Ocean Breeze Visitors Around The Globe

Free counters!
Showing posts with label Cagayan Valley. Show all posts
Showing posts with label Cagayan Valley. Show all posts

Thursday, March 5, 2026

Philippine Mythological Creature: Calanget (Gaddang)

 


The Calanget (also spelled Kalanget) is one of the more elusive and fascinating entities in Philippine mythology, specifically within the folklore of the Gaddang people of Nueva Vizcaya and Isabela. While many are familiar with the generic Duwende, the Calanget represents a much deeper, more ancestral connection to the land.




👤 Who is the Calanget?

The Calanget is a type of earth-dwelling spirit or "small person." In the Gaddang worldview, the universe is populated by various spirits (anganam), and the Calanget are the masters of the soil and the underground.

Physical Characteristics

  • Size: They are consistently described as tiny, often no larger than a human toddler.

  • Appearance: Though usually invisible to the naked eye, they are sometimes depicted as having very dark skin, or conversely, as pale, wrinkled old men.

  • Vocalizations: They are known for a distinct, high-pitched whistling or a "shrieking" sound that echoes from the ground, which is often how humans first realize they are in the presence of one.


🌾 The "Guardians of the Soil"

Unlike the more mischievous Duwende of Tagalog lore, the Calanget are seen as stewards. They inhabit the mounds of earth, the hollows of trees, and the literal dirt beneath human feet.

The Sacredness of the Ground

For the Gaddang, every act of disturbing the earth—whether it’s tilling a field for rice, digging a well, or clearing a forest—is a potential intrusion into a Calanget’s home. Because they are the "true owners" of the land, humans are essentially seen as tenants who must ask for permission.

The "Apo" Title

Gaddang elders often refer to the Calanget as Apo (a term of high respect meaning "Grandfather" or "Lord"). This signifies that they aren't just "monsters," but ancestral-like figures that command reverence.


Conflict and Consequences

If a human accidentally steps on a Calanget's home or digs into their "living room" without performing the proper rituals, the Calanget will retaliate.

  1. Illness: The most common form of revenge is a mysterious ailment. Symptoms often include sudden swelling of the limbs, high fever, or skin rashes that doctors cannot explain.

  2. The Medium's Role: To cure this, a Gaddang medium (often called a Paratungul) is consulted. The medium communicates with the Calanget to determine what was damaged and what "payment" is required.

  3. The Offering: Usually, a ritual called a Binalay (using sticky rice cakes) or the sacrifice of a white pig or chicken is required to appease the spirit.


💡 Interesting Facts & Trivia

  • The Sound of Warning: If you are walking in the woods and hear a sharp, unexplained whistle coming from the ground, Gaddang tradition suggests you stop immediately and say, "Tabi-tabi po" (or the Gaddang equivalent), as you have likely nearly stepped on a Calanget.

  • Urban Legends: Even in modern-day Nueva Vizcaya, construction projects are sometimes delayed because workers refuse to bulldoze certain mounds of earth, fearing the "wrath of the Calanget."

  • Ancestral Spirits: Some folklorists believe the Calanget represent the souls of the very first Gaddang ancestors, who have literally become one with the earth over centuries.

  • Aversion to Iron: Like many European "Fae," the Calanget are said to have a deep dislike for iron and steel, which is why traditional offerings to them are never served with metal utensils.




📚 Footnote Sources

  1. Ramos, Maximo D. (1971). The Creatures of Philippine Lower Mythology. University of the Philippines Press. (This is the primary academic text that categorizes the Calanget as "Dwarfs" of the North).

  2. Cole, Fay-Cooper. (1922). The Tinguian: Social, Religious, and Economic Life of a Philippine Tribe. Field Museum of Natural History. (Provides context on the spirit-beliefs of Cordillera-adjacent groups like the Gaddang).

  3. Llamzon, Teodoro A. (1978). Handbook of Philippine Language Groups. UNESCO. (Details the cultural and linguistic nuances of the Gaddang people and their animistic traditions).

  4. Gaddang Oral Traditions: Collected ethnographic notes from local historians in Bayombong, Nueva Vizcaya, regarding the Paratungul rituals.



Sunday, October 5, 2025

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





Tuesday, September 30, 2025

Folk Dance of the Philippines: La Jota Cagayana (Enrile Version)

During the Spanish regime, the Jota dances were among the most popular dances in the Philippines. It is a gay lively dance. Undoubtedly, all the Jota dances of the Philippines are adaptations from Spanish Jotas as performed by the early Spanish settlers in the Philippines.

In the 1700s, the Spanish brought the flamenco-inspired dance known as La Jota Cagayana to the Cagayan people. The little, rustic village of Enrile is home to one of the many variations that still exist today. European dance moves like the mazurka, polka, and waltz have a strong influence on the symbolic courtship dance that a couple performs. Because of the quick speed, the two travel virtually at a gallop. The 18th-century painter Damian Domingo served as the inspiration for the costumes, which feature women wearing untucked skirts and blouses with sleeves made of leg-of-mutton. In turn, the males are dressed in matching top hats and dress tails.

This is accomplished by stomping or stepping heavily on each waltz step measure's feet. Women dress in camisas and maskotas with Maria Clara dresses or stiff pañuelos. Men dress in dark or black pants and a barong tagalog.

The town of Enrile in Cagayan is the origin of the dance that is explained below.


COSTUME. Girl wears maskota skirt, and camisa with stiff pañuelo or Maria Clara costume. Boy wears Barong Tagalog and black or dark colored trousers. 

MUSIC is divided into nine parts: A, B, C, D, E, F, G, H, and I.

COUNT one, two, three to a measure.

FORMATION. Partners stand about eight feet apart. Girl stands at partner's right when facing audience. One or more pairs may participate.


NOTE: The Accented Waltz used in this dance is done with stamping or stepping heavily on ct. (count) 1 of every measure (of every waltz step).


INTRODUCTION


Music Introduction and A

      Partners turn R (Right) shoulders toward each other.

      (a) Execute a three-step turn right to meet at center, finish facing each other. Arms down at sides (cts. 1, 2, 3).  ________________________________________________ 2 M

      (b) Boy starts with L (Left) and Girl starts with R foot. Take sixteen accented

waltz steps going to any direction. Finish at starting place. (If many pairs are dancing, a definite direction should be taken). ____________________________________ 16 M  

      (c) Release hold. Take three-step turn to proper places (right turn for Girl, and left turn for Boy). __________________________________________________________ 2 M



I

Music A

      Partners face each other. Partners tilt head and look at each other throughout this figure.

     (a) Starting with R foot, take four big, accented waltz steps forward following a semicircular line (like a half-moon). See diagram A below. Bend trunk slightly to the left side. R arm in reverse "T" position. L arm bent forward at chest level, both hands kumintang  (ct. 1). Raise elbows gracefully upward (ct. 2), and downward (ct. 3) of every measure.  ---________________________________________________________________ 4 M

     (b) Turn left about and repeat (a) going to proper places by retracing steps. Reverse position of arms.  ________________________________________________________________ 4 M

     (c) Turn left about. Repeat (a) and (b). ______________________________ 8 M




II 


Music B

      Partners face each other.

      (a) Starting with R foot, take two big waltz steps forward to meet at center. Arms in lateral position, moving sideward right and left at shoulder level. Hands kumintang (ct. 1), elbows slightly moving upward (ct. 2) and downward (ct. 3) of every measure. _________________________________________________________________ 2 M

      (b) Girl turns right about. With Girl leading and starting with the R foot, take six big waltz steps forward moving around clockwise. Arms position and movements as in (a) _________________________________________________________________ 6 M

      (c) Turn right about. Repeat (b), moving counterclockwise, Boy leading 6 M

      (d) Repeat (a) moving forward to proper places. Finish facing partner, turning right about _________________________________________________________________ 3 M


III

Music C

      Partners face each other.

      Repeat Figure I (a) four times following directions in Diagram B on page 14. Girl follows arrows 1, 2, 3, 4 while Boy follows arrows 3, 4, 1, 2. Finish in proper places. Partners always face each other throughout this figure. R arm is always in reverse "T" position. L arm bent forward at chest level with same movements. 16 M


IV

Music D

      Partners turn R shoulders toward each other.

      (a) Execute a three-step-turn obliquely forward right. Arms down at sides (cts. 1, 2, 3). Stamp L foot close to R, R arm in reverse "T" position. L arm bent forward at chest level (ct. 1), hop on R foot (ct. 2), raise L foot off the floor after stamping, pause in this position (ct. 3). Partners are in back-to-back position after the turn. ____________________________________________________________________ 2 M

      (b) Repeat (a) going to proper places, starting with L foot. Reverse turn and position of arms ____________________________________________________________________ 2 M

      (c) Repeat (a) and (b), three more times ________________________________ 13 M

      (d) Execute a three-step turn right in place. Arms down at sides ______________ 2 M


V

Music E 

      Repeat Figure III ____________________________________________________ 16 M


VI 

Music F

      Repeat Figure IV _____________________________________________________ 18 M


VII

Music G

      Partners face each other

      (a) Girl starting with R foot and L for Boy, take two big waltz steps forward to meet at center. Arms in reverse "T" position, moving sideward right and left 2 M

      (b) With Boy leading and moving backward and Girl moving forward, take six big waltz steps going around clockwise. Girl starting with R foot and Boy, with L foot. Arms in reverse "T" position with arms of Boy spread out wider to enclose arms of Girl as they move their arms sideward right and left alternately from Girl's side 6 M

      (c) Repeat (b) moving counterclockwise, Girl moving backward and Boy moving forward. ____________________________________________________________________ 6 M

      (d) Repeat (a) moving backward to proper places _______________________ 2 M


VIII

Music H

      Repeat Figure I _______________________________________________________ 16 M


IX

Music I

      (a) Repeat Introduction (a) and (b) ___________________________________ 18 M

      (b) Join R hands, free hands down at sides. Girl makes a three-step turn right in place passing under arch of arms (cts. 1, 2, 3), close L to R foot and pause (cts. 1, 2, 3) ____________________________________________________________________ 2 M

      (c) Bow to partner, R hands still joined ______________________________ 1 M

      (d) Release R hands, face front and join hands, free hands in second position. Bow to audience. ____________________________________________________________ 1 M


La Jota Cagayana Music