Philippine epic poetry
Filipino epic poetry is considered to be the highest point of development for Philippine folk literature, encompassing narratives that recount the adventures of tribal heroes.
[2] The narratives would include voyages - on earth, sea, sky, and the underworld - to allow the hero or heroine to overcome the challenges faced.
Epics are generally sung during folk festivals and recreational gatherings such as weddings, baptisms, wakes, prestige rites, peace agreements, and the like.
The Palawan Kudaman is also sung on special occasions – as an offering to the lord of the chase when they can catch a wild boar, or to welcome a guest in their rurungan.
[1]: xiv Primary examples of epics in the first group are Lam-Ang, the Ulalim, Labaw Donggon, Bantugan, Lumalindaw, and Kudaman.
The Subanon hero, Sandayo, is described as: A handsome datu Radiant and resplendent As if he stood not On earthly ground Straight as a tree Like a son of Diwata Like some rare flower Beautiful to behold[1]: xix Philippine epic heroes are also described as having loud voices which make men tremble.
They also stand out as acknowledged leaders in their respective communities, such as Tuwaang, or Bantugan, who while not the king of his realm, is described as having no rival among the lords of the kingdom.
One of the most distinctive characteristics of Philippine epic heroes is their possession of supernatural powers, or magic animals and/or objects.
In contrast, heroes in Central and South Philippine epics cannot continue without mana, or some supernatural being aiding them, or without the magical properties of the tools that they use.
Attached to this is the sengedurug, which represents an account of a portion of Agyu's life in Nelendangan, the earth name of his paradise.
Only Lumalindaw diverts from this with a somber ending, where, after giving parting advice to his children, enters the cave where the Voice that has guided his life resides, and is seen no more.
Similarly, the Gaddang hero Lumalindaw seeks his fourth wife, Caligayan, in the Underworld, in a place called Nadaguingan, guarded by dwarfs.
In the epic of Maranao, Darangen, for instance, they have made Muslim prophet Muhammad as the forefather of the hero, Bantugen.
Early historians like Padre Colin, Joaquín Martínez de Zúñiga and Antonio Pigafetta have all attested to the existence of these epics.
Epic poems and songs about the exploits of enchanted folk heroes were performed during festivities and proper occasions.
Stories about folk heroes of long ago were described as "Old Time History" because; they can be used to study the lifestyle and beliefs of the people who produced them.
The famed orientalist, Chauncey Starkweather, stressed that: "These epic romances are charming poems in the Malayan literature."
Some scholars however dispute the claim that in the early days of Spanish intrusion, priests in their zealous rage against paganism destroyed all existing records, as well as all forms of writing and artworks, regarding ancient Philippine folk heroes.
It is through these folk epics that every Filipino can feel heroic, truly pulsating with the splendor of a magnificent and authentic cultural force.
Two epic poems originated among Christian Filipinos in Luzon; the Biag ni Lam-ang of Ilocos and the Ibalong of Bicol.
Many more epics in Luzon came from the non-Christian groups of the Cordilleras, such as the Ifugao Hudhud and Alim, Kalinga Ulalim, and Gaddang Lumalindaw.
The epics from Mindanao are The Maiden of the Bushong Sky, the Tuwaang Attends A Wedding, Agyu, The Tulelangan of the Ilianon Manoboc, The Darangen of the Maranaos, Guman of Dumalinao, Ag Tubig Nog Keboklagan (The Kingdom of Keboklagan), Keg Sumba Neg Sandayo (The Tale of Sandayo) and The Tudbulul of the T'boli of South Cotabato.
Bantugen owned a magic shield, was protected by divine spirits called "Tonongs" and was capable of rising from the dead.
A crocodile delivered him to his enemies, but he regained his strength, escaped his captors, and commands an oarless ship and won the battle.
