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Friday, September 19, 2025

Philippine Mythological Creature: Gisurab



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





Thursday, September 18, 2025

Philippine Mythological Creature: Lampong

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:









Friday, September 5, 2025

Unknown Filipino Hero: Alejandro Roces Sr.


Alejandro Roces Sr.
Father of Modern Philippine Journalism
(1876 - 1943)


The first Filipino publisher to take newspaper publishing seriously was Alejandro Roces Sr.  In 1917, he demonstrated his foresight by granting access to his newspapers to foreign news organizations.  The Taliba, La Vanguardia, and Tribune became the largest newspapers in the entire archipelago during his leadership, and he modernized the media sector.


Early Life

On April 26, 1876, Alejandro Roces was born in Manila.   Don Alejandro Roman Roces and Dona Maria Filomena Gonzales had him as their eldest child.  His younger siblings, Rosario Roces, Jesus Cesario Gonzales Roces, Filomena Gonzales Roces, Rafael Filomeno Gonzales Roces, Joaquin Capriano Gonzalez Roces, _ Roces, and Carmen Roces, were placed under his guardianship after their parents passed away unexpectedly.  He was the one who assumed control of their family's homes and other assets.


Government Service

He was a member of Quezon City's first City Council and the Chairman of the Board for the People's Homesite and Housing Corporation.


Life as a Journalist

The first Filipino publisher to take newspaper publishing seriously was Alejandro Roces.  With his three publications—TALIBA, LA VANGUARDIA, THE TRIBUNE, and THE MANILA TIMES—Alejandro established the first newspaper chain, which grew to become the largest in the entire archipelago.

Alejandro Roces purchased the Spanish-language daily La Vanguardia in 1916. It was formerly known as El Renacimiento, which was edited by Teodoro M. Kalaw but shut down in 1923 after an American named Dean Worcester was sued for libel.

In 1925, Roces established the English Tribune, which Carlos P. Romulo had previously edited.  He started Ang Taliba as well.  With Ang Taliba for Tagalog readers, La Vanguardia for Spanish-language readers, and the English Tribune for those who subscribed to the English version, these three newspapers—also referred to as T-V-T—served a wide range of readers at the time.

In 1917, he demonstrated his foresight by granting access to his newspapers to foreign news organizations.


Personal Life

He married Antonia Padul Pardo in 1897, and the two of them have ten children: Rafael Pardo Roces, Alejandro Pardo Roces, Isabel Pardo Roces, Marcos "Taling" Pardo Roces, Filomena Pardo Roces, Mercedes Pardo Roces, Chino Roces, and Antonia Pardo Roces.


Death

He died on July 8, 1943, at the age of 67 in Manila.


In Philippine print media, his family name became associated with a tradition that perpetuated his impact.



Sources:

https://tl.wikipedia.org/wiki/Alejandro_Roces,_Sr.

https://ancestors.familysearch.org/en/MB3L-B4G/alejandro-gonzales-roces-sr.-1876-1943

https://rocesfamily.com/sm2002/rocesphils/introduction.htm

Unknown Filipino Hero: Jose Palma

Jose Palma 
The Brains of the Philippine National Anthem
(1876 - 1903)


José Palma y Velásquez (Spanish: [xoˈse ˈpalma]: June 3, 1876 – February 12, 1903) was a Filipino poet and soldier. He authored the Spanish patriotic poetry "Filipinas" while working for La Independencia.  On September 3, 1899, it was initially published in the issue of La Independencia, which celebrated its first anniversary. Julián Felipe's instrumental composition "Marcha Nacional Filipina" complemented the poem, which has since served as the foundation for all translations of the Philippine National Anthem.


Early Life

The youngest child of Hilaria Velásquez and Don Hermogenes Palma, a clerk at the Intendencia Office, Palma was born in Tondo on June 3, 1876.  Rafael Palma, his older brother, was a journalist, politician, and scholar who was elected as the University of the Philippines' fourth president.

Palma continued his education at the Ateneo Municipal after completing his primera enseñanza (first studies) at Tondó.  He began writing verses while he was a student at Ateneo.  "La cruz de Sampaguitas" (literally, "The Cross of Jasmines") was one of his first compositions. He wrote it in 1893, the same year he fell in love with Florentina Arellano.  However, the girl's parents disapproved of him and ended their relationship.  Following that, he became gay and remained thus for the rest of his life.  Palma kept himself occupied with his reading passions.


Being a Katipunan Member and Joining the Revolution

Palma focused on writing more poetry as underground revolutionary activity increased.  He joined the Katipunan in 1894, but he refrained from fighting during the 1896 Philippine Revolution.  When the Philippine–American War broke out in 1899, he finally joined Colonel Rosendo Simón's revolutionary forces and fought in the battles of Ángeles and Bambán under Colonel Servillano Aquino's leadership.  He frequently stayed in camps and performed kundiman, a traditional Filipino lyrical and musical art form, for the soldiers because he was unable to physically handle the hardships of war.

During their marches away from the pursuing American forces, Palma and his colleagues in the paper often entertained themselves with songs and poetry while resting in camps or other locations.  Palma's poetic spirit was raised to a new level during one of their pauses in Bautista, Pangasinan.  when he heard Julian Felipe's Triumphant March in Kawit, Cavite.  The hymnal melody, which is currently the official Philippine National Anthem, served as his inspiration.  He composed the poetry "Filipinas" to go with Julian Felipe's "Marcha Nacional Filipina" music.

When the Philippine-American War broke out in 1899, he eventually joined Colonel Rosendo Simon's revolutionary forces and fought in the battles of Angeles and Bambang under Colonel Servillano Aquino's leadership. He frequently stayed in camps and performed kundiman, a traditional Filipino lyrical and musical art form, for the soldiers because he was unable to physically handle the hardships of war. He became a member of the Tagalog staff of La Independencia, a revolutionary newspaper. This gave him the opportunity to vent his patriotic feelings and fight the Americans in a way that he couldn't on the battlefield.


Becoming a La Independencia Journalist

Eventually, he started working for the revolutionary daily La Independencia's Tagalog-language department.  This gave him the opportunity to vent his patriotic feelings and fight the Americans in a way that he couldn't on the battlefield.  During their marches away from the pursuing American forces, Palma and his newspaper colleagues frequently entertained themselves with music and poetry while resting in camps or other locations.


Writing of Filipinas

The Spanish ode "Filipinas" was the result of Palma's lyrical mood during a break for the Bautista, Pangasinán newspaper workers.  Palma wrote "Filipinas" in Doña Romana G. vda. de Favis' home at Sitio Estación Barrio Nibaliw, Bayambang (now Barangay Población West, Bautista, Pangasinan).  In honor of Saint John the Baptist, Nibaliw was renamed "Bautista" on June 24, 1900, and separated from Bayambang as an independent town.

The instrumental piece "Marcha Nacional Filipina," written by Julián Felipe as incidental music for the Declaration of Philippine Independence in Kawit, Cavite, a year prior, was eventually adapted to the appropriate lyrics.  On September 3, 1899, "Filipinas" appeared in La Independencia's inaugural anniversary issue.


COMPLETE LYRICS


Tierra adorada,
hija del sol de Oriente,
su fuego ardiente
en ti latiendo está.

Patria de amores,
del heroísmo cuna,
los invasores
no te hollarán jamás.

En tu azul cielo, en tus auras,
en tus montes y en tu mar
esplende y late el poema
de tu amada libertad.

Tu pabellón que en las lides
la victoria iluminó,
no verá nunca apagados
sus estrellas ni su sol.

Tierra de dichas, de sol y amores
en tu regazo dulce es vivir;
es una gloria para tus hijos,
cuando te ofenden, por ti morir.


Death

José Palma died of tuberculosis on February 12, 1903, aged 26. No historical accounts are known to where his resting place is, however, his remains were believed to be interred inside the Maria Clara Parish Church of the Iglesia Filipina Independiente in Santa Cruz, Manila.



Sources


https://en.wikipedia.org/wiki/José_Palma
https://pilipinaskongminamahal.blogspot.com/2011/05/jose-palma-y-velasco.html
https://kahimyang.com/kauswagan/articles/1160/today-in-philippine-history-june-3-1876-jose-palma-was-born-in-tondo-manila