphrase:

In the epics, the unstableness of female ideology could be noticed especially in the genre of heroes. In a male oriented one,
violence and raged were noticed in their acts such as head hunting while a female oriented centered with womens role of
peacemaking. Thus, it concludes a continuous generation without war.

Original:

The female ideology that looks so much out-of-place in the genre of the heroic epic. It emerges that while male epic
concentrates on violence, expressed through a system of head-hunting which is based on rage, enmity and vengeance, female epic
concentrates on the problem of peacemaking and represents a tradition of heroic exploits in which no blood is split whatsoever. That
means a total elimination of enmity; the next generation with no enemies.

(Stanyukovich, 2006)
Own Analysis:

Having a son also helped them in fighting because most of the epic characters have unsettled life where war and invasion
always occur. Might was needed in such the case of Agyu, Labaw Donggon, Maiden of the Buhong Sky, Kudaman and Ullalim. It also
saved the parents from expenses for a female child such as quarters, servants, ornaments and clothes which she needed to make herself
a prospective wife.
Own Analysis:

The scenario of an older brother and younger sister signifies that male had the dominance over the female such as a father as
the head of a family for the male were the usual character that was allowed to go outside their homes while the female was trained
inside but in these instances, the relationship as siblings was equally shared in terms of obligation and duties, and with intimacy and
love.
Own Analysis:

The protection that each of the heroes gave signifies that in the absence of their parents, it is the eldest child who was obliged
to assume a fatherly role. The offering of the betel chew in the Maiden of the Buhong Sky signifies a closer interpersonal relationship
between siblings.
Own Analysis:

One principal chore that they do was cooking. This was for them to be able to become a wife that could provide her husband
the support and strength he needed. Cooking became the principal chore for it needed to be cleansed well before given and women
signifies cleanliness by comparing them to bodies of water and even to healing which was seen universally. Food also signifies the
connection and at times the contract of marriages and obligations.
Own Analysis:

This confinement was done so the parents would be assured that their child gets a life at ease. Yet this method binds women
with their familys decision and choice that resulted to their passive attitudes and dependence towards their husband-to-be. This
guaranteed the attainment of suitable mates to ensure their familys prestige and economic prosperity especially when an alliance will
be formed during their marriage. This was done by their parents to protect her from harm that could be caused by her environment.
But this was also a form of self-oppression for they limit her action thus making her too innocent for the world she would be seeing
when she gets married. With betrothal, assurance of a stable and intact family was not certain for their arranged partners were not of
their choice and only a forced living could be made if their reason to stay as a family were for their children.
Own Analysis:

The bride price serves as a proof that the prospective husband could provide a life at ease because the usual dowry that were
asked are necessities for a house and a living. Wealth assured that the maiden would be treated with prominence and attention because
of the obligation of the prospective husband to give expensive and beautiful gifts to the bride and her family. This also entitles the men
and his family to a complete possession of her because it serves as a payment to the family of the bride for their expenses on her.
Own Analysis:

Nature was always compared to the notions of beauty and this was because women and nature are similar especially by their
passive attitude. Nature have the element that builds-up life and like women, the miracle of birth in her womb, which brings her closer
into power which later on gains the respects and protection of the men around her. As it was described by the rising sun and unstained
banana stalk, chastity was an important factor for a prospective wife.
Own Analysis:

Aggressiveness and forwardness were the characteristics disliked by men. This meant that women could give their affection so
easily and might do it as a habit. Another reason for this was men usually do the first move in courting and showing of affection to
women for it signifies their readiness for building a family and to show their wife-to-be that they are the dominance side and the head
of the family.
Own Analysis:

Women became the cause of the weakness of men. In such cases, their might and power became useless because they became
intellectually and emotionally manipulated by women of these epics thus making them an equal counterpart of men.
Own Analysis:

Although they were equally matched to the heroes of the epics, it was noted that their beauty fades whenever they are engaged
in battle by the description of their unloosened hair which results to their defeat. Yet they are still intellectually superior as portrayed in
Matabagka searches for the deity of the wind wherein she easily stole the talisman of his brothers enemy and solved their problem.
But it would also be noted that being woman was a factor for her success
Own Analysis:

This marriage alliance not only stops the war of countries but also expands the territory and adds to the economic prestige and
wealth of these families. Women thus become the prize offered for these negotiations. Although it brought their community and family
into peaceful, worry-free life their self-freedom was sacrificed.
Own Analysis:

They became mere agents of reproduction for descendants, to be able to expand territories and for the immortality of their
lineage. This was because there were defined duties for married couple to comply for their marriage to be kept intact and stable. For a
husband, the ability to support the wife and children is primary while for a wife was industry or diligence, fidelity and the capacity for
having children.
Own Analysis:

The ability of the women to perform certain household chores was another factor why polygamy was accepted by the principal
wife because it meant many assistants to chores. It was also an important aspect because it would be the lesson she will teach her
children especially her female offspring.
Own Analysis:

It may seem impossible because chastity was a notion for a prospective wife yet a reason for adultery was to gain wealth of
another man. Another would be because of the arranged marriages that happened in the epics so an instance like this was inevitable for
they have their own choices to make. Fidelity is needed because as she grows to become a mother more responsibilities will be taken
by her and for her to keep their familys stableness.
Own Analysis:

As mothers they are training their children specifically their daughters of the knowledge they have learned from their own
mothers. This knowledge was then passed to the succeeding generation as it becomes a part of the Filipino culture and tradition.
Own Analysis:

Even though they have the authority, as single parent they become fragile and passive towards their sons who always ask for
the presence of their fathers. Yet they still act their roles as parents by guiding them. They become knowledgeable about many things
because of their experiences in their life as a result they were seek for advice and help by men.
Own Analysis:

It was the sisters of Agyu who found these commodities in the forest which was said to be more than enough even for their
community. This proved that although they stayed at home, the still have their view of the surroundings enabling them to help in their
communitys crisis. They also took the responsibility of a mother to the whole society by providing these as foods which gave them
the credit to be as equal to men which was shown by the equal distribution of food to everyone.
Own Analysis:

Without womens help the heroes and their community would have been defeated and invaded by their enemies. These
illustrated that men and women needs each other and at women can exceed men and her roles confined at home. The notions on
women were commonly about their confinement at their houses but these kind of service that they could give surpasses the
expectations given to them and proved that they could do what men could. Hence, women were more independent and matured in
their decisions.
Own Analysis:

Shamanistic abilities, healing and power were often connected with women as shown by the epics which gave them the
authority to become advisers, guardians and helpers of men. These connotes that women became prominent in their societies.
Own Analysis:

Because of their capabilities to connect with the divine; they become the first teachers and priestess which related them with
religious activities and rituals which were often seen in the stage of motherhood. These could be explained by their closeness to nature
in terms of its passiveness and of its ability to nurture and support life just like a mother.
Own Analysis:

The revival of life was explained by the capacity of women to create and bring it on Earth which at that time was still a
mystery. Without women, men cannot live and with the intellectual capabilities of women, they could survive without men but they
needed them to be able to reproduce and for the continuation of their linage.
Own Analysis:

The hierarchical society, as a member of a class, women received privileges and rights. They were given certain titles such as
Bai, Bae and Lady Dignified for the upper class and the middle class women were referred to as Abyang and Anggoy.
Through these titles it could be noted that women were respected and honored at that time depending as well on the class they were
born in.
Own Analysis:

In all these notions on womens beauty, it could be seen that their beauty was extraordinary and always compared with natures
natural wonders and to the elements that represents power. These elements were gold, sun and light which symbolizes supremacy.
These were used because like the women of these epics they are not easily touched and be found. One needed to undergo many
hardships to be able to claim it which was true with what the men in our epics experienced. These signs of power were the reasons for
womens prominence and growth on their roles as spiritual mediums, healers, advisers, guide and first preachers.
Own Analysis:

The epics usage of the dress and ornaments in their bodies which were given by the women character as a protection
represents the attitudes of women in circumstances and events that occur in their families and community. As mothers, they are
responsible, caring and protective of their children; they do no want them to undergo hardships. Because they are not always with their
children they gave these dress and ornaments that they made for it builds up a connection and represents them that gave strength.
Own Analysis:

The betel nut signified the power of women and the relationship in the family and in courtship. The betel nut was taken in the
epics because it became a staple food which revives strength and life. It was the most convenient food to be brought in long journeys
of the heroes. It also represents relationships because it was used as a seal for contracts like marriage. As for the family
interrelationship, an approach could be of the importance and role of women to keep the family intact, a reason why they were usually
the first to offer betel nut.