Philippine Mythological Creature: Akop (Tingguian)

Akop is an evil being. He lacks a body but has a head and lengthy, slimy arms and legs.  He constantly visits the scene of death and tries to give the deceased's spouse a hug. If he is successful, death comes soon after. The widow is heavily protected by the wailers to thwart his schemes; she wears seeds that this creature detests and sleeps behind a fish net for added protection from his long fingers.

Overview

Based on the mythology of the Tingguian (or Itneg) people of Northern Luzon, the Philippines, the Akop is a frightening and enigmatic figure. Akop is a member of a class of lesser-known spirits that appear exclusively after sorrow and death, in contrast to more well-known figures like the kapre or aswang. Akop represents the age-old notion that death leaves the living emotionally and spiritually vulnerable, and is linked to mourning, funeral customs, and the spiritual dangers that accompany bereavement. Akop is a legendary character that warns of the perils that exist in transitional areas, such as those between death and life, grief and recovery.

Physical Characteristics

One of the most unique forms in Philippine mythology is that of the frightening Akop. He doesn't look human; instead, he's a jumbled thing without a torso at all. The only part of his hideous anatomy is a bloated head that is joined straight to lengthy, hideous arms. It is reported that these freakishly long, slimy limbs and legs crawl across dimly lit rooms or funeral areas in eerie silence.

His liminal, unfinished nature is reflected in this terrifying aspect, which is not merely intended to frighten. At wakes and rites, Akop, who lacks a central body, becomes more of a hint of a being—an incomplete specter that lurks in the shadows, preying on the dead and their loved ones. He is both real and spiritual, tangible but elusive, as seen by his ability to coil between rafters and fissures.

Family

Akop stands apart from other deities who are part of divine hierarchies or ancestral lineages.  He is neither derived from any great gods or goddesses nor a member of any pantheon.  Rather, he is better characterized as a funerary demon, possibly one of several, whose life revolves on decay and death.

According to some Tingguian stories, Akop works in concert with Ibwa, another death demon that eats the flesh of the deceased. Akop is attracted to the fatty liquids that flow off carcasses, but Ibwa eats the soft tissue and ears. Despite not being a family in the conventional sense, this somber alliance creates a conceptual connection based on the defilement of the deceased.

Other Names

Although Akop doesn't have any well-known aliases, his characteristics are remarkably similar to those of other Philippine legendary characters. In Waray folklore, for example, the term "Abat" describes a ghost that splits from its body and eats its internal organs. Conceptually identical to Akop, corpse-eating demons are referred to as pak-an or awok in several Visayan locales. In the meanwhile, strange forest creatures with reverse feet and ulterior intentions are the Alan of Tingguian legend.

Despite the fact that each of these creatures has a distinct function, they all represent societal fears related to death, decay, and the invisible forces that could haunt the bereaved. Even while his name is still exclusive to a certain cultural niche, these theme parallels imply that Akop is a part of a larger regional knowledge of funerary demons. 

Strength and Capabilities

Akop's threat stems from his silent, predatory presence during vulnerable emotional moments rather than from his physical might or paranormal exploits. The vulnerability of the bereaved, especially at funeral ceremonies, is the foundation of his abilities. In contrast to other mythological creatures that cause mayhem by using violence or storms, Akop sneaks into times of mourning, preying on grief and taking advantage of the spiritual void created by death.

His need to eat the fat that leaks from a body before it is buried is one of his most disturbing characteristics. He has a terrifyingly close relationship with the dead because of his disgusting appetite, which makes his abuse of the body extremely personal. Akop is inserted into the holy process of mourning and burial by consuming this fat, which is more than just a physical act; it is a spiritual defilement that halts the natural passage from life to death.

Targeting the grieving spouse is Akop's most dreaded behavior. It is thought that he stalks widows and tries to kill them by embracing them. If he is successful, the widow or widower is believed to pass away soon after, so his presence is not just a sign of grief but also a possible source of further deaths. He belongs to a special class of mythological creatures that prey on emotional ties and turn grief into peril because of this position.

The Tingguian people perform a number of protection rites to stave off Akop's quiet attacks.  Widows remain surrounded by mourners who serve as spiritual guards, wear seeds as amulets to ward off his presence, and sleep beneath fishing nets to trap his abnormally long arms. By assuring that no spirit, no matter how cunning, can take another life in the midst of the grief, these customs represent the community's collective attempt to safeguard the bereaved and maintain the purity of mourning.

Influence of the Modern Era

Akop's legacy endures in subtle yet significant ways in spite of his relative obscurity. The rites and anxieties he symbolizes are still prominent in Filipino burial customs, even though his story has not made it into popular culture.

For example, there are many superstitions associated with contemporary Filipino wakes, or lamay, that are thought to ward off spirits such as Akop. Ancient ideas about spirits penetrating mourning areas are the origin of customs like burning incense, covering mirrors, and putting salt around coffins. The protective gestures demonstrate Akop's indirect cultural longevity, even if most urban inhabitants may not precisely name him.

Additionally, Akop is quietly gaining popularity online. To inform and amuse, paranormal bloggers, folklore scholars, and digital storytellers are bringing these lesser-known ghosts back to life. Through characters like Akop, producers explore loss, dread, and the supernatural in a regional setting as they dive into obscure mythology on platforms such as TikTok, YouTube, and podcasts.

Akop has influenced themes in graphic novels and short films that explore mourning as a means of spiritual disruption in independent horror circles. His disjointed body and subdued terror serve as ideal symbols for the psychological disarray brought on by loss. Akop is a terrifying yet culturally significant character that is only waiting to be rediscovered in contemporary storytelling that tends to go toward folklore horror.

Sources:

The Tinguian: Social, Religious, and Economic Life of a Philippine Tribe, Fay-Cooper Cole, 1922

The Aswang Project - https://www.aswangproject.com/creatures-mythical-beings-philippine-folklore-mythology/

MythLok - https://mythlok.com/akop/

Brian Valeza, Illustrator for Bukana: Gateway to the Sea of Skull made thru Artstation - https://www.artstation.com/artwork/kQwnqd

Philippine Mythological Creature: Labang (Buhid, Mangyan)

 

According to the folklore of the Buhid Mangyan, one of the indigenous communities on the Philippine island of Mindoro, the Labang is a supernatural creature. The Labang are a ghoulish and frightening race of ghosts that can appear as either humans or animals.

The Labang are dreadful creatures that inhabit the world's edge. Before killing and devouring its victims, labang can transform into both humans and animals.  Before moving on to live in Binayi's garden, where all souls rest, they are said to wander the places they used to visit during their mortal lives.

The Labang are demonic spirits that take the shape of animals. According to the Buhid Mangyan, their bites are lethal. In the event that the bite is not removed, it becomes a conduit for evil spirits to enter and cause illness or even death.  In one story, a gang of labang injure a man. By licking his wound, an edu-labang—a labang that resembles a dog—kills him. His body is eaten by a gang of labang.

A Mangyan shaman (iglahi) tells a particular folktale that sheds light on the Labang's character.

The "labang" is a creature from the mythology of the Buhid Mangyan people, described in a folktale as a flesh-eating monster that was eventually defeated by an old woman named Wada-wada. 

In the tale, Wada-wada tricks a family of labang into climbing a rope, which she then cuts to kill most of them, before defeating the parents in a game of hide-and-seek. 

The labang's story is told in a Buhid tale by an iglahi (shaman). Yoyon was the grandchild of an elderly woman named Wada-wada. One day, Yoyon complains to his parents that a wiwi (creeping monster) bit him. By dusk, Yoyon dies. Hordes of young and old Labang visit Wada-wada as they grieve over Yoyon's tomb.  She scales a hayu-ayahak tree out of fear. Wada-wada hears the labang consuming her grandchild's remains late at night.  When the labang sees her climbing the tree the following day, he asks her how she got there.  To fool them, she makes them climb a rope, which she subsequently cuts, killing the majority of the labang who aren't paying attention.  There is still a labang family consisting of a man, his spouse, and their two kids. Wada-wada is invited to play hide-and-seek, but if she fails, they promise to eat her.  Wada-wada attempts to use fire to flush the family out of their hiding spots after failing to locate them.  The two young labang are killed by her.  The Labang parents are allowed to live when Wada-wada wins the game.  Wada-wada later warns a group of eight brothers about the labang after they cross paths in the highlands.  Six of the brothers soon become ill and pass away. Kulinda and Dumalogdog are the two survivors.  Dumalogdog notices the approaching horde of labang while he is excavating a burial for his deceased brethren and chops them all to death.  However, the labang dies from the bloodstains on his skin.  The rest of Kulinda roams the woods.  Every time he forgets a personal item or wherever he lies down, a labang appears.  He crafts a bamboo spear but is injured when he gets to Hayakyan.  By licking his wound, an edu-labang—a labang that resembles a dog—kills him.  His body is eaten by a gang of labang.

Important Traits of Labang from a Story by Buhid Mangyan

Corpse-eaters: The Labang are portrayed in the story as ghouls who consume human remains.

Cunning and crafty: In the story, the Labang are outwitted by an elderly woman named Wada-wada, who deceives them into climbing a defective rope and then engages in a lethal game of hide-and-seek.

Appears in a Variety of Ways: Although the Labang are a race of spirits, the story depicts them as both an assaulting "horde" and a particular family consisting of a man, a woman, and two boys.

A beauty pageant contestant's attire is one example of how the Labang's symbolism has been incorporated into contemporary Mangyan cultural expressions.  The Labang, a spirit with "a symbiotic interaction with nature" and the natural beauty of Filipina women, was supposed to be represented by the elaborately beaded gown.  This stands in contrast to conventional folklore's darker ghastly representations.

Sources:

Buhid Mangyan Folk Tale of the Labang by Aswang Project - https://www.facebook.com/photo.php?fbid=5322527414480737&id=101949063205291&set=a.150223701711160&locale=zh_CN

Buhid Mangyan Cosmology and Beliefs by The Aswang Project - https://www.aswangproject.com/buhid-mangyan/

Mindoro and Palawan by Group Mindorawan - https://groupmindorawan.wordpress.com/2015/03/10/religion/

Philippine Mythological Creature: Onglo (Bicol)

In Philippine tradition, the Bicolano people describe a legendary creature called an Onglo.  It is frequently connected to the forest and is renowned for producing a severe, excruciating itching sensation just by touching or being near it.  In Philippine folklore, a large, hairy, and savage humanoid creature with long hair, pointed ears, and clawed feet is frequently described. It is said to live in swamps and collect shellfish using its incredibly hard elbows and knees, which are said to give people a painful itching sensation.

The creature, Onglo, is around one foot tall and extremely hairy, making anyone who touches it itch all over. The onglo resembles a human and is covered in long, straight black hair from head to toe. It possesses long, pointed fingernails, long, pointy ears, and clawed feet. An onglo's foul odor allows humans to identify it. It consumes food that has been exposed to the sun to dry, such as dried fish.  The monster known as an onglo has a man's upper body and a horse's lower body. It has a strong scent that is detectable from a considerable distance. Onglo is a hideous, black monster that itches people's skin just by being around it.

Physical Description / Appearance

- A little, human-like height, usually between one and two feet.

- Wearing long, straight black hair from head to toe.

- The feet have claws and long, sharp nails.

- They have pointed ears.

-  A disagreeable, foul smell.

The reason behind the itching  - People that go too close to the creature's dwelling are frequently afflicted by the insatiable, excruciating itching it causes.  According to certain folklore, a woman's long hair can be used to whip the person who is itching.

Habitat - It is thought to reside inside big balete trees or in other secluded, dark areas like wetlands.

Diet - According to legend, the Onglo eat dried fish and other foods that have been exposed to the sun.

Behavior - They have a reputation for being vicious and savage.  They crack open clam shells for food using their strong, rock-hard elbows and knees.

Dangers - An encounter with an Onglo can be dangerous since its hair can give its victims a terrible, excruciating itching sensation.

Trickster -  According to some legends, the Onglo is a cunning prankster who deceives and misleads tourists.

Alternative Description

According to one version of the myth, the Onglo is a big, menacing creature with powerful knees and elbows that it employs to crush everything. In this variant, it consumes shellfish and dwells in marshes.

Cultural Significance

The Bicol Region's rich cultural legacy and folklore include the Onglo tale.  The narrative is frequently recited as a warning to keep people away from hazardous areas like forests.

Sources:

Leandro Gensiton - https://www.instagram.com/thatguywithapen/

Opinyon Bicol - https://www.facebook.com/Opinyonbicol/posts/ano-ang-ongloang-onglo-ay-isang-nilalang-sa-alamat-ng-mga-bicolano-inilalarawan-/1111054657044594/

Philippine Mythological Creature: Carango (Ibanag)

 

A tiny earth ghost in the fields, woods, or in a mound.  makes a zipping noise in response to the summons of the shaman.  regarded as "the land's true owner."  harms anyone who tampers with its house.

Source:

Bestiary.US Art by Brian Valeza - https://www.bestiary.us/karango/en

Philippine Mythological Creature: Wirwir (Apayao)

 

The Wirwir are wandering ghouls that hunt down corpses. Like a hermit crab, they typically live inside their victim to prevent other ghouls from stealing it.

Among the Apayao, there was a ghastly creature who "went everywhere spending his time looking for the dead." He exhumed human remains from cemeteries and lived off of them. The native priests appeased Wirwir out of fear that he might consume the dead. The home of Wirwir, a ghoulish Apayao creature, was reportedly discovered in a Mount Anay Forest and had "a cave full of valuable properties taken from the graves of dead persons."

Other than their infamous tenacity in pursuing the devouring of human flesh, little much is known about these horrific creatures. They are well-known from the mythology of the Apayao people of the Philippines' namesake Province, where it is sometimes claimed that local priests were compelled to appease the ghouls before burying new bodies because they were afraid the repulsive creatures would promptly dig them up again and devour them.

Source:

Elartwyne Estole - https://elartestole.artstation.com/projects/q9YlXP

Philippine Spirits - https://phspirits.com/wirwir/

Philippine Mythological Creature: Gisurab (Isneg)

The tale of Gisurab, a fire-possessing giant from the Isneg tribes, demonstrates that even beings of enormous size can exhibit kindness.  In the tale, hunters sought out Gisurab in the wild to request fire.  The giant supplies the hunters with fire to cook their food.  The story bears a likeness to that of Prometheus, the famous Titan who is reputed to have taken fire from heaven and bestowed it upon mortals.

The naked gigantic creature known as the Gisurab hunts both people and other animals.

Although he is incredibly enormous, his physique is human.  He has an excellent sense of smell and often wanders the woods shirtless.

The Gisurab hunt down deer and other wild animals in the forests, as well as people, using their acute sense of smell.  At home, he would hold the human and deer he had trapped and prepare them in his enormous cooking pot.  The Gisurab would sometimes engage in conversation with people and go hunting with them instead of attacking them.

Gisurab became a legend in this untamed yet gorgeous land.  His story is essential to Isneg culture since he was a giant with fire.  It presents the Isneg's perspective on giants, which is different from the typical "evil" one.

Source:

https://www.aswangproject.com/giants-philippine-mythology/

https://mythmuseum.weebly.com/gisurab.html

https://pinoymyths.com/gisurab-isneg-the-fire-possessing-giant/

https://www.artstation.com/artwork/Ka029B courtesy of Ejay Paz

Philippine Mythological Creature: Lampong (Ilongot)

Lampong, a legendary figure, is deeply embedded in the cultural and environmental awareness of the Filipino people, revered as the guardian Anito of wild animals.  This legendary dwarf has the remarkable power to lead untamed deer and transform into a white deer with a radiant single eye.

More than just a legend, Lampong serves as an important cultural symbol in the Philippines. She embodies the ancestral wisdom passed down through generations, promoting a peaceful coexistence between people and nature. The deep-seated conviction that every action has repercussions is instilled by Filipino folklore, which stresses the necessity of treating the forest with the highest respect and thankfulness.

Lampong’s ability to transform into a white deer is a strong emblem of purity, innocence, and spiritual enlightenment. The singular, shining eye symbolizes wisdom and insight, reflecting Lampong’s esteemed position as a guide and protector. In addition, it is crucial to recognize the worldwide reverence associated with the white deer in various cultures around the world.  For instance, in Native American traditions, the white deer is viewed as a messenger from the spirit world, underscoring the deep importance of Lampong’s character.

Ilongot gnome Lampong has remarkable cross-eyed, bright yellow eyes and a height of only two feet. He wears a unique two-peaked cap and has a flowing white beard.  Although he may sometimes show a single eye and his form often resembles that of a deer while in his deer guise, his coat is always a brilliant snow-white.

It is noteworthy that although hunters can readily identify him, Lampong uses a distinctive approach to keep the deer he safeguards safe. He takes on the role of target, taking the hunters’ shots himself instead of allowing any damage to come to the deer. He can astonishingly rejuvenate himself and, in an unusual turn of events, bestows deadly illnesses upon the hunters as a means of deterrence.

Lampong is a key character in Ibanag folklore and is profoundly embedded in the cultural heritage of the Ibanag people, an ethnolinguistic group from Northeastern Luzon. As the guardian Anito of wild animals, Lampong is frequently depicted as a forest custodian tasked with guiding and protecting wild deer in their natural habitat.

Lampong’s legend is especially fascinating due to his extraordinary talent for metamorphosing into a white deer that possesses a single, radiant eye. This metamorphosis goes beyond a simple physical alteration; it represents his deep bond with nature and highlights his essential position as a guardian of wildlife.

The story of Lampong in the Ibanag culture goes beyond myth—it is a vital part of their cultural identity and belief system. The Ibanag people exhibit a steadfast respect for nature and the animal kingdom, a feeling realized in their veneration of Lampong.

His steadfast dedication to safeguarding the forest’s noble inhabitants earned him the revered titles of Deer Herder and Deer Guardian.

On an ill-starred day, the peace of the woods was broken when a band of hunters with powerful firearms invaded the forest.  Their target, to the detriment of hundreds of deer, was unmistakable.  With the hunters' progression, their armaments reverberated through the woods, taking the lives of innumerable deer.  Their unceasing chase ultimately brought them to a broad expanse filled with the elegant creatures.  Without hesitation, the hunters aimed their guns, prepared to continue their relentless onslaught.

Yet, in a moment of astonishing change, the forest observed an intense light and heard a loud roar coming from behind a nearby hill. A gigantic white stag with splendid golden antlers came out of the shadows. As the other deer fled, escaping the looming threat, it placed itself in front of the hunters. The hunters, without mercy, set their sights on the noble white deer and shot at it; to their first impression, it had succumbed to their attack.

With the intention of skinning it, the hunters approached the fallen deer, eager to claim their prize. To their amazement, the white deer, which was clearly not defeated, suddenly got to its feet. In a surprising turn of events, it launched an intense assault on the hunters, causing them to suffer from a deadly disease that would signal the demise of their reign of terror.

Although modernization has caused radical changes, the lasting Lampong legend still resonates with the Ibanag people. It acts as a lasting reminder of their cultural origins and the essential part they play in caring for their natural environment. The Lampong legend offers insight into the rich cultural tapestry of the Ibanag people. It underscores their unwavering dedication to maintaining the sanctity of nature and wildlife—an enduring principle that still aligns with modern sensibilities.

A fresh enthusiasm for Philippine mythology, featuring legendary characters such as Lampong, has surfaced in recent times. This revival can be attributed largely to the resolute endeavors of cultural aficionados dedicated to safeguarding indigenous stories and spreading them across various platforms, including literature, art, and digital formats.

He is referred to as lampong by the Ilokanos and the Ilongots ethnic groups.  He is an old man, short in stature, of the fields and woods.  Sein Blick ist lebhaft, und er trägt einen langen, spärlichen Bart. He tends to wild deer as a shepherd.  He transforms into a deer and remains motionless.  He is shot at by hunters, but they fail to hit him. The hunters attempt to shoot him, but the deer flee. After that, he becomes an old man again.  He strolls off from the hunters.

In Philippine folklore, particularly among the cultures of Northeastern Luzon, the Lampong is a mythical creature recognized as the guardian Anito of wild animals and a protector of deer. It is represented as a two-foot-tall dwarf with a white beard, who can change into a magnificent white deer with a single, bright eye.  The Lampong, by presenting itself as the white deer, diverts hunters' attention when they attempt to shoot at deer, thus enabling the real deer to flee.

The Lampong, an Ilonggot gnome, has the ability to turn into a white deer in order to safeguard real deer. Whenever a hunter passes by to take aim at one of the deer, the Lampong transforms into its deer form and gets shot in place of the real deer, which flee. The Lampong is shot six times, but he is impervious to the bullets, ensuring the deer remains safe from hunters.

In the distant past, a magnificent forest teemed with beautiful creatures, and at its helm were the deer. One day, hunters armed with large guns arrived in the forest and began to shoot the animals individually, but their main target was the deer. They murdered hundreds of them. One day, they stumbled upon a vast field teeming with deer. The hunters lifted their rifles and began firing, but suddenly a bright light flashed and a loud roar erupted from behind a hill. Out of nowhere, a gigantic white stag with golden antlers appeared and dashed in front of the hunters as the other deer escaped. All the hunters shot the white deer, and he appeared to be dead. However, at the moment they were going to skin him, he rose up and battled the hunters, ultimately giving each of them a deadly sickness. The white deer was actually Lampong himself. He ensured that none of the remaining deer were shot. For this reason, he was occasionally referred to as the Deer Herder or the Deer Guardian.

The Lampong, an Ilonggot gnome, stands about two feet tall and sports a long white beard. He wears a two-peaked cap and has bright yellow, cross-eyed eyes. He can sometimes be seen with one eye or is about the same size as deer, but his coat is always a beautiful snow-white in his deer form. Though hunters can see him with ease, he ensures that no deer is shot by allowing himself to be shot, reviving himself afterward and infecting the hunters with a deadly illness.

Sources:

https://www.aswangproject.com/lampong/

https://mythus.fandom.com/wiki/Lampong

https://mythlok.com/lampong/

https://www.youtube.com/watch?v=eifLa5PNRxY&t=17s

Philippine Mythological Creature: Kaperosa (Tagalog)

Kaperosa

Kaperosa of the Tagalogs

The Tagalogs local term for the white lady.

Female ghosts are frequently seen wearing flowing white robes or dresses. Some may appear without heads or with rotten flesh. The most famous are the White Lady of Balete Drive and Loacan Road in Baguio. Common Kaperosa stories feature a female committing suicide out of hatred or being betrayed by her spouse or fiance, and then being murdered. Other 'ghost legends' describe them as souls who refuse to rest because they have unfinished business on Earth.

The KAPEROSA, also known in the Philippines as the WHITE LADY, is a white-clad spirit of a young woman who died tragically. She periodically appears to people at night near the location where she died, but she does not cause any harm. She appears to be seeking justice for her death.

A female ghost dressed in a white long garment with long black hair. Kaperosa is a female who commits herself because she is hated or betrayed by her spouse or fiance, or who is murdered, according to others. They are souls who cannot rest because they have unfinished business on Earth.

Some people believe that if you encounter a white lady in your house, whether it is rented or inherited from your parents or relatives, she is the former owner and want to remain on the property.

A white lady lives in a specific location where she had a negative encounter and died. Some people claim that she doesn't hurt others. She will appear briefly and then vanish.

White ladies often reveal themselves in seconds, but they will frighten you to death. Some individuals believe they live in high-stress environments such as 'balete', old houses, or the location where she died. There are reports that they are waiting on the road and need a ride. She will enter the vehicle and close it once the driver has given his OK. By the time he asks where he can drop her off, she has already left.

These are just a few of the unresolved questions. People believed they were lost spirits seeking assistance from mortals.

Philippine Mythological Creature: Yumud (Manobo)

Yumud 

Yumud of the Manobo ethnic group

A Manobo (parts of the Agusan valley) mythical creature. 

A water wraith that occasionally takes the form of a long-haired woman. It is a harmless spirit that lives beneath the water's surface in stony, deep regions that are typically pools. She is the owner of the color white and occasionally manifests as a masculine deity or spirit. It keeps an eye on the fish. People drown when they offended the Yumud.

Philippine Mythological Creatures Introduction

I will be introducing some of the mythological creatures in the Philippine folklore and more information about them as the Philippines is rich in folk tales and folk tales which was webbed through centuries of tradition and culture. They include witches, monsters, beasts, fairies, ghouls, spirits, folkloric beings etc. so we will have some insights into some of the creatures that continue to amaze and astound us through all time. 

The Legend of Pineapple

Once upon a time, there lived in Panay Island a very good leader named Datu Pinyang. Datu Pinyang is the richest and most powerful among all datus of other races in the land in those days. He is a just man and kind to people so he was loved and respected by his people.

The datu has a beautiful daughter named Mayad-ayad. A lot of datus and maharlikas or noblemen fell in love with Mayad-ayad including Datu Mapahitas, a datu of a race in nearby parts of Panay. However, Mayad-ayad preferred is a warrior of her father named Maisog (which means brave),and even if he has no nobility, Maisog is a strong and brave young man. To the young man chosen by the lovely lady to marry her father has no disagreement.

The relationship of Mayad-ayad and Maisog agreed by Datu Pinyang brought anger and fury in the heart of Datu Mapahitas because he really wants to marry Mayad-ayad and obtain the vast wealth of Datu Pinyang. Shortly after, Mayad-ayad got sick and her father called a doctor but she was not cured instead she got worse. Datu Mapahitas heard the worsening condition of the lovely lady. He decided it was the right time to carry out his plan of revenge.

Datu Mapahitas disguises and pretended to be a doctor and upon meeting Datu Pinyang he said he wants to cure the illness of Mayad-ayad and he will cure in the condition that they will follow his judgment.

Datu Pinyang asked what should be done and the pretending doctor said "It must," he said "is the roots of dita and sap of that wood." And the fake doctor continued that the one who should get those solutions is the person who has a pure love to the sick patient.

Datu Pinyang responded: "If that is so, me and Maisog will go now and find those things in the forest."

Datu Pinyang immediately went to wilderness. All of a sudden Mapahitas henchmen surfaced out of nowhere who hid behind the trees and pierced Datu Pinyang until he died.

When Maisog saw that Datu Pinyang is dead, he escaped, gather all the men of his race and presided the attack against the henchmen of Datu Mapahitas and to save Mayad-ayad.

In the battle, Datu Mapahitas was killed and many of his men and those remaining alive escaped. When the enemy troops were defeated, Maisog looked for the body of Datu Pinyang, buried in front of his house and Mayad-ayad planted some beautiful plants around it which she sprinkled with water everyday.

A peculiar event took place that the site where Datu Pinyang was buried surfaced a shrub that resembles a head with a crown and decorated around with something that looks like small arrows in the form of a saw and when it grows and ripen really resembles the head of Datu Pinyang and it was now called Pinya or pineapple by the people of the race in honor of the named datu.

The story is also widespread about a mother and child that the stupidity of the child is the root cause of the pineapple plant. It seems that her daughter is not using her eyes. Each time she was asked by her mother to get something, she just always asked her in return. This is her habit. Until her mother got sick her daughter is still doing the same thing so the old woman unintentionally wished that she will have several eyes. Pinya suddenly disappears. When the old woman recovered and got healed from her sickness she saw an unusual plant having something that looks like eyes in their garden while searching for her daughter while Pinya suddenly disappears like a bubble. Eventually, she realized that the plant was her daughter.

The Origin Of Makapuno

Long time ago, there is a couple who has a very beautiful daughter named Makapuno. The couple lived in a secluded place near the river where they have a farm. Shortly after, a young man from a neighboring town heard of the beauty of Makapuno. He decided to visit the beautiful lady. When he arrived at the house of the lady, he saw that she has a suitor. Despite of this, he did not lose hope to woo the lovely woman. In his determination he obtained the nod of the lady in her desire. They scheduled the wedding. When the young man's rival to Makapuno heard of this, he returned to destroy the lovers.

One day while Makapuno and her boyfriend is strolling along the river, came the rival to her love who has evil intention a suitor of the lady mingling in their conversation. Without hesitation, he pulled a dagger in his pocket and continuously stabbed the lover of Makapuno. The lady thought it better to face death than to be in the hands of an evil suitor. A bloodbath event took place thereafter. Makapuno was buried by a grieving parents. After a few days, a plant emerges from the place where the beautiful lady was buried. When it bore fruits, it has produces a lot. So they name the plant Makapuno in memory of their beloved daughter. Furthermore, the word puno means full so the name of this fruit is appropriate. 




Photo Source:

http://www.marketmanila.com/archives/macapuno-preserves-a-la-marketman

The Legend Of The Sampaguita Flower

The Sampaguita flower is a delight to everyone because of its pleasing fragrance. The Ilonggos has kept a legend about the origin of the national flower of the Philippines.

It was said during the early times, there was a king who was known for his wealth and cruelty. He has a daughter named Guita. Guita is known for her beauty, kindness and humility. Though she possess and experience beautiful things and admired by everyone she was not happy. Her father is not thoughtful and helpful to the poor and forbid Guia to socialize and mingle with them and even strolling in the garden is not allowed by her father.

One day when her father is away, the lady went to the garden. She was playing with the flowers when she heard the whistle of a young man. The young man is Sampa, son of a planter. Guita asked the young man what he needs who in turn responded that he only wants to befriend her. The two made a mutual understanding.

They are currently conversing or chatting when the king passed by and saw Sampa holding the hands of Guita. In the eruption of fury and anger of the king he instantly ordered the killing of the two and buried them together.

About three months had passed and one day the king passed by the tomb of the lovers. He was shocked to see on top of the soil the beautiful, attractive white flowers which possesses fragrance. Tears fell down his eyes in regret for what he has done before. He cried and cried while saying:

   "Ay Guita, ay Guita, Sampa and Guita. Where are you?"

In his grief, the King lost consciousness. When he regained his consciousness, he ordered to call Sampaguita the flower in remembrance of the unfortunate lovers.


Photo Source:

http://www.flowermeaning.com/sampaguita-flower-meaning/

The Legend Of Katao (Mermaid)

The sirena or mermaid of the Tagalog is equivalent to the katao of the Ilonggos. It is narrated in the following story the origin of the katao.

A maiden attempted to commit suicide because her lover married another woman. The broken-hearted woman in love jumped over the river from a cliff. In an unexplained phenomenon, when her feet touches the water she immediately got a tail just like a fish and she did not die.




Photo Source:

http://m4rl0.deviantart.com/art/Sirena-367131386

The Origin Of The Fairies Or Tamawo

Tagalog people has created some fairies called diwata or goddesses known as engkantada in haraya; the Ilonggos have what we call tamawo. The following stories was said to be the origin of these supernatural beings.

When Adam and Eve has not yet left the paradise, they were told by God.

"Go forth and never forget my order. Bore just three children and with the birth of the third child, bring them to me so I can baptize them."

Adam and Eve left the paradise and started a new life. However, they momentarily forgot what God had told them about having children. They were very happy with their seven children.

One day while strolling, the couple met God and asked: "Adam and Eve, I've been looking for you and your children for so long, where are they now?

The two was immovable after what they heard. They could not give an explanation to God. They forgot that they should only have three children because they now have seven children.

"Bring to me your three children at the soonest time so I can baptized them." And God left.

The tearful Eve asked Adam, "What will we do now? And continued with a shivering voice, "I'm scared, Adam. We did not obey the orders of God. What will happen to us?"

"Have peace, Eve, we will find ways to keep the truth from God."

The next day, Adam and Eve dressed their first three children to bring to God and hide the four in the wilderness of the forest so God will not see them.

"Where are your other kids? Why are they the only ones you brought to me? Where are the rest of your children? the gentle and soft speaking God asked the couple.

"Our beloved God, we only have three children. Isn't this what you told us?"  the continuing denial of the two.

"Don't lie to me. Where are your four children?" God inquires.

"Señor, nothing else. We only have three children."

"You both lied to me. You have seven children but you only showed me three. If you only brought them all here I could baptized them all. I will baptize the three you showed me but you will no longer see the four you hide. They are alive but you could no longer see them. You can only hear their voices. They will not show to you while the food they will eat will come from you," the final words of God.

 And the four children of Adam and Eve which they kept and hide became the ancestors of the fairies or tamawo. They are around in the surroundings but invisible while they freely observe the people.





Photo Source:

http://www.deviantart.com/morelikethis/5281773

The Legend Of Sta. Cruz

The Holy Cross in Arevalo District, Iloilo City

If there is an image honored, venerated and consecrated by the elders of Arevalo, it is the Santa Cruz. There are lots of peculiar stories which are mysteriously attractive to narrate about this.

Long time ago, it was said that, there is a mananguete, a person climbing a coconut tree who saw the cross. He observed that the said cross grows bigger everyday. He took the attention of the natives about this. They plan to build a chapel for the cross. According to the elders, the wooden cross never dried up. It's tree is always moistened by the juice or sap that came from the living tree.

According to a statement, this cross was planted or erected by the Spanish missionaries on their first landing in the shores of Panay. The mysterious cross continues to grow. Others believed that the cross emerge from the shores to stop the Mohammedans of the South which frequents the area and  ransack the town in those days.

Whatever is the truth, each story strengthens and fortify the belief of the people in the sacred symbol. The elderly has kept attractive stories about the mysterious cross.

Many years had passed, they said that if the feast of the Holy Cross could not be celebrated properly or appropriately because there is no Queen Helena and King Constantine in the holy procession, the cross could not stand upright strongly no matter how tough is its nailing. In the whole duration of the procession, it moves as if it will fall from the decorated crate. It will only stand strongly if there is a complete colorful pageantry by the next day. According to the rumors, when the town attempted to abandon and forget  the celebration, a deafening thunder and a terrifying line of a lightning hit the place. This continued until the people decided to celebrate the feast of the Holy Cross.

In the celebration where the colorful pageantry or presentation lacks the presence of a king and princesses, a great fire or conflagration mysteriously took place which engulfs several houses while the procession is continuously happening.  

The men and women who were chosen to participate in the procession to portray the characters in the colorful presentation or pageantry could not refuse in the fear that they will meet misfortunes or bad omen. According to the rumors of the elders, if a beautiful young lady dared to refuse to be dressed as Queen Helena or Reyna Elena, she became insane, crazy or mentally ill, sometimes becoming blind some others are crippled. while others met an unfortunate accident.



Photo Source:

http://localphilippines.com/attractions/santa-cruz

The Crown Of Arevalo

Crown Monument in Arevalo District, Iloilo City

The big crown sitting distinctively atop a tower in the plaza beside the church is a one of a kind marker of Arevalo. According to Father James Mansfield who served in the parish, this crown has a hidden history.

Many years had passed before the spread of Christianity in Arevalo, there is a group of Jesuits who were looking for a place to stay in a place now called as Santa Cruz. They built a chapel here and evangelize the natives. Nobody knows for whatever reason or event happened but the natives were infuriated with the Jesuits and they were driven away.

One day, a farmer unearthed a beautiful crown. In an untoward incident, a scepter and a big black cross was found nearby where the crown was found. The crown and scepter which were made out of expensive metals were just average in size. The cross which is now kept under the custody of the church is more than 15 feet tall and made out of hard and unusual kind of wood.

In 1854 during the incumbency of Domingo de Guzman as captain of the pueblo or town, the crown was made bigger in Fundidor, Molo. It was placed in the plaza or town square. This is gaining attention on top of the district of Arevalo as a statue of missionary purpose of the Spaniards in town.

The present day name of the former Jesuit missionary settlement is Santa Cruz. It was in this place where the crown, scepter and cross was found.





Photo Source:

http://www.iloilocity.org/places.html

The History Of Zarraga

Zarraga Parish Church

Zarraga Plaza Basketball Court 

Gamot Cogon Waldorf School in Barangay Libongcogon

The town of Zarraga before is a thick forest with the abundance of grasses growing in the area. Tigbao, cogon (Imperata cylindrica) and other grasses are tall and thick. Only the hunters dare to live in the area without any fear. This forest has no name and was said as "no man's land".

This place is formerly a forest but thanks to the pioneers of Pototan that includes Marcelino Penuela, Fulgencio Penuela, Damian Penuela, Eugenio Sollesta and Marcelino Poblador. They discovered and founded the town in 1853.

The town of Zarraga was named after Pedro Zarraga  who became the Alkalde Mayor or City Mayor of Irong-Irong (present-day Iloilo City).





Photo Source:

http://www.zamboanga.com/z/index.php?title=Zarraga,_Iloilo,_Philippines

http://www.panoramio.com/photo/29437813   - courtesy of Boxxer "jAz" Rose

http://www.gamotcogon.org/school

The Origin Of Tubungan

Bato Sumpit Hidden Falls at Barangay Igtubli

The present day site or sitio of the town and its neighboring places are formerly cogon (Imperata cylindrica) fields and wilderness. The arable land is ideal for farming and pasture. Adventurers and farmers were attracted to go to this place. The first settlers came from Nahapay, a barrio of Guimbal. It was then followed by the settlers who were natives of the towns of Leon, Igbaras and Tigbauan. The natives settled together in Tin-an. Due to the increase of the population, the plan of establishing a town was recommended by one of the farmers named Mangon. The establishment of the town was inaugurated in 1768 in which the leader is Mangon.

The Spanish law during that time states that before a place or community will be considered officially as a town, it should first follow the mandatory rule about population. A lot of people were persuaded and motivated to live in Tubungan in response to the requirement of the law. Thus, the town of Tubungan was born in 1768 from the contribution or "tubong" from its neighboring towns.

The Hiligaynon word "tubong" means contribution or add-on which were usually used in gambling;  an addition to the original bet.

The establishment of the town was made possible from the additional number of settlers from neighboring places to meet the required minimum population before a place will be  officially considered a town. The name "Tubungan" came from the root word "tubong".



Photo Source:

https://en.wikipedia.org/wiki/Tubungan,_Iloilo
http://www.tubungan-iloilo.com/tourism-and-culture.html
https://pinoyontheroad.com/2012/08/15/ilo-ilo-chasing-bato-sumpit-hidden-falls/