Ocean Breeze Visitors Around The Globe

Free counters!

Monday, January 9, 2023

Gay Filipino In History: Ponciano Elofre Of Negros Oriental

Ponciano Elofre (c. 1800s ? - 1887)
Public Servant, Shaman and Revolt Leader



Birth Name: Ponciano Elofre / Ponciano Elopre
Birth: circa mid 1800s in Negros Oriental
Death: August 22, 1887 in Siaton, Negros Oriental



The skirt-wearing Ponciano Elofre (sometimes spelled as Ponciano Elopre) was a Cabeza de Barangay or the head of a barangay (now called barangay captain) in the town of Zamboanguita in Negros Oriental and also the leader of a politico-religious revolt in Negros in the late 19th century against the Spaniards.

He began his revolt when as a Cabeza de Barangay failed to collect all the taxes from his constituents. As a result, the Spanish soldiers beat his father, Cris Elofre to death to teach him a lesson. He took the name Dios Buhawi (Hiligaynon word for "Tornado or Whirlwind God" and thereafter, rallied the people against the forced payment of taxes.  

Soon later, he included religious freedom as part of his agenda and presided over the celebration of the ancient rites of the babaylan (ancient Visayan shaman priest), a revival of the pre-Spanish period religious leader. He and his followers numbering about 2,000 were later called the babaylanes. Elofre was reputedly dressed in female garments and was said to be effeminate in the same manner as ancient asog shamans. 

The activities of Elofre so alarmed the Spanish colonial government that governor-general Valeriano Weyler sent 500 Guardia Civil (civil guards) and a battleship to Negros to deal with the threat. On the fateful day of August 22, 1887, Elofre raided Siaton, the town adjoining Zamboanguita, and was killed in the encounter with the colonial forces. His wife, Flaviana Tubigan, continued the revolt but lacked her husband's charm and charisma. She was succeeded by Ka Martin de la Cruz, Elofre's lieutenant of the town of Tolong (now the Municipality of Santa Catalina) located in the southern part of Negros Oriental but his command of the babaylanes degenerated into banditry. When the Spanish authorities failed in their attempt to capture him on September 11, 1893, de la Cruz was killed in a trap laid by his own mistress, Alfonsa Alaidan. 

The remaining Buhawi followers according to historian Modesto P. Sa-onoy were later recruited by Papa Isio when he began to organize his own group of babaylanes in another revolt against Spain.




Friday, December 23, 2022

Daigon Song - O Senyor Tagbalay (Hiligaynon-Language Christmas Carol) Lyrics

The lyrics below is for the Daigon (Hiligaynon or Ilonggo term for Christmas carol) song entitled O, Senyor Tagbalay. The song tells the story of Joseph and Mary searching or looking for a shelter or inn to stay for Mary is about to give birth for the child Jesus which eventually to the birth of Jesus being worshipped by angels and shepherds.


There are different versions or lyrics for this song. Here are just the two versions of the songs.


Version 1


O senyor, tagbalay, lunsay nga dungganon,
Bisan pa mahamook ang inyo katulugon,
Pagmata kamo anay kag kami ang gawahon,
Mag asawang pobre nga yari sa silong


Kay ako si Jose, nga taga Galilea,
ang akon kaupod mahal kong asawa,
Akon sya hingalanan, amo si Maria,
Sa mga paglakat, kabudlay nga sobra.


Kay ini si Maria, madali na manganak,
kon sarang tagbalay, sya ang pasakaon,
Kay ako sing akon, diri lang sa silong,
kon sarang tagbalay, siya ang padayonon


Ang sabat sang tagbalay padayon lang kamo
kay didto sa unahan may kamalig didto,
tindog na, oh maria dalia sa paglakat
kay basi ang kwadra indi ta madangat!


Sang may alas dose sang tunga sang gab-i
amo ang pag panganak manunubos na putli,
sa belen duawon sang mga pastores
ginsimba kag gindayaw sang mga angeles.







Version 2


O senyor, tagbalay, lunsay nga dungganon
Bisan pa mahamook ang inyo katulugon
Pagmata kamo anay kag kami ang gawahon
Mag-asawang pobre nga yari sa silong
 
Kay ako si Jose nga taga Galilea
Ang akon kaupod mahal kong asawa,
Kon pagahingalanan amo si Maria
Sa mga paglakat, kabudlay nga sobra
 
Sa banwa sang Nazareth kami ang gumikan
Ang lugar nga ini amon ginkadtuan
Kaming mag-tiayon nga may kasablagan
Sa mga paglakat kami nagab-ihan
 
O Senyor, tagbalay, inyo kami hangpon
Bisan si Maria lang inyo pasakaon
Kay ako sing akon yari lang sa silong
Magbatas sang tun-og ining lawas nakon
 
Ang sabat sang tagbalay padayon lang kamo
Kay dira sa unhan may kamalig didto
Tindog na O Maria dali-a sa paglakat
Malapit na ang kwadra basi ta madangat
 
Gilayon sumubong bituon nga kometa
Amo ang nag-ubay sang paglakat nila
Gumu-om ang langit madulom nga wala’y mas-a
Ang mabuot nga asno ang nasakyan niya
 
Anay sang umabot ang tungang gab-i
Amo ang pagkatawo Mesiyas nga putli
Sa Belen duawon sang mga angeles
Ginsimba, ginadayaw sang mga pastores

O dungga man ninyo ang makaluluoy
Nga yari sa idalom nga nagapasilong
Nagabatas sang tun-og ining lawas nakon
Magahulat sang inyo maayong kabubut-on
 
Salamat, salamat mga kautoran
Kag kabay pa ang Diyos kamo kaluoyan
Paalam, paalam sa inyo nga tanan
Kag kami na karon ang magataliwan



Below is an example of the song in Youtube mixed with O Dongga lyrics which could be found on this link Ocean Breeze: Daigon Christmas Song Lyrics (dreamcatcherrye.blogspot.com)




Tuesday, November 1, 2022

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. 

Friday, October 7, 2022

Unknown Filipino Hero: Panday Pira



Panday Pira 
Blacksmith and First Filipino Cannon Maker
(1488 - 1576)



Panday Pira is the first Filipino cannon-maker whose cannon foundry was established in Santa Ana during the 1500s. Unfortunately, his foundry disappeared after the Spaniards settled in Manila, and its exact location is unknown today. His name literally translates as Blacksmith Pira, panday being a Tagalog word for "blacksmith".

According to Filipino historian Jaime de Veyra, "Panday Pira's cannons are as good as those produced in Spain and became the official cannon-maker for the Spanish army in the Philippines. His works contributed much to the defense of the Philippine islands against pirates and marauders.


Panday Pira's Early Years

Panday Pira was born in 1488. No one can be sure of the exact date of his birth except the place of his origin, in one of the windy islands in Sulu and born to the wife of a Muslim warrior. 

The young Pira grew up in the shade of colorful stilt houses on the shallow banks of a small lake. The quiet life in the village disturbed him. He often spends hours alone and throws stones into the ocean. He is a good aimer, and he can often hit with stones the fishes and eels that struggle to get away. He thought, if the stones were light, the farther the distance it can reach. 




Work and Efforts as a Blacksmith

Panday Pira is acknowledged as the first Filipino metallurgist. Old tradition maintains that Panday Pira went as far as Ilocos and Isabela in the north and Batangas in the south of Luzon in training the early villagers in the metal smith industry.

He devised his cannons using a mold of clay and wax which Muslim leader Rajah Sulayman used to protect Manila against the invading Spanish troops. This legendary metalsmith was later recruited to equip the walled city of Intramuros.

In 1508 at the age of 20, Pira and his relatives went to Maynilad where he established a foundry on the north bank of the Pasig River now known as the District of San Nicolas. 

Rajah Sulayman commissioned Panday Pira to make several pieces of cannons to be mounted on the palisades surrounding his kingdom and on the seaside portion of his wooden fort to serve as defense of Maynilad. These pieces were as large as the largest Malaga cannons that the Spaniards used.

Maynilad was not taken easily when the Spanish forces led by Captain Martin de Goiti and Juan de Salcedo attempted to explore Maynilad in May 1570 anchoring at the mouth of Pasig River, they were surprised when they were greeted by salvos from the cannons made by Panday Pira. These artillery pieces were hidden behind a network of wooden rattan and bamboo mattings supported by logs and timber of the native's wooden fort. 

The superior artillery guns of the Spanish flotilla bombarded incessantly the Kuta and its palisades. The defeat of Rajah Sulayman was due to the inferior kind of gunpowder they used which they learn from the Chinese. 

Goiti won the first Battle of Manila on May 24, 1570, with the help of its superior artillery and well-armed disciplined men. After the brief battle, Goiti took Panday Pira's cannon as a war booty and presented them to Adelantado Miguel Lopez de Legazpi in Panay Island (most probably Iloilo near Capiz) on which Legazpi subjected these captured artilleries to rigorous test for examination, comparison and later adopted to use. These native cannons made by Pira were proven strong and reliable. They did not crack or burst after continuous firing and in spite of a much greater quantity of powder used. In conclusion, Panday Pira's cannons were found way superior to the Spanish cannons mounted on Legazpi's ships

On May 19, 1571, Legazpi eventually took Maynilad and established a permanent Spanish settlement. Due to lack of artillery pieces, which were not only necessary for the city's defense but also for conquering independent barangays of the land, he sought Panday Pira for his valuable technical knowledge. However, Panday Pira is nowhere to be found because after the Battle of Manila he fled to Bulacan in the middle of 1570 then to Apalit, Pampanga where he eventually settled.



Settling in Pampanga and Other Works

After the Battle of Bangkusay Channel off the coast of Tondo, Panday Pira's family and ten of his relatives lived in Pampanga. He established a foundry shop of farm tools producing the first native plowshare and mold board. Before long, he was manufacturing other farm and household implements such as bolos and knives. Here he taught his sons as well as young Kapampangans to make tools and weapons made of iron or metal. Their creations are known for their quality and durability, so they are known throughout Luzon.  

He used for mould the Apalit clay then abundant in the barrio now called Kapalagan in manufacturing native farm implements. One valuable thing he left was his method of casting and tempering iron to make it harder, more durable and flexible.


Working for Legazpi and Death 

His popularity and skillful craftmanship soon reach Manila. Legazpi summoned Pira to build cannons for the Spanish army. In exchange for his services, he and his family were exempted from tribute and forced labor and also the freedom of living and mingling with Spaniards and freedom from other obligations to the church. Panday Pira, often called by the Spaniards as Pandapira, established his foundry in Lamayan now Santa Ana, Manila with the help from his sons. 

Panday Pira is the inventor of the lantaka, a small cannon that can be rotated or maneuvered at any desired angle and direction. He was requested by Miguel Lopez de Legazpi to manufacture lantakas for galleons and frigates as the Spanish forces is preparing to conquer more lands in the archipelago and the entire Southeast Asian region.

After Legazpi's death of heart attack on August 20, 1572, Panday Pira continued his services to the Spanish army. The cannons he built were not only used for the fortifications of Manila but also in the Spanish military expeditions of Borneo and Moluccas.

Panday Pira died in 1576 at the age of 88 and he was mourned by the Spaniards and Filipinos. His death was a great loss to the Spaniards for nobody including his sons could make similar astounding cannons.

The Spanish authorities not able to find an excellent cannon-maker like Panday Pira appealed to the Spanish monarch saying:

"Pandapira our cannon maker is dead. We cannot find a single man among us to take his place." This was answered in 1584, when a Spanish smith from Mexico arrived in the country and took the cannon maker's foundry.

Fray Gaspar de San Agustin, an anti-Filipino chronicler and friar even admitted that "Pira's cannons were as good as those in Malaga (a town in Spain). Panday Pira's foundry was expanded in 1584 when a Spanish blacksmith came from Mexico. It was later transferred within the city in 1590 and eventually abolished in 1805. 



Sources:








Image Source:


Thursday, September 15, 2022

Folk Dance of Western Visayas Region: Lanceros de Negros




LANCEROS DE NEGROS

During the Spanish times, Lanceros was one of the most popular quadrille dances in the Philippines. It is similar to Rigodon and is danced in important social affairs to formally open a big ball. Unlike the Lanceros as danced in Luzon and in some regions in the Visayas, this version from Silay, Negros Occidental is in longways formation. It is a very lively and colorful dance. 

COSTUME. Girl wears Maria Clara style costume. Boy wears barong tagalog and black trousers. 

MUSIC is divided into four parts A, B, C, and Finale.

COUNT one, two; one, and two; or one, and two, and to a measure

FORMATION. Partners face each other about six feet apart. When facing audience, Girl is at right side of partner. Four to any number of pairs may participate. 

If desired, a square formation may be used, each pair occupying a corner of an imaginary square. 


NEW STEPS USED:

      Brincos Con Puntillas - Jump and land with R (L) foot across the L (R)  in front, both feet flat on the floor (ct. 1), hop on L (R) and foot circle outward in the air with R (L) foot (ct. and), step lightly on ball of R (L) foot in rear L (R) and raise heel of L (R) (ct. 2), spring on  R (L) and land on L (R) and at the same time point R (L) toe in front of L (R) with R (L) knee slightly bent (ct. and).

      Brincos Con Vueltas - Same as brincos con puntillas but make a quarter turn right (left) when hopping on L (R) on the first ct. and. Make another quarter turn right (left) before stepping on the ball of R (L) foot in rear of L (R) on ct. 2. There are two brincos con vueltas to a complete turn (2 M).



                                                                        I

Music A.

      Partners face each other. Throughout this figure, Girl's L hand is placed on waist, R hand holding skirt, Boy's arms swinging naturally down at sides.

     (a) Starting with R foot, take four small steps forward to meet at center (cts. 1, 2, 1, 2) ________________________ 2 M

     (b) Repeat (a) moving backward to proper places ________________________ 2 M

      Face left so that Girl's back is toward audience, Boy faces audience.

     (c) Repeat (a) and (b) _______________________ 4 M

      Face each other.

      (d) Starting with R foot, take four steps obliquely left forward, passing by R shoulders _______________________ 2 M

       (e) Repeat (d), moving obliquely right backward to proper places ________________ 2 M

        (f) Repeat (d), moving obliquely right forward, passing by L shoulders (2 M), and in (e) moving obliquely left backward. Take smaller steps backward so that partners finish near each other (2 M). _____________ 4 M


   II

Music B.

         Face partner and join R hands, free hand of Girl holding skirt and that of Boy is placed on waist.

         (a) Starting with R foot, take eight small change steps forward moving once around clockwise. Bend trunk slightly to right and left side alternately. ---------------------------------------------------- 8 M

         Drop R hands, turn right about join L hands free hands as above.
         (b) Repeat (a), moving counterclockwise -------------------8 M




 III

Music C.

       Partners face each other
       (a) Take four galop steps sideward right. Arms in lateral position, sideward left, shoulder level. Do not put weight on L foot at the fourth galop step _________________________________ 2 M
       (b) Repeat (a) moving to sideward left. Reverse position of arms. _____________________ 2 M
       (c) Execute four brincos con vueltas, turning right and making two turns. Girl holding skirt. Boy places hands on waist _____ 4 M
        Face left so that Girl's back is toward audience. Boy faces audience.
       (d) Repeat all (a-c). Partners pass front to front when doing the galop steps. _____________8 M




   IV

Music B.
      
     Partners face audience. Join inside hands, free hands as in figure II.
     (a) Starting with outside foot, take four change steps forward. Swing the joined hands backward and forward at the same time looking at partner and away from partner, alternately four times ______4 M

     Drop inside hands, turn outward to face about. Join inside hands, free hands as in (a). 
     (b) Repeat (a), starting with inside foot. Start swinging joined hands forward and looking away from partner.____________ 4 M
     
     Drop inside hands. Face each other and join R hands, free hands as in (a).
     (c) Starting with R foot, take four change steps forward, turning once around clockwise _____ 4 M

     Drop R hands, join L hands, free hands as in (a).
     (d) Repeat (c), moving counterclockwise. Drop L hands and finish in proper places _________ 4 M



 V

Music C.

       Partners face each other. Partners do their movements simultaneously.
       (a) Girl. Execute two brincos con vueltas making a complete turn right once (2 M)

            Boy. Clap hands five times on cts. 1, 2, 1, and 2______ 2 M
       (b) Repeat (a), Boy dancing and Girl clapping hands____ 2 M

       Partners face each other and assume crossed-arm position, R over L.

       (c) Take four brincos con puntillas moving toward audience - Jump and land with foot away from audience across in front and hopping on foot toward audience.  ______________________ 4 M

       Drop hands.
       (d) Repeat (a) and (b) __________________________________________________ 4 M
       (e) Repeat (c), starting with other foot and moving away from audience. __________________ 4 M





SALUDO
(Bowing)

Music Finale.

        Partner faces each other.
        (a) Pause_______________________________________1 M
        (b) Execute a three-step turn right in place (cts. 1, 2, 1), pause (ct. 2) Arms in fourth position, R arm high. __________________________________________________ 2 M
        (c) Repeat (b), turning left. Reverse position of arms. ________________________________ 2 M
        (d) Join R hands, free hand of Girl holding skirt, that of Boy is placed on waist. Girl whirls making right turns under the arch of arms. Boy stands in place. ___________________________________ 2 M
        (e) Face each other. In crossed-arm position, R over L, pull away from each other. __________ 1M
        (f) Girl passes under R arm of Boy and finish in front and a little bit to the left side of Boy. Partners look at each other. ___________________________________________________1 M





Music of Lanceros de Negros



Sunday, June 19, 2022

First Filipino Blog

The First Filipino blog is a blog that compiles a list and biographical information of individual Filipino men and women who made a trailblazing feat in their respective fields, accomplishments and achievements who brought honor and glory to the Filipino nation. Visit and discover interesting stories of Filipino who made such an impact that they will be forever be etched in the memories of many and in the annals of Philippine history. 


First Filipina Bloghttp://firstfilipina.blogspot.com/


Wednesday, May 4, 2022

Ang Pangarap Mo'y Naghihintay Sayo

This song was composed, arranged and performed by Henry Alburo of Marikina City, Metro Manila, Philippines. He performed this song as his contest piece for the Bombo Music Festival 2018 and was released on October 22, 2018. Bombo Radyo Music Festival, a songwriting competition created, organized by the radio station Bombo Radyo starting in 1985 originally as an Ilonggo Christmas Music Festival Song Writing Competition and has since evolved into Western Visayas regional song writing competition and eventually a National Songwriting Competition. 

Historically, the Bombo Music Festival was born out of Bombo Radyo Philippines’ commitment to bring to higher heights the awareness and love for our own music and culture, widen the avenue for development of Filipino musical talents, and eventually bring prestige to the Filipinos. This commitment has become a tradition of our people.

Here is the music and lyrics of the song below and it's English translation (sorry for my dismal attempt to translate this in English language).






Ang Pangarap Mo'y Naghihintay Sa'yo
by Henry Alburo


I
Kay rami mang balakid
Sayong daraanan
Sadya mang matinik
Ang kailangan mong lakaran
Ubod man ng bigat
Ang iyong pinapasan
Huwag kang mag-alinlangan
Kayang-kaya mo yan


Chorus
Huwag kang umatras
Huwag kang huminto
Huwag kang mapagod
Huwag kang sumuko
Alam mo namang
Sa dulo nito
Ang pangarap mo'y
Naghihintay sayo


II
Kay hirap mang abutin
Ng nais mong marating
Malalim man ang suliranin
Kailangan mong tawirin
Kung napaiyak ka man
Ng iyong nararanasan
Huwag kang mag-alinlangan
Kayang kaya mo yan


Chorus
Huwag kang umatras
Huwag kang huminto
Huwag kang mapagod
Huwag kang sumuko
Alam mo namang
Sa dulo nito
Ang pangarap mo'y
Naghihintay sayo

Huwag kang umatras (huwag kang umatras)
Huwag kang huminto (huwag kang huminto)
Huwag kang mapagod
Huwag kang sumuko
Alam mo namang
Sa dulo nito
Ang pangarap mo'y
Naghihintay sayo
Naghihintay sayo
Naghihintay sayo
Ang pangarap mo'y naghihintay
Sayo





English Translation



Your Dream Is Waiting For You
by Henry Alburo


I
Though there are so many obstacles
In your path
Though it's really thorny
The road you have to walk
Too heavy a burden
You have to carry
Do not hesitate
You can do it



Chorus
Don't back out
Don't stop
Don't get tired
Don't give up
You know
At the end of it
Your dream is
Waiting for you


II
Though it's hard to reach
Of the things you want to reach
Though the problem is deep
You have to cross
If it made you cried
Of the things you experience
Do not hesitate
You can do it


Chorus
Don't back out
Don't stop
Don't get tired
Don't give up
You know
At the end of it
Your dream is
Waiting for you




Don't back out (don't back out)
Don't stop (don't stop)
Don't get tired
Don't give up
You know
At the end of it
Your dream is
Waiting for you
Waiting for you
Waiting for you
Your dream is waiting
for you




Photo Source:

Bombo Radyo Philippines, Inc.