Showing posts with label igorot. Show all posts
Showing posts with label igorot. Show all posts

Tuesday, May 31, 2016

The Ibaloy today

The Ibaloy Studies Conference: The Ibaloy today (By Valred Olsim)

(Our Tourism policy is more than numbers that help generate employment and pump the economy but also includes the preservation of culture and heritage. That is why I am fortunate to have been given the opportunity to attend seminars and conferences that are related to our functions such as this recently held Ibaloy Studies Conference at UP Baguio on April 24-25).
“That’s a very difficult question.” Dr. Julie Camdas-Cabato, sighed not knowing that the inquisitive person in front of her is one of the many babies she ushered to this world via caesarian section.

Dr. Cabato’s story of the “vanishing Ibaloys of Baguio City” echoes the many fears of the Ibaloys in this age – the displacing of its people, the fading of its culture, and the losing of its identity. As many queries piled the hall, I was compelled to stand up and address the room’s white elephant after a UP professor’s “profound” and “extremely important” inquiry about the “color of the butato (fireflies)”.

“How do we, the multi-cultural children- the one-halves, and one fourths, address our identity? What is the implication of being a multi-cultural child in the Ibaloy’s advocacy of cultural preservation?” I nervously raised.

“That is indeed a very difficult question” The questions actually broke the room- each participant looking side and up, asking the ceiling the same thing.

There was no answer.

Earlier, messages were given asking the obvious question: “Who are the Ibaloys?” Benguet Gov. Fongwan, who admitted that he has no Ibaloy blood but can speak fluent Ibaloy, shared that he is considered by many as one of them simply because he lived as an Ibaloy, and speaks the Ibaloi Language. (“He looks and sounds like a chicken, therefore he must be a chicken”).

Does that mean that those who do not know how to speak Ibaloi, despite having Ibaloy parents, like most from the fifth and perhaps, sixth generation, are not considered Ibaloys?  Is being an Ibaloy by blood? Or by cultural orientation (as being able to speak Ibaloi)? Although I understood that Anthropological researchers use the language to sort human groups, I still felt unconvinced.

NCIP Commissioner Zenaida Hamada-Pawid (a one-half, one- fourth herself) answered my query in three parts. She started her story by recalling her experience as a young Anthropology professor of UP who is tracing her ancestry by collecting the genealogy of the five biggest clans of Benguet villages. What she and other researchers found out was that all of the people in the southern Cordillera can trace their roots to only one people – the Kalanguyas (Ikalahans), a distinct sub-group of the Ifugaos.

The Kalanguyas (from “Keley ngoy iya” a term used to pacify misunderstandings), in turn, are blood brothers of many different ethnic groups, not only from the Cordillera region, but also of the people of Region I and II. “Enshi nai-afafil” I smirked.

If we go deeper, we will find out that our different tribes in the Cordillera region belong to the same Austronesian Peoples in Southeast Asia and Oceania. This means that we belong to the same family with the Taiwanese aborigines; the majority ethnic groups of Malaysia, East Timor,Indonesia, Brunei, Madagascar, Micronesia, and Polynesia, as well as the Polynesian peoples of New Zealand and Hawaii, and the non-Papuan people of Melanesia, the minorities of Singapore where Malay is an indigenous language, the Pattani region of Thailand, and the Cham areas in Vietnam,Cambodia, and Hainan.

“What irks me is the different organizations, including that Bangsamoro, who insist that they are different (perhaps superior?) groups when they belong to the same group of people” She said strongly. “Even without discussing the cultural and social matrix however, we are one people because of our common activities – pasturing, agriculture, forestry and mining.” These activities, she explained are protected by the Indigenous Peoples themselves suggesting that said activities taught them to become very much protective of their land and resources.

“So how can the young Ibaloy today understand how is it to become an Ibaloy of the past?” She asked. “The Ibaloy is a culture and people in constant change….they are not frozen in time”

“But if you want to know the core value of the Ibaloys, go ask the Ibaloys who perished in the Battle of Tonglo at Lumtang (Lamtang). Our ancestors who spent 300 years of fighting to protect our ownership of our lands, properties, and resources.” She almost shouted. “The Ibaloys are strong and empowered!”


The room almost became somber. For some of the Ibaloys who are there, the obvious implication of her last lines hit them like a brick. “Have we protected our ownership of our land and resources?” They must have muttered. Perhaps, our ancestors must be rolling on their graves screaming that “the real Ibaloys are those who have protected the lands of their ancestors!”

************
My late Father, Alberto Ingosan Olsim Jr., descended from the Ingosan-Gabol Clan of Irisan, Baguio City who can trace their roots to Ahin (Buguias) and Kabayan, and the Olsim and Bacquian clan of Buguias, Benguet. He is a “Kanibal”(Kankana-ey – Ibaloy). He, however, grew up in Mt. Province because of his father’s choice to farm at nearby Bauko and Sabangan, Mt. Province.

It is a different case with my Mother, Marcelina Dulay Elwas, who is predominantly a “Bontokis” from Sabangan and, Samoki, Can-eo, and Gonogon, Bontoc, Mt. Province. She, however, grew up in an Ibaloy mining village at Itogon, Benguet where she lived and spoke like a true blue Ibaloy.

This (comically) means that I have an i-Benguet father who grew up in Mt. Province, and a Mt. Province mother who grew up in Benguet.

I was born in Baguio City, and raised in La Trinidad, Benguet. I lived in a multi-cultural neighborhood who uses the Cordillera region’s “neutral” language – the “Ilokano”, or perhaps our washed out version of it. Our parents did not use the Kankana-ey or Ibaloy language in our home, just like many parents today.

Growing up, however, I saw how the two tribes treat each other with contempt - the Ibaloys thinking that other groups have robbed them of their lands, and the other groups blaming the Ibaloys for selling hectares of it. In one record, my Ibaloy side,the Ingosan and Gabol, who are two of the major clans of Baguio City, sold their lots at Irisan to Manila developers. Such event at Irisan served as the microcosm of how Baguio City have turned out to be.

The attitude of Benguet versus Mt. Province, or the Ibaloys vs. the "Bontokis" is visible in schools, in the workplace,and even in news columns like Midland's Opposite Direction by Atty. Benny Carantes where he viewed the "Bontokis" as carpet baggers, and his fellow Ibaloys as threats to other Ibaloys. 

Many writers blamed the division of the Ibaloys to the conscious machinations of powerful people in the past. The division of barangays to divide the Ibaloy clans and subdue them, and the unfair politics of this date. Come to think of it, there has never been an Ibaloy mayor of Baguio City.

Such conflicting scenario, taught me to become indifferent with my cultural identity. "Why can't we just say that we are humans who breath the same air, and drink the same water?" I contemplated as a young kid. For a 90s kid immersed in the global pop culture, I never really cared...until today.


******************

So, how do we, the part Ibaloys, address our identity, especially in the Ibaloy’s call for cultural preservation in this modern multi-cultural society? Does it mean that I have to marry an Ibaloy girl to ‘promote and continue the blood line’? Does it mean that we have to ban the entry of the “Bontokis” or other cultural groups?  How can I compromise the preservation of the different cultures that I belong too (which are equally wonderful)?

For us hybrids, we can only imagine in our silence.

In this multi-cultural generation in which the young Ibaloys have learned to love without the issue of tribe, language, or colors, they will barely understand the importance of their Ibaloy culture and identity, or feel what is it to become an Ibaloy.

They can only learn the cultural tools - the language, and the dances. They can only wear their names and their ethnic costumes. But beyond that, they have changed... just like this ever-changing world.

************

Tuesday, May 22, 2012

Ubbog: Cordillera Young Writers

Ubbog: Cordillera Young Writers

In their book launch last year, these talented young writers described how they came up with a name for their group. In their book, they said that "Ubbog" is a word that means "a fresh water spring" in the Iluko language. As a metaphor, it is a spring where overflowing ideas from the youth inside and outside the Cordillera region spill out a melange of different views that will eventually quench the thirst for new Cordillera literature. The group was created to foster fellowship among the youth who are interested in writing, pseuodowriting and reading. It was born and kept alive mainly through sheer bravado, teeth-clenching determination and an enthusiasm that can be found only among the so-called youth. 

Some of the members here are my school mates, and even former workmates. To join them, they said that  the interested person should attend their workshops and seminars first (an alternative they suggested is to get them drunk, they said jokingly).


"Lumawig: The Great Spirit"


"Lumawig: The Great Spirit"

In the beginning there were no people on the earth. Lumawig, the Great Spirit, came down from the sky and cut many reeds. He divided these into pairs which he placed in different parts of the world, and then he said to them, “You must speak.”

Immediately the reeds became people, and in each place was a man and a woman who could talk, but the language of each couple differed from that of the others.

Then Lumawig commanded each man and woman to marry, which they did. By and by there were many children, all speaking the same language as their parents. These, in turn, married and had many children. In this way there came to be many people on the earth.

Now Lumawig saw that there were several things which the people on the earth needed to use, so he set to work to supply them. He created salt, and told the inhabitants of one place to boil it down and sell it to their neighbors. But these people could not understand the directions of the Great Spirit, and the next time he visited them, they had not touched the salt.

Then he took it away from them and gave it to the people of a place called Mayinit. They did as he directed, and because of this he told them that they should always be owners of the salt, and that the other peoples must buy to them.

Then Lumawig went to the people of Bontoc and told them to get clay and make pots. They got the clay, but they did not understand the moulding, and the jars were not well shaped. Because of their failure, Lumawig told them that they would always have to buy their jars, and he removed them from Samoki.

When he told the people there what to do, they did just as he said, and their jars were well shaped and beautiful. Then the Great Spirit saw that they were fit owners of the pottery, and he told them that they should always make many jars to sell.

In this way Lumawig taught the people and brought to them all the things which they now have.

(From PhilippineLiterature.com)

Saturday, May 19, 2012

Bulol: The Rice God


BULOL: THE RICE GOD



The mythical Bulol is that thing which you see in the common wood carvings in Art communities/houses in the Cordilleras (You may have even bought souvenirs containing it in accessories or, perhaps those printed on shirts). The Bulol is an image of a sitting or standing male person and regarded as a deity that protects the ricefields of the Igorots or Cordillera mountain peoples, especially, the people of Ifugao.

Like most indigenous peoples, the Igorots are rich in myths and legends. These myths and folklores and literary constructs are expressed in visual arts, most commonly in paintings, carvings, and drawings. That is why the image is more of a symbol, rather than an artwork.

In mountain province, the same motif or image is called “Tinagtago” or “Tinatao” which literally suggests 'resemblance to people'. Palawan, a province outside Cordillera has the same symbol which they call "Monongol”, or the “Watcher of the dead”, the entity which brings the dead to their final destination through a “bangka” (similar to "Charon" of greek mythology).

Today, the “Igorotak” popular culture incorporates the traditional symbols (and it also has a market of its own). Thus, it also became a trademark to contemporary art, especially by young Cordillera artists.

Cordillera Music: "Nan Layad"


Because Part of me is from Bontok, about a third of my blood, it was really imminent that I feature the most popular, and possibly the best i-fontok song in its history : "Nan Layad nan Likhatan" (it was even jokingly referred to as the "anthem" where all i-fontoks must stand-up and put their right hands in their chests in an event that this is played, haha). 'Nan Layad', for brevity, is an old and very popular song in Bontoc, which tells a story of a love that has gone sour yet suggesting hope for another chance. If you ever get lost at bars in Baguio City and La Trinidad, you will most probably hear a modern version of this song, that is, if you chance upon Cap. Peter Wasing, and other Cordilleran Bands at BCS, Kinouboyan Bar or Ginawang Bar(Ask direction from the taxi driver please). If gongs are being played accompanied with distorted guitars and upped tempo drums, then it is probably it - yup, 'Nan Layad' has a Rock version. I'm not kidding, the version has existed as long as 8 years ago when I was still a college student. It was popularized by the Ifontoc Band, P'etune. Just Listen to this.
Here are the lyrics. Sing-along with it!
Nan Layad Nan Likhatan
Nan layad ensikhafan
Tet-ewa'y sikhab
Layad ay nenlikhatan
Nar-os cha am-in.
Seg-ang yangkhay nan wad-ay
Sik-a et achi mampay
Ya ngag kasin ta angnen
Nar-os cha't am-in.
San enta nenfowekhan
Ad-im ngen semken
San enta nenpachangan
Nar-os cha am-in
Seg-ang...
Layad ta'y chachama
Ento pay kasin chachi
Nar-os cha't am-in.
Tak-en mo mimowasan
Someg-ang ka man
Ta kasin ta lomanen
San layad ta'y chwa.
San layad ta'y chachama
Wedwecha's fangonen ta
Ta't ampay en-among ta
Omafong ta'y chwa.
Layad...
English Translation (I must think Bontok Ikholot for this):
A love beset with difficulties
It is truly hard
A love that has been given much effort
All of them have faded away.
Pity is all that is left
It is really up to you
What else shall we do then?
All of them have faded away.
The times when we were together
Don't you think (about them)?
The times when we held hands
All of them have faded away.
Pity...
Our love so great
Where did all of it go?
All of them have faded away.
So that everything will be alright
Have pity on me
So we can bring back
Our love once again.
Our love so great
It is better if it is revived
So that we can be together 
Let us then get married.
Our love...
Gawis inya? hehe

Cordillera Music: "An-anusak"


“An-anusak” is a kankana-ey song from the “MPBC Kinouboyan” album series which you can buy at local music stores in Cordillera (but please not the pirated ones), it is translated as; ‘I will be patient’, ‘I will endure’, or ‘I will suffer’ (Pick your own choice hehe ). I tried to sing this years ago and yup I’m that person in the videolink after this paragraph. I’m not drunk, although the message of the song pictures a half-drunk broken -hearted man pitying himself because he was not that good to be with this woman.
Woman: again, the cause of all men’s suicidal attempts (my former girlfriend thinks otherwise, saying that most guys just tend to submerge in that drama when they could’ve saved the relationship in the first place, the irony). But wait, the message is quite convincing – I love the chorus part where it basically repeats how the guy will bear the pain.
And when the lyrics said “Esestek et nan Biag ko, ta adi ak wat kaseseg-ang” (including the ‘oooohhh’ part), or in English; “I will now fix my life, so that I will not be this miserable”, I almost stood up to clap my hands. That line deserved an applause (applause 2x :). The guy in the song could’ve done that earlier, that drama king.
If I destroyed your day when you clicked at my video link, here is the original rendition of it in youtube link. :)
An-anusak
by MPBC Kinoboyan
No nemnemek san nabiit
Ay nankoykoyog ta
Kanak no nan kinaragsak ta
Et magay patengga na
Polos adak ninemnemnem
Di pansinaan ta
Lumuluwa nan mata
No nemnemnemek sik-a
CHORUS:
Et aw adi, no say kanam
Ay enggay magay riknam
An-anusak, ikarigatak
Manbiyag ay maga ka
Tan narigat met kayman
No wat sak-en di manlaylayad
Narigat no mamingsan
Di umas-asa ka
Nakarkaro no sisik-a
San pobre ay kanan da
Wat dakan lalasoyen
Aagin di gayyemen
No mamingsan san kinapobre
Di inda iilaen
(Back to Chorus)
Bridge:
Nem asak an-anusan,
Sik-a di ennak liw-an
Es-estek et nan biyag ko
Ta adak wat kaseseg-ang
Wooooh (Back to Chorus)

The Igorot Solar Painter


When you visit Tam-awan village, dubbed as "the garden in the sky", at Baguio city, you will most probably meet a middle-aged person with a necklace of animal bones and sporting a "Pacquiao-facial hair". If he is riding a 'tatooed' volks (when he is not using his bicycle), he should be Mr. Jordan Mang-osan; a genius, a multi-awarded artist,  an indigenous people's culture vanguard, a very nice person, and most important of all...my neighbor (hehe, a few houses from mine).He was trained and influenced greatly by the senior artists of Tam-awan group, but it is Santiago Bosi (his mentor) who has  made a great impact in his life, it is from him whom he learned Solar Drawing.

His main tools for creating his art are very simple; a magnifying glass, a piece of wood, creativity, and the heat of the sun (some call the process, pyrography). In a competition in the US, his legend became an inspiration when he was the only one who was excused to get out from the art competition hall to proceed to the top of the tower because his medium is the 'sun'. I actually laughed when they told me this.

Just like most senior artists, he is  very willing and eager to share his craft, he makes sure that the art and culture in Baguio and Cordillera will be preserved during their time and be passed on to the next generation. I once wanted to be like him, until my father told me that I can't live with art. You see, one of his earliest painting was at my grandfather's house which he made when he was just a teenager. That collage sketch with patches of green paint has proven that he has the talent to become not just a national artist, but an international one.

For Jordan though, the cordilleran culture  remains in the heart of his works. As he cited, “My inspiration is to promote and share our cordillera culture. This is the only way we can share it, thru art”.
Jordan Mang-Osan was named as the most outstanding artist back in 1994 and the awards and recognition kept on coming, not just from here but from from Asia, US and other countries. Just recently, he was all over the news again when he was working with paintings of the boxer Manny Pacquiao. His ingenuity, and the uniqueness of his artwork made him recognizable here and abroad.
Jordan with his recent works.
Actually, you can add him up at Facebook. :)

The Igorot Country Music and Culture


‘Cowboys’ are teeming in the Cordillera Province, Philippines. I am referring to the men in boots, cowboy hat, and leather you meet at Session Road, or the singers in the same outfit you see on drinking bars and folk houses, singing the “yudelee”.  I am almost sure that you will not fail to spot them on clan reunions, weddings, and other celebrations – men in cowboy gadgets and all, even riding a horse. One may even have heard of country sounds or Igorot country music recordings, or may have even bought a couple of these records on sidewalks –maybe even luckier to witness gong-players adding the “country line-dance” on their cultural presentation. There is no doubt that there exist a culture in the Cordilleras (or most part of the region), perhaps a subculture, wherein it blended the west’s cowboy and the region’s IP culture. The result is a hybrid sub-culture that baffles me to this day.

Just who are “Cowboys’? Or what is the “Cowboy Culture”? The ‘Cowboys’ basically referred to the people of the west who maintained ranches, or tends cattle or animals in America after the civil war. Overtime, they developed a personal culture, a set of traditions, which are even highlighted on ‘wild west films’. The Western Cowboy culture, or at least the image of it, was left by the colonial Americans in their occupation of the islands in the 1900’s. The question is, why did the people from the highlands adopted it? How did they come to love it and live the image of it?

The Americans having chosen Baguio, and most parts of Benguet and Mountain Province as their mountain resting resort because of the cool climate, also attracted the ‘highlanders’ to crowd movie houses showing ‘cowboy films’, and even influenced their taste of music.  So how did our people came to love the cowboy culture? An article I read when I was in high school explained that it is because we can relate to the ‘cowboys’. As hardworking people, the ‘highlanders’ can relate to the hard labor which is demanded from people who maintained ranches; as humble people, we can personally relate to them because they were ranked below the social class in those times; as mountain people, we can relate to wearing a thick leather jacket, or using boots on muddy trails just how they did in the west - there are actually myriads of explanation to our embracing of ‘everything cowboy’ that in the present time we even contrived a term to celebrate it:  “Kinobouyan”. Beyond, however, the fashion or the external outfit, or the country music and the line dancing, is an attitude or an outlook which set a standard of being a “cowboy” in the Cordilleras. It is the attitude of being practical, or being pragmatic in any given situation, or what we call “kinobkoboy”.

‘Kinokoboy’ or’ Kinobkoboy’ revolves around being adoptive to environment, even creative or resourceful in tough situations (with all the elements of ‘taraki’ or ‘diskarte’). This mind-set is expected of highlanders, a sort of an initiation process to claiming a membership of the highland people. An example is where we use anything we see in lieu of modern tools. There are many situations which defines a “kinobkoboy” which only a “koboy” recognizes. This culture is perhaps, an upshot of the innate tendency towards survival. As a sort of initiation, this culture is majorly passed through traditional socialization, although the source was first derived on many communication tools such as the movies or the arts, or even inebriated discussions. In traditional socialization, it includes verbal discussions which set the standard towards a ‘kinobkoboy’ attitude (may even include a father lecturing his son of those standards) or even igorot country music which describes how ‘Cowboy and Taraki” Cordillerans are, and non-verbal communication of peers or group having the same tendencies or actions which heavily uses observation to decode messages. In any of those channels, the message is received and the receiver also becomes the ‘source’ of those attitude, knowledge, social system or culture. The effectively of the process is reinforced by various tools like music (Igorot country sounds), events and even enterprises (there is even a bar called “kinobouyan” with most costumers wearing cowboy outfit and listening to country music, and let us not forget BCS), which necessarily passes such knowledge or culture to more receivers. The result is a systematic passing of culture from one entity to another.

I must be clear though that the “Igorot and country’ music and fashion, even though it is a culture in itself, serves as a communication tool. Beyond the music and the fashion is the attitude of “Kinobouyan”, or the attitude of resourcefulness and strength that defines our character as highlanders, which is a culture worth passing especially to the younger generation.