Unknown Filipino Hero: Leandro Fullon

 

Leandro Fullon

Hero and Liberator of Antique

(1874 - 1904)

During the Philippine Revolution and the Philippine-American War, Leandro Fullón y Locsín, a general and government administrator from the Philippines, battled both the Spanish and the American invasion army.

Fullón, a Katipunan member, assisted in setting up the Philippines' first revolutionary government. He founded a Revolutionary Provincial Government in Antique after leading the invading army to Panay. Later, from 1901 until 1904, Fullón served as the Province of Antique's first Filipino governor.

Early Years and Education

Justo Guerrero Fullon and Fausta Gerona Locsin welcomed Leandro Fullón into the world on March 13, 1874, in Hamtic, Antique. Before moving to Colegio de San Juan de Letran in Manila in 1896, he attended Ateneo Municipal de Manila.

Personal Life

Fullon wed Petra Francisco, the daughter of Evaristo Francisco and Margarita Dairo, a well-known Binondo, Manila family, at the age of 22.

Conflict with Spain

General Emilio Aguinaldo sent Fullón, who was now a general in the Philippine troops, on September 6, 1898, and he returned to Antique with 350 men and 140 officers. Numerous local volunteers joined his army after he arrived in Antique on September 21.

In Pandan and Culasi, Fullón installed a revolutionary government. Fullón's troops took San Jose de Buenavista on November 22, 1898. Together with Vicente Gella (representative to the Malolos Congress), Anacleto Villavert Jiménez and José Gontanilla (Council of Justice), Anselmo Alicante (Council of Internal Revenue), and Santos Capadocia (vice governor), he established a Revolutionary Provincial Government.

In San Miguel, Pavia, and outside of Jaro in Iloilo City, Fullón's troops engaged the Spanish. Later, Fullón was named Politico-Military Governor of Antique by the new revolutionary administration in the Visayas.

Conflict with United States

The Spanish-American War came to a conclusion on December 10, 1898, when Spain gave the Philippines to the United States. Fullón joined the resistance on February 11, 1899, when American forces stormed Iloilo. He went back to battle in Antique at the beginning of 1900. Fullón and the other resistance fighter were compelled to surrender on March 22, 1901.

The American government named Fullón Provincial Governor of Antique on April 15, 1901. He served as governor until his death on October 16, 1904, at the age of thirty. The province was badly impacted by the cholera outbreak in 1902 and the escalating religious hostilities between Roman Catholics and Aglipayans during his tenure. Additionally, Fullon disclosed that most pueblo officials did not approve of the amalgamation of the municipalities under the province.

Since 1901, a number of disasters have severely damaged the province's finances by destroying almost all farmland. Less than half of the plantations were spread out in 1903 due to the cholera outbreak and fevers, which first appeared in May and peaked during the planting season.

— Leandro Fullon, Annual Report of the Governor of the Province of Antique (July 15, 1904)

Death

General Leandro Fullon, the liberator of Antique and its first Filipino governor, died on October 16, 1904, at the age of 30. 

The exact cause of his death is often linked to the severe health crises affecting his province at the time. Historical records and local accounts state the following: 

Disease: During his term as governor, Antique was ravaged by a major cholera epidemic and persistent fevers.

Circumstances: He died in office while managing the province's recovery from these epidemics and other natural calamities.

While some sources list his cause of death generally as "disease" during this period of epidemic, others specifically associate his passing with the health struggles prevalent in Antique in 1904. 

Philippine Mythological Creature: Tagareso (Bagobo)

 

The Tagareso is a type of malevolent spirit, or buso, in the traditional folklore of the Bagobo people of Mindanao, Philippines. This entity is known for causing social discord and personal distress.

On festive occasions, Tagareso is an ugly devil who incites animosity and a combative spirit. In order to make married men desire to flee and abandon their wives, he tries to make them unhappy.

Anger and small acts of wickedness are caused by a class of low spirits called Tagareso.  Sometimes they lead to madness.

Arguments and conflicts are caused by Tagareso, an unpleasant buso that occasionally makes men unhappy with their spouses.

Role and Behavior

The primary function of the Tagareso in Bagobo mythology is to stimulate ill-feeling and arouse a quarrelsome spirit. Its activities often lead to arguments and disputes among people, particularly during social or festival occasions when the community gathers. It is also sometimes blamed for causing insanity.

 

The Tagareso's presence is feared because it breaks the harmony of the community, an act that can lead to violence and even death, which provides sustenance for other evil spirits. One specific aspect of its mischief is sometimes making men dissatisfied with their wives. 

Classification and Appearance

Buso: The Tagareso belongs to the general class of Bagobo demons or evil spirits known as buso. These spirits generally prey on human flesh or cause sickness and death from afar.

Appearance: The Tagareso is generally described as an "ugly fiend". Unlike other buso like the Tigbanua, whose appearance is described in more detail (one eye, hooked chin, etc.), specific physical descriptions of the Tagareso are less common, with its actions being its defining characteristic.

Interaction with Humans

The Bagobo people would make offerings or use spells and magic to protect themselves from the malicious influences of various buso like the Tagareso. The mabalian (shamans or spirit mediums) played a key role in communicating with and appeasing these spirits to protect the community. 

Sources:

A study of Bagobo ceremonial, magic and myth, Laura Watson Benedict, New York Academy of Sciences, 1916)

Aswang Project - https://www.aswangproject.com/bagobo-buso/

”Extinction” - Creation by  Bienvenido “Bones” Banez, Jr., a Filipino surrealist painter born in Davao, now living in New York City.

Gay Filipino in History: Kevin Balot

 

Kevin Balot

First Filipino Transgender International Pageant Titleholder

Kevin Roxas Balot is a Filipino transgender model, actress, and beauty pageant titleholder, who was crowned Miss International Queen 2012, making her the first Filipino transgender woman to win the pageant.

Early Years and Education

Kevin Balot was born on September 25, 1991, in Tarlac to Renato Balot and Liberty Roxas.  She has two sisters namely Karen and Kimberly. Her father, Renato, encouraged her to pursue engineering as a child. Balot struggled to gain acceptance from her family because of these and other gendered standards, such as criticism for wearing makeup.

She lived alone after high school and competed in LGBTQIA++ beauty pageants to pay for her nursing education. She was a volunteer nurse in 2012 and holds a bachelor's degree in nursing. She also agreed to work as an English teacher in Thailand that year.

Life as a Beauty Queen

Balot was crowned Miss International Queen in Pattaya, Thailand, in 2012. She won US$13,000 and a free gender-affirming surgery if she so desired. This offer was later accepted by Balot.

Balot joined Pantene as an ambassador for their #StrongerNow campaign in 2018.

Filmography 

In the 2016 movie Die Beautiful, she portrayed Tonet. She also appeared in the 2019 music video for Donnalyn Bartolome's song "Di Lahat" and in the 2015 television series "Luv U".

Unknown Filipino Hero: Candido Iban

 

Candido Iban 

Katipunero; First OFW of Aklan

(1863 - 1897)

Candido Iban (Kán·di·dó Í·ban) was one of the leaders of the Katipunan in the Visayas, and one of the Nineteen Martyrs of Aklan, the first heroes of the province. He was also the first overseas Filipino worker (OFW) of Malinao town working as a pearl diver in Australia. Overseas Filipino workers are now considered modern-day heroes not only for supporting their families but also for their contribution to the Philippine economy.

Birth and Early Years

Candido was born on October 3, 1863, in Barangay Lilo-an in the town of Malinao which was then a part of the province of Capiz. Candido Iban was born with a spirit of adventure. The young Candido, the son of poor farmers, left his home province for Iloilo and subsequently Negros in search of a respectable profession. The difficulties faced by many Filipinos today are strikingly similar to his narrative.

Life and Work in Australia

Following a period of employment as a sugar worker, Candido and his friend Francisco del Castillo went to Australia to work as pearl divers. As a result, Candido became the first "OFW" from his town and likely the first in the Visayas.

As fate would have it, the two Filipinos won a lottery in Australia in 1894 and took home a P1,000 prize. They may have made the decision to eventually return to their country because of their win.

Becoming A Katipunero

They became acquainted with another Filipino they met on a boat on their way home. As it turned out, the stranger was Procopio Bonifacio, a revolutionary commander and Andres Bonifacio's brother.

Procopio Bonifacio soon succeeded in persuading his new acquaintances to become members of the Katipunan, a revolutionary organization founded to eliminate Spanish authority in the Philippines. A catalyst was required to accelerate the group's sluggish but steady progress.

The problem is that they don't have the money to purchase a printing press that would provide reading materials and eventually boost their membership.

The two patriotic Aklanons saved the day at this time. The Katipunan donated any remaining funds from its lottery winnings and savings to buy its own printing press.

The press had to be first kept at Andres Bonifacio's home, which was situated somewhere near the intersection of modern-day Zurbaran and Oroquieta Streets, in order to avoid being discovered by spies and Spanish authorities before being relocated.

What seemed to be a straightforward instrument purchased thanks to Candido Iban's generosity became an enormously powerful recruiting tool. The press published the fabled Kalayaan, the Katipunan's official newspaper, in addition to the organization's forms and Kartilla.

Emilio Jacinto was the editor of the aforementioned publication, which issued its first and last issue in March 1896.  It contains a poetry titled "Pag-ibig sa Tinubuang Lupa" by Andres Bonifacio, who wrote under the pen name Agapito Bagumbayan, and a narrative titled "Pahayag" by Jacinto himself under the pen name Dimas-Ilaw. The public was inspired by both pieces to overcome obstacles and ultimately assist the nation in escaping the constraints of colonization.

The newspaper and other reading materials had such an impact that, by the time the Spaniards found it, the Katipunan had grown from just 300 members in January 1896 to an incredible 30,000 members.

Thanks to Candido Iban's choice to donate his lottery winnings to a worthy cause and the founders' commitment to spreading the word.

The 19 Martyrs of Aklan and Death

Candido and his comrade Francisco responded to the call to arms when the Philippine Revolution broke out in 1896. After returning to Aklan, they established the first local Katipunan branch in the Visayas. In Lilo-an, the birthplace of Candido, the Katipuneros constructed a mansion that served as their headquarters.

Francisco Castillo led his troops to the village of Kalibo on March 17, 1897, with the intention of attacking it the next day. In an attempt to speak with the local authority, General Castillo rode up to Capitan Municipal Juan Azaraga's residence on a white horse. Instead, a guardia civil named Moises Ilicito greeted him with a barrage of gunfire that promptly killed him.

Candido was meant to accompany his companion, but he was apprehended en route and imprisoned at Lezo. In the meantime, those who managed to escape capture during the attack in Kalibo took refuge in the highlands.

Colonel Ricardo Carnicero Monet, the commander of Spanish forces in the Visayas, issued a declaration that would forgive rebels who came forward in an attempt to persuade them to surrender. A lot of people fell into his trap.

Those who turned themselves up were imprisoned at Kalibo rather than granted freedom. Nineteen of the inmates were chosen by hand to be executed by firing squad. These "19 martyrs of Aklan," who never had a trial, shed their blood and perished as patriots on March 23, 1897. The brothers Candido and Benito Iban were among them.

Candido's monument now stands in Lilo-an, Malinao's plaza. It is a bittersweet emblem that always brings to mind a guy who emerged from obscurity to demonstrate that even common laborers may make a lasting impact on history. This figure is well-known to the majority of Aklanons but unknown to the majority of Filipinos.

Sources:

Today in Filipino History, October 3, 1863 Candido Iban was born in Capiz by Kahimyang Project - https://kahimyang.com/kauswagan/articles/1292/today-in-philippine-history-october-3-1863-candido-iban-was-born-in-capiz

CulturEd Philippines - https://philippineculturaleducation.com.ph/iban-candido/

Candido Iban: The Lottery Winner Who Changed Philippine History by Filipiknow - https://filipiknow.net/candido-iban-lottery-winner-who-changed-philippine-history/

CANDIDO IBAN One of the XIX Martyrs of Aklan (October 3, 1863 - March 23, 1897) by Ro Akeanon Facebook Page - https://www.facebook.com/TheAkeanon/posts/candido-ibanone-of-the-xix-martyrs-of-aklanoctober-3-1863-march-23-1897candido-i/2993445254210535/

Philippine Mythological Creature: Sangkabagi (Ilocano)

 

The term "Sangkabagi" refers to a prominent entity in Ilocano folklore in the Philippines, typically associated with the transport of souls to the realm of the dead. Its portrayal varies, but it is generally a feared spirit or being.

The people of Ilocos Norte are afraid of these spirits.  These appear to be the same supernatural creatures that the Ilocos-Sur countryside refers to as katatao-an.  According to the legends of the peasants of Ilocos Sur and La Union, these are elves or dwarfs; they typically assume the guise of humans or other enormous beings and travel at night on an aerostatic ship, capturing individuals discovered in an uninhabited area and devouring their dead.

It is Sangkabagi who bestows upon man the ability to heal.  Typically, sangkabagi are depicted as lovely creatures who transport the deceased's souls at night on floating bancas.  Some even thought that on their nighttime rounds, they gave out medication to the ill.

Key characteristics and beliefs surrounding the Sangkabagi:

Appearance: Frequently compared to a grim reaper, they travel through the night sky on a flying bangka (boat) in pursuit of corpses or souls.

Role: Its primary role is to act as a psychopomp, guiding or taking the souls of the deceased to the afterlife or the underworld. It is also referred to as the anito (spirit) of space or the katatao-an.

Contradictory lore: While largely feared in Ilocano folklore, some older accounts, particularly from the book Way of the Ancient Healer, suggest that the Sangkabagi was originally a helpful entity. In these versions, they are beautiful beings who distributed medicine to the sick, healed people, and could even grant magical powers to friends before being antagonized by Spanish colonizers.

Harmful aspects: In the more common, fearsome legends, the Sangkabagi is said to snatch people in their sleep, feed on human livers, or command termites to destroy the belongings of those who have wronged them.

Description: A flying spirit that is dangerous and frightening. 

Transportation: Takes a ride in a bangka, a big flying boat. 

Activity: Travels around the underworld at night in search of cadavers to transport to its territory.

Other Name: Also referred to as the spirit of space or the katatao-an. 

Origin: Found in mythology and traditions of the Ilocano people, such as those compiled by Isabelo de los Reyes.

Sources:

DICCIONARIO MITOLÓGICO DE FILIPINAS, Ferdinand Blumentritt [1895], translated and republished by The Aswang Project, 2021)

Creatures Of Darkness (Philippines) Facebook Page - https://www.facebook.com/mganilalangngkadiliman/posts/the-sangkabagi-riding-on-his-flying-bangka-boat-in-the-middle-of-the-night-the-s/1991026804432699/

Philippine Mythological Creature: Aswang

The best way to understand the aswang concept is as a collection of beliefs about five different types of mythical creatures that are associated with specific creatures from European tradition: (1) the vampire, (2) the self-segmenting viscera sucker, (3) the weredog, (4) the vindictive or evil-eye witch, and (5) the ghoul that eats carrion. Therefore, the physical characteristics, habitat, or actions of these five categories of mythological beings—and occasionally other mythical beings like the demon, dwarf, and elf—are typically referred to when Philippine folklore speaks of the aswang.  Here is a quick explanation of each facet of the aswang, a term mostly used by the nation's Tagalog, Bikol, and Visayan communities.

(Blood Sucker Aspect: Bicol, Cebu, Visayas, Ilokano) According to Philippine folklore, a vampire is a bloodsucking entity that poses as a lovely girl. By marrying an innocent young man, it is able to drink a small amount of his blood every night until he passes away from anemia, at which point the monster finds a new husband. The vampire punctures the jugular vein with the tip of its tongue, which is pointed like a mosquito's proboscis, in order to draw blood.

(Viscera Sucker Aspect: Bicol, Luzon) - According to legend, the viscera sucker—known as naguneg in Iloko, laman luob in Tagalog, and kasudlan in West Visayan—sucks out the internal organs or consumes the patient's evacuated phlegm.  Although it is common in Malaysian folklore, this creature is rarely found in European folklore. It is said to have a bright skin, long hair, and a buxom body, making it resemble an attractive woman throughout the day.  Its tongue can be enlarged to a considerable length and is long, slender, and tubular like a drinking straw—not pointy like the vampire's. The monster flies, floats, or glides out at night after discarding its lower body from the waist down.

(Were-Beast Aspects: Bicol, Cebu, Western Visayas, Luzon) - The weredog, also known as aso in several Philippine languages, is a mythical creature that is claimed to be a man or woman—often the former—by day and transform into a fierce animal, mostly a dog, at night. The toughest animal in a region is associated with a werewolf; therefore, China has werefoxes, India has weretigers, and Europe has werewolves. The name "weredog" is more acceptable because there are no wolves in the Philippines, while "werebeast" may be even more accurate in some situations. At around midnight, a weredog that lives in a community is reported to transform into a fierce dog, boar, or big cat.

(Witch Aspects: Bicol, Cebu, Eastern Visayas) - Another part of the cluster of mythological conceptions covered by the term aswang is the witch, thought by the folk to be a man or woman—mostly the latter— who is extremely vengeful or who causes sickness without wanting to do so.  The Philippine witch punishes people who have put her out by either entering the victim's body herself or by magically introducing various objects—shells, bones, unhusked rice, fish, and insects of various species—through the victim's physical orifices. Alternatively, she can make an equally innocent person ill with a just glance or comment. However, the Philippine witch has no taste for human flesh, in contrast to the European witches. She lives in deserted homes on the fringes of cities and villages and is a shy person. Her eyes are supposed to have an upside-down picture in their pupils, which are thin and elongated like a cat's or lizard's in bright sunlight, which is why she avoids looking people in the eye.

(Ghoul Aspect: Many areas in the Philippines) - According to legend, the Philippine ghoul steals and eats human corpses.  Its teeth are pointy and its nails are horned, curled, and sharp for this reason.  Although it is usually unseen, the monster is reported to resemble a human when it manifests itself, and its breath and scent are foul.  Human communities are home to some ghouls.  They gather in big trees close to a cemetery at night, then descend to exhume the recently buried bodies.  As they eat their loot, they make sounds that can be heard.  It is stated that a ghoul can hear the groans of the dying from a vast distance.  Its appetite is stirred when it smells the fragrance of death, and then it takes the mourners as well as the dead.

Source:

The Aswang Complex in Philippine Folklore, Maximo Ramos, 1990, Phoenix Publishing

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

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