Unknown Filipino in History - Julian Felipe

 

Julián Felipe 

Filipino Composer / Creator of the Philippine National Anthem

(1861 – 1944) 

Birth Name: Julián Felipe 
Birth Date: January 28, 1861, in Cavite Nuevo (now Cavite City), Cavite 
Death: October 2, 1944

Julián Felipe was a Filipino composer, music teacher, and revolutionary patriot best known for composing the melody of the Lupang Hinirang (originally titled Marcha Nacional Filipina), the national anthem of the Philippines. Recognized for his musical talent at a young age, he dedicated his art to the cause of Philippine independence, enduring imprisonment during the revolution before being appointed by President Emilio Aguinaldo to compose a stirring march to unite the nascent republic.

Early Years and Education

Julián Felipe was born on January 28, 1861, in Cavite Nuevo to Justo Felipe and Teresa Reyes. He was the youngest of twelve children. His father, a local blacksmith, recognized Julián's natural affinity for music early on and supported his initial training. He began his formal education under the guidance of Maestro Lucas de Guia, a local music instructor.

Felipe later attended a public school in Cavite and was eventually taken under the wing of Father Anacleto Pedro, a Roman Catholic priest and the organist of the Cavite San Pedro Church. Under Father Pedro, Felipe mastered the piano and organ, and began diving deeply into music composition. By his twenties, he was hired as a music teacher at the La Sagrada Compañía de Jesús (Sacred Company of Jesus), a private school for girls in Cavite, while also serving as an organist for local churches.

Revolutionary Activism and Imprisonment

When the Philippine Revolution against Spanish colonial rule erupted in August 1896, Felipe did not hesitate to join the cause. He associated himself with the Thirteen Martyrs of Cavite, a group of prominent local patriots who organized resistance efforts.

Following the arrest of the martyrs, Felipe was also apprehended by Spanish authorities. He was incarcerated at Fort San Felipe in Cavite. While the thirteen martyrs were executed by musketry on September 12, 1896, Felipe narrowly escaped the death penalty. He was found guilty of supporting the insurrection and imprisoned, but was eventually released under a general amnesty program in 1897.

The Composition of the National Anthem

Upon his release, Felipe immediately rejoined the revolutionary forces led by General Emilio Aguinaldo. When Aguinaldo returned from exile in Hong Kong in May 1898 to declare Philippine Independence, he realized the movement lacked a solemn musical piece to inspire the people and symbolize their freedom.

On June 5, 1898, Aguinaldo met with Felipe at the revolutionary headquarters in Cavite, carrying a musical draft brought from Hong Kong. Finding that piece unsatisfactory, Aguinaldo tasked Felipe with writing a new, majestic march.

Felipe locked himself away for six days. He intentionally drew inspiration from the melodic elements of the Marcha Real (the Spanish National Anthem) to subtly taunt the colonizers, combined with the energy of the French national anthem, La Marseillaise. On June 11, 1898, Felipe played the finished composition on the piano in the living room of Aguinaldo’s residence in Kawit, Cavite. Aguinaldo and his revolutionary generals instantly approved it.

The piece, originally titled Marcha Filipina Magdalo (later renamed Marcha Nacional Filipina), was officially performed live for the first time on June 12, 1898, by the San Francisco de Malabon marching band during the historic Proclamation of Philippine Independence.

Later Life and Public Service

Following the establishment of American colonial rule and the subsequent cessation of the Philippine-American War, Felipe transitioned into a quiet life of public service and artistic dedication. He was elected as a municipal councilor of Cavite City in 1902.

He continued to teach music and compose orchestral works, religious hymns, and patriotic songs throughout the early 20th century. In 1943, during the Japanese occupation of the Philippines, his legendary contribution was formally institutionalized when the executive commission officially recognized his march as the National Anthem.

Felipe passed away on October 2, 1944, in Manila, just months before the country was liberated from Japanese occupation. He was 83 years old. His remains were later transferred to his hometown of Cavite City.

Selected Musical Compositions

Throughout his long career, Felipe composed dozens of musical pieces, though many original manuscripts were lost during the transitions of war. His most notable surviving and historically recorded works include:

Marcha Nacional Filipina (1898) – His magnum opus, which serves as the melody for the current national anthem, Lupang Hinirang.

Amorita Danza (1880s) – A popular romantic instrumental piece that earned him early local acclaim.

Reina de Cavite (1892) – A religious hymn composed in honor of the patron saint of Cavite, Our Lady of Solitude of Porta Vaga.

Jaculatoria (1890s) – A sacred choral composition heavily utilized in Cavite Catholic churches.

Un Recuerdo (1896) – A somber instrumental piece dedicated to his fallen comrades, the Thirteen Martyrs of Cavite.

Interesting Facts and Trivia

A Song Without Words: For more than a year after its first performance, Felipe’s anthem had absolutely no lyrics. It was purely an instrumental march. It wasn't until August 1899 that a young soldier named José Palma wrote the Spanish poem Filipinas, which was later adapted to fit Felipe’s melody.

The Musical Blueprint: Felipe admitted that he designed the anthem to feature a rhythm that could serve as a literal march for soldiers, ensuring it had a fast, encouraging tempo (120 bpm) rather than the slow, somber pacing often found in national hymns of that era.

A Tiny Payout: Despite the monumental historical impact of his composition, the cash-strapped revolutionary government could only compensate Felipe with a modest sum of 200 pesos for his work.

The Name Confusion: The original title Marcha Filipina Magdalo was given because "Magdalo" was the revolutionary faction faction name of Emilio Aguinaldo. Felipe changed it to Marcha Nacional Filipina just days before the June 12 debut to ensure it represented the entire nation, not just one faction.

Living Monument: Cavite City erected a prominent life-sized bronze monument of Julián Felipe standing in the city square, depicting him passionately conducting music.

Footnote Sources:

National Historical Commission of the Philippines (NHCP) Historical Archives: Biography of Julian Felipe and the Evolution of the Philippine National Anthem.

Agoncillo, Teodoro A. (1990). History of the Filipino People (8th Edition). Garotech Publishing.

Zaide, Gregorio F. (1970). Great Filipinos in History: An Epic of Filipino Greatness in War and Peace. Verde Bookstore.

Manuel, E. Arsenio (1955). Dictionary of Philippine Biography (Volume 1). Filipiniana Publications.

Gay Filipino in History: Geraldine Roman

 

Geraldine Roman 

First Openly Transgender Representative in the Philippine Congress

(1967 - Present) 

Geraldine Batista Roman (born April 23, 1967) is a Filipino journalist and politician who made history as the first openly transgender person elected to the Congress of the Philippines. She served as the Representative of the 1st District of Bataan from 2016 to 2025.

Early Years and Education

Born into a prominent political family in Bataan, Geraldine is the second of four children of Herminia and Antonino Roman Jr., both of whom served as representatives of the same district. Raised as a boy, Roman faced challenges with her gender identity during her youth. She completed her elementary and high school education at the Ateneo de Manila University. She later pursued collegiate studies at the University of the Philippines Diliman, where she felt a stronger sense of belonging within the LGBTQ+ community.

Seeking to further her education and personal growth, Roman moved to Spain on a scholarship. She resided there for nearly two decades, during which she earned two master’s degrees from the University of the Basque Country. It was during this time in Europe that she fully embraced her identity as a woman and established a successful career as a senior editor for a Spanish news agency. She underwent gender-affirming surgery in New York in 1996.

Entry into Politics

In 2012, following the failing health and eventual death of her father, Roman returned to the Philippines to be with her family. Inspired by her father’s legacy and his encouragement to live a life of purpose, she transitioned into public service. She began by assisting her mother, Herminia, in her congressional office.

In the 2016 national elections, Roman ran for the 1st District of Bataan seat under the Liberal Party banner. Despite facing scrutiny regarding her gender, she won by an overwhelming margin, securing approximately 62% of the vote. Her victory was celebrated as a milestone for the LGBTQ+ community in the Philippines.

Legislative Career and Advocacy

As a lawmaker, Roman has focused on a broad platform she calls "EQUALITY," an acronym representing Education, Environmental Quality, Universal Healthcare, Agriculture, Livelihood, Infrastructure, Transparency, and the Youth. Key aspects of her legislative work include:

• LGBTQ+ Rights: Roman is a leading advocate for the SOGIE (Sexual Orientation and Gender Identity Expression) Equality Bill, which aims to prohibit discrimination. She has also supported legislative efforts regarding civil unions.

• Healthcare: She was instrumental in the passage of the Cancer Institute bill and has been a proponent of the Mental Health Law.

• Veterans' Affairs: Serving as the chairperson for the Veteran Affairs and Welfare Committee, she has consistently championed the rights and increased pensions of Filipino war veterans.

• Other Initiatives: She has filed numerous bills concerning disaster management, tourism conservation, and the standardization of hospital facilities across the country.

While her political success was aided by her family’s established political dynasty, Roman is widely recognized for her own legislative contributions and her efforts to promote inclusivity and social justice within the Philippine government.

Footnote Sources

• "Geraldine Roman - Wikipedia." Wikipedia, Wikimedia Foundation, 2026.

• "Breaking Barriers: Rep. Geraldine Roman On Public Service And Overcoming Challenges." Tatler Asia, 2026.

• "Transgender politician wins seat in Philippines parliament." The Guardian, 2016.

• "First transgender woman, Geraldine Roman, elected to Philippine Congress." LGL, 2016.

• "Geraldine Roman: Pioneering Transgender Congresswoman." Scribd, 2026.

Philippine Mythological Creature: Gīambōlan (Tingguian)

 

Gīambōlan is one of the most uniquely terrifying and obscure creatures in Philippine mythology. Hailing from the rich oral traditions of the Tingguian (also known as the Itneg) people of the northwestern Luzon mountains (specifically the province of Abra), Gīambōlan stands out largely because of a rare physical trait: he is a ten-headed giant.

While much of Philippine folklore is populated by single-headed giants like the cigar-smoking Kapre or the cyclops-like Bungisngis, Gīambōlan belongs to a specific, epic cycle of Tingguian myths that feature immense, multi-headed antagonists.

Here is a deep dive into the lore, the epic tales, and some fascinating trivia surrounding this ten-headed behemoth.

The Mythical World of the Tingguian

To understand Gīambōlan, you have to look at the "Mythical Period" of Tingguian folklore. This era is built around a consistent cast of 14 major characters—gods, spirits, and human heroes—whose stories explain the origins of Tingguian customs, religious rites, and the natural world.

The central hero of these epics is often Aponitolau (or in some variations, his brave sons Kanag and Ilwisan). In this ancient world, heroes didn't just rely on physical strength to defeat massive beings like Gīambōlan; they relied heavily on powerful, sentient magic.[1]

The Defeat of Gīambōlan

Because of his immense size and his ten heads, fighting Gīambōlan in hand-to-hand combat was considered impossible. In the epic tales, the hero Aponitolau encounters Gīambōlan but does not engage him in a traditional wrestling match or sword fight. Instead, Aponitolau utilizes his magically imbued weapons: a spear and a traditional Tingguian headaxe (pinaing or aliwa).

According to the myth, Aponitolau's weapons have a mind of their own and perfectly obey his vocal commands. When the hero commands his weapons to attack, they fly through the air on their own accord. Realizing the inescapable, homing nature of the magical headaxe, Gīambōlan simply gives up. The text notes that "Gīambōlan laid down and the headaxe went and cut off Gīambōlan's ten heads." As soon as the giant is slain, the weapons proceed to clear out the rest of the hostile town on Aponitolau's behalf.[2]

Interesting Facts and Trivia

• The Rarity of Multi-Headed Entities: In indigenous Philippine folklore, multi-headed creatures are incredibly rare. The presence of Gīambōlan (10 heads) and his mythological contemporary Gawīgawen (a giant who guards magical orange trees and has 6 heads) suggests that ancient Tingguian oral literature may have absorbed distant Hindu-Buddhist influences from early Southeast Asian trade networks. Gīambōlan's ten heads draw a striking parallel to Ravana, the ten-headed demon king from the Hindu epic Ramayana.[3]

• Weapons Over Brawn: The defeat of Gīambōlan highlights a core cultural value of the ancient Tingguian people. They were a warrior society that placed immense spiritual value on their weaponry. By having Aponitolau defeat a ten-headed giant effortlessly with a magical, autonomous headaxe, the myth elevates the tribe's everyday tools into objects of supreme, divine power.

• The Translator was a Local: The primary reason we know about Gīambōlan today is thanks to the American anthropologist Fay-Cooper Cole, who lived with the Tingguian people for 16 months between 1907 and 1908. To ensure the myths were translated accurately, Cole was assisted by a full-blooded Tingguian man named Dumagat, who even traveled to America in 1909 to help finalize the English translations of these exact stories.[1]

• Animism in Action: In Tingguian myths, giants aren't always mindless monsters; they often own property, govern towns, or hoard magical resources. Gīambōlan and his kin represent the hostile, untamed forces of neighboring tribes or the perilous natural world that the Tingguian heroes had to culturally and physically conquer.

Traditional Cordilleran headaxe (Aliwa). Source: Bahay Ugnayan Research Center / Aliwa (b) | Blades and Shields | Weaponry | Bahay Ugnayan

Sources & Footnotes:

[1] Cole, Fay-Cooper. Traditions of the Tinguian: A Study in Philippine Folk-Lore. Field Museum of Natural History, Publication 180, Anthropological Series, Vol. XIV, No. 1. Chicago, 1915. (Provides the comprehensive catalog of the 14 major characters of the Tingguian Mythical Period, including Gīambōlan).

[2] Cole, F.C. (1915). Traditions of the Tinguian. (Specifically referencing the magical combat texts where Aponitolau's autonomous headaxe decapitates the giant).

[3] Philippine Folk Literature and mythological comparative studies often note the anomaly of multi-headed beings in the Cordillera region, drawing parallels to broader Southeast Asian mythological motifs. The Aswang Project

Unknown Filipino in History - Felipe Agoncillo

 

Felipe Agoncillo

First Filipino Diplomat and Minister Plenipotentiary

(1859 - 1941)

Felipe Agoncillo

"The Diplomat of the First Philippine Republic"

Don Felipe Agoncillo y Encarnacion

Born	May 26, 1859 Taal, Batangas, Spanish Philippines
Died	September 29, 1941 (aged 82) Manila Doctors Hospital, Manila, Commonwealth of the Philippines
Nationality	Filipino
Alma mater	Colegio de San Juan de Letran University of Santo Tomas (Licentiate in Jurisprudence, Summa Cum Laude, 1881)
Profession	Lawyer, Diplomat, Statesman

Public Service

Political Office	Minister Plenipotentiary First Philippine Republic (1898) Representative Batangas's 1st District (1907–1909) Secretary of the Interior Insular Government (1924–1925)
Key Actions	Authored the Memorial to the Foreign Relations Committee (Paris, 1898); Funded the Hong Kong Junta

Family & Relationships

Spouse	Marcela Mariño (m. 1889)
Children	6 daughters (including Lorenza, Gregoria, and Maria)

While many Filipinos recognize his name from the busy street cutting through Malate, Manila, or the town named after him in Batangas, few realize that Felipe Agoncillo was the "Diplomat of the First Philippine Republic." A man of piercing intellect and uncompromising integrity, he was one of the premier legal minds of his generation. He weaponized his mastery of international law not for personal aggrandizement, but to wage a lonely, brilliant diplomatic battle in Washington and Paris, striving to force the global empires of the world to recognize Philippine independence.

Felipe Agoncillo was a visionary statesman who understood that a nation's sovereignty is fought for not only on blood-soaked battlefields with rifles, but also in the polished halls of foreign ministries with pens, protocols, and treaties. His life was a masterclass in patriotism; he willingly bankrupted his own wealthy family and spent years in exile to ensure that the fledgling Philippine Republic would have a voice on the global stage.

Childhood and Education

Felipe Agoncillo was born on May 26, 1859, in the historic town of Taal, Batangas. He belonged to a wealthy and highly respected family, born to Ramon Agoncillo and Gregoria Encarnacion. Exhibiting a sharp, analytical mind at a very young age, he was sent to Manila to pursue his education. He obtained his Bachelor of Arts degree from the Colegio de San Juan de Letran before transferring to the University of Santo Tomas.

At the university, Agoncillo anchored himself in the study of law. He graduated with a Licentiate in Jurisprudence summa cum laude in 1881. Returning to Batangas, he opened a free legal clinic, quickly earning a reputation as the "lawyer of the poor" because he defended impoverished tenants and criticized the abusive Spanish friars.

His open defense of the native population and his progressive reformist ideas caught the ire of the colonial authorities. Local friars labeled him a filibustero (subversive). By 1895, the Spanish Governor-General issued an order to deport Agoncillo to the remote island of Jolo. Tipped off by a sympathetic official, Agoncillo boarded a ship bound for Yokohama, Japan, narrowly escaping arrest and beginning a long chapter of patriotic exile.

The Diplomat of the Republic

When the Philippine Revolution broke out in 1896, Agoncillo moved to Hong Kong, joining other exiled reformists to establish the Hong Kong Junta. When General Emilio Aguinaldo arrived following the Pact of Biak-na-Bato, Agoncillo became one of his closest advisers. Upon the declaration of Philippine Independence in 1898, Aguinaldo appointed Agoncillo as the Minister Plenipotentiary of the First Philippine Republic.

His mission was monumental: travel to the United States and Europe to secure international recognition of Philippine independence and block Spain from selling the islands to America. Agoncillo arrived in Washington, D.C., in September 1898. Though President William McKinley refused to officially recognize his diplomatic status to preserve America's geopolitical leverage, Agoncillo managed to secure an audience, passionately arguing that the Filipino people had already established a functional, democratic government.

Realizing the true battle was happening across the Atlantic, Agoncillo rushed to France to intervene in the Treaty of Paris negotiations between Spain and the United States. Barred from entering the conference room because the imperial powers viewed the Philippines as a mere colony, Agoncillo refused to step down. He authored the historic Memorial to the Foreign Relations Committee, an extensive legal brief demonstrating that Spain had no legal right to cede the Philippines to the United States because Spanish rule had already been completely overthrown by Filipino forces. Despite his brilliant legal maneuvering, the treaty was signed, and the Philippines was sold for 20 million dollars.

Later Years and Death

Undeterred by the outbreak of the Philippine-American War, Agoncillo continued his diplomatic campaign from Paris and Hong Kong, channeling funds and printing propaganda to support the revolutionary forces back home. When the war finally ended with Aguinaldo's capture, Agoncillo returned to the Philippines in 1903 to rebuild his life under the American civil administration.

He passed the American-administered bar exam and resumed his legal practice. His peerless reputation for clean governance led to his election as the Representative of Batangas to the Philippine Assembly in 1907. He later served as the Secretary of the Interior under Governor-General Leonard Wood in 1924, a turbulent period where he consistently defended Filipino autonomy against American executive overreach.

Felipe Agoncillo passed away peacefully on September 29, 1941, at the Manila Doctors Hospital, just months before the outbreak of World War II. He was 82 years old. He died a poor man, having spent his massive family fortune entirely on the revolutionary cause, leaving behind a legacy of absolute incorruptibility.

Interesting Facts and Trivia

• A Powerhouse Marriage: Felipe was married to Marcela Mariño, famously known as the "Mother of the Philippine Flag." It was Marcela, along with their daughter Lorenza and Rizal's niece Delfina Herbosa, who hand-sewed the first official Philippine flag in Hong Kong under Felipe’s watchful eye.

• Willingly Bankrupted for Country: Before the revolution, the Agoncillos were among the wealthiest clans in Batangas. To fund his diplomatic travels, hotel stays, and publication prints across America and Europe, Felipe spent his entire savings and instructed Marcela to sell off all her ancestral jewelry. They returned to Manila practically penniless.

• The Miraculous Shipwreck: In 1898, while rushing back from America to Europe on the steamship China, the vessel struck a reef and began to sink. Refusing to take a life jacket until women and children were safe, Agoncillo was thrown into the freezing ocean water. He survived by clinging to a piece of wreckage for hours, refusing to let go of his leather briefcase, which contained the vital diplomatic documents of the Republic.

• An Uncompromising Standard: When he was serving as the Secretary of the Interior, he refused to let any relatives use government vehicles or resources, and famously rejected salary increases, stating that public service was a duty, not a business venture.

• The "Lawyer's Lawyer": Agoncillo was so highly regarded in jurisprudence that when he took the bar exam under the American system, he reportedly finished the test well ahead of time and corrected errors in the American examiner's phrasing of legal questions.

Sources

Agoncillo, T. A. (1960). Malolos: The Crisis of the Republic. University of the Philippines Press.

Fernandez, L. H. (1926). The Philippine Republic. Columbia University Press.

National Historical Commission of the Philippines (NHCP). Eminent Filipinos. NHCP Publications.

Quirino, C. (1995). Who's Who in Philippine History. Tahanan Books.

Zaide, G. F. (1970). Great Filipinos in History. Verde Bookstore.

Flores de Mayo Songs in Hiligaynon

🌸 Amba sang Pagtuo: The Nostalgic Melody of Hiligaynon Flores de Mayo Songs 🎶

Remember those warm May afternoons from childhood? The distinct scent of freshly picked kalachuchi, bougainvillea, and santan held tightly in little hands. The sound of slippers scuffing against the parish floor, and the eager anticipation of a small treat after katisis (catechism) class.

For many in Western Visayas, Flores de Mayo is a core childhood memory defined not just by colorful petals, but by the gentle, poetic cadence of Hiligaynon Marian songs.

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The Heart of the Devotion: More Than Just Melodies

During the daily Flores ni Maria catechesis, children gather in local chapels and parishes across Iloilo, Negros Occidental, Capiz, and Guimaras to learn Catholic doctrines and pray the Rosary. However, the true emotional and musical peak of every afternoon is the Paghalad sing Bulak (Offering of Flowers).

The songs sung during this time aren't just background noise; they are a deeply rooted oral tradition. Sung in the sweet, soft, and naturally affectionate Ilonggo accent, these hymns turn a simple religious ritual into a collective love letter to the Virgin Mary.

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The Essential Hymns of the Hiligaynon Flores

While exact verses can vary slightly from town to town, certain traditional songs and themes echo across generations:

• The Call to Gather (Ang Pag-ganyat): Before the flowers are laid at the altar, joyful songs of invitation are sung to bring the children to the sanctuary. These often feature timeless opening lines like:

  "Kari kamo, maghimaya... kay Maria maghalad sing bulak."

  (Come, let us rejoice... and offer flowers to Mary.) These melodies are bright, upbeat, and easy for young kids to memorize, signaling that the best part of the afternoon has begun.

• The Offering Hymns (Mga Kanta sa Paghalad): As a long queue of children steps forward to lay their floral gifts at the foot of the altar, the tempo softens. The lyrics turn deeply poetic, blending the physical beauty of May flowers with the spiritual virtues of Mary. In Hiligaynon, she is addressed with profound endearment—Amon Iloy (Our Mother), Rayna sang Langit (Queen of Heaven), and Mabaho nga Bulak (Sweet-scented Flower).

• Sung Prayers (Maghimaya Ka Maria): Instead of merely reciting the Hail Mary, many Hiligaynon catechisms feature a hauntingly beautiful, slow-cadence sung version of the prayer. Hearing a chorus of children's voices echoing through a local chapel singing "Maghimaya ka Maria, puno ka sing grasya..." is a signature soundscape of a Visayan May afternoon.

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Why These Songs Matter Today

In a fast-paced digital world, these traditional Hiligaynon hymns serve a beautiful, dual cultural purpose:

• Preserving the Hiligaynon Language: The vocabulary used in these traditional songs is often rich, deep, and formal. It exposes younger generations to beautiful, classical Hiligaynon words they might not otherwise use in daily text messages.

• Passing Down a Multi-Generational Heritage: Many lolas (grandmothers) today watch their grandchildren sing the exact same tunes they sang back in the 1960s or 70s.

• Fostering Community Spirit: The communal effort of gathering flowers from neighbors' gardens, teaching the tunes, and walking to the chapel together strengthens the local barangay identity and builds lasting childhood bonds.

The flowers of May will eventually fade, but the melodies of the Hiligaynon Flores remain beautifully evergreen in the hearts of Western Visayans.

#FloresDeMayo #IlonggoCulture #HiligaynonHymns #WesternVisayas #PinoyTraditions #PaghaladSingBulak

These were just two of the Hiligaynon religious songs being sang during the Flores de Mayo catechesis:

Flower Offering Song

Tuluka, Batuna

Chorus:

Tuluka, batuna, Iloy nga malulot

Ining amon dulot nga bulak sa Mayo.

Yaring mga bulak sa talon kag patag

Dili gid maanyag nga subong sa imo

Apang batuna, batuna ining amuma

Timaan sang gugma sang imong Anak. 

Sing Chorus

Matahum tulokon ang bulak sa Mayo

Maamyon kaayo ang ilang alisbong

Apang iloy ko, iloy kong pinili

Labi ka’ng hamili sa tanan nga bulak. 

Sing Chorus

Ang kanayanaya sang bulan nga ugsad

Dili makatulad sa imong guya

Ang imong kaputli, ang imong kaanyag

Among makabihag sa gugma sang Dios. 

Sing Chorus

End of Cathechesis / Farewell Song

Adios Iloy Nga Matam-is

Adios Iloy nga Matam-is

Kalipay sang akon Kalag

Ako karon nagatangis

Kay sa imo magabulag

Ako na magapauli

Sa imol ko nga puluy-an

Adios Iloy kong hamili

Imo ako nga bantayan

Adios Iloy nga Matam-is

Kalipay sang akon Kalag

Ako karon nagatangis

Kay sa imo magabulag

Ginabilin ko sa imo

Ining bulak nga maamyon

Handumanan sang Anak mo

Pati ang tagipusuon

Adios Iloy nga Matam-is

Kalipay sang akon Kalag

Ako karon nagatangis

Kay sa imo magabulag

Kag didto sa amon balay

Akon ta ikaw (nga) dumdumon

Adios Maria nga ulay

Hatagi ako Bendisyon

Adios Iloy nga Matam-is

Kalipay sang akon Kalag

Ako karon nagatangis

Kay sa imo magabulag

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.

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👤 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.

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🌾 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.

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⚡ 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.

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💡 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.