Essays for a book

Why Do I Write in Aklanon?

By

Melchor F. Cichon

November 18, 2008

Revised: June 2010

Why do I write in Aklanon?

This is a simple question, but it took me time to compile my reasons why indeed do I write in Aklanon.

When I started writing poetry, I wrote in English, then in Tagalog, then in Aklanon.

I wrote in English because I really wanted to improve my skills in English.  It has been my problem on how to communicate effectively in English. Because of that I read books on English grammar like the one by Jean Edades, English for Filipinos. Together with a friend, we studied the English grammar, its preposition, and the actual writing in English. To try how effective my English was, I tried to write short letters to the editors of Manila Times, Sunday Times Magazine, the Philippine Collegian, and other national magazines. Some of my letters were published, of course with some editing.

Then I tried writing poetry in English.

But since I did not have any formal training on poetry writing  I thought that the best way to write poetry was to translate Tagalog poems into English to see how poets write poems. So I translated the works of Teo Baylen, a poet laureate from Cavite.

Little by little, I learned some poetry writing techniques.

Then I tried writing in Tagalog as it was much easier for me to express myself in Tagalog than in English.

In the early 1980s, Dr. Deriada came to UP in Iloilo.

When he learned that I was writing poetry, he asked me to show him some of my “masterpieces”, and he told me I should learn some more. He invited me to attend creative writing workshops.

And I did.

It was also through his encouragement that I write more Aklanon poems because it would be much easier for me to convey my ideas if I write in Aklanon. I accepted his challenge.

Before that, of course I was already writing in Aklanon. In fact my poem, Inay, is the first Aklanon poem ever published in the Philippine Collegian. When I transferred to UP in Iloilo, now UPV, I wrote a poem in Aklanon. This was published in Pagbutlak. That was also the first Aklanon poem ever published in that school organ.

There are other reasons why I write in Aklanon.

Aklanon as a language is still developing like any other language. In fact it has no spelling standard. Although we have three dictionaries that provide Aklanon words, I noticed that there are some words that are spelled in a different way like: Unga and  Onga;  Kon and Kun;  Tagipusuon and Tagipusoon. There are also some deviations like  ingko or mingko, paris or kamana, pero or piru, etc.

But I usually consult the A Study of the Aklanon Dialect, vol 2, Dictionary by Vicente Salas Reyes et al., 1969, if I am not sure of the spelling.

As I continued writing poems in Aklanon, I noticed my Aklanon vocabulary has been expanding.

And I also enrich Aklanon language by incorporating words from other languages into my Aklanon works. Example, cocoon has no direct translation into Aklanon, except that it is a house of a worm. But the Tagalog has, so I used higad when I translated the haiku of Rogelio G. Mangahas. Another word which I used is ham-at, from ham-an it. Now this word is well-known especially when I published the book entitled: Ham-at Madueom Ro Gabii, Inay?

Later I realized that I was not only writing for myself. Some people have noticed my literary works especially Dr. Deriada. When I published my first book of poems, Ham-at Madueom Ro Gabii, he recommended me to Gawad Pampansang Alagad ni Balagtas.

In a way, not only Aklanons have been reading my literary works but also other people in the Philippines and abroad especially so when I set-up the website Aklanon Literature (http://geocities.com/aklanonliterature) where I feature selected poems written by Aklanons. I heard that in De la Salle and in UP Diliman, Philippine literature students discuss some of my works in their classes.  An undergraduate student from the University of Santo Thomas wrote me a letter saying that she was writing a term paper on my Aklanon poems. In 2010, a PhD UST student interviewed me for her dissertation. An  MS student from Philippine Polytechnic University interviewed me for his master thesis.

Through my writings, I have gained some friends not only in my province but also outside. As a result, I gained some cooperation with other writers. And perhaps if not because of my Aklanon works, Prof. Tomas Talledo would not have invited me to attend a conference on why people write in their native tongues. The conference was held on May 9, 2008 at U.P. Visayas Iloilo City Campus. Or probably, I should not have been invited to attend as a fellow to a literary workshop in U.P. Visayas Cebu College, Cebu City, if I were not writing poems in Aklanon.

And perhaps through my example, some Aklanons have tried writing in Aklanon. Now we can see some Aklanon poems in the internet. One book, Haiku, Luwa and Other Poems by Aklanons was published in 2004 through my encouragement. In 2010, the book When I Fall in Love: Haiku, Luwa, Tongue Twisters, and Other Poems by Mila S. De la Rosa was published through my encouragement.

With the help of the internet, I was able to communicate with renowned haiku writers outside of the Philippines. I translated Basho’s haiku into Aklanon. This way these famous foreign writers will learn about Aklan and Aklan’s literature.

My other reason for writing in Aklanon is to prove that there is a distinct Aklanon literature, not a subgroup of Hiligaynon literature. For many years, some people have thought that there is only one literature in Western Visayas until we the present writers have advocated that Aklanon literature is not a subgroup of Hiligaynon literature, but parallel to it.

Still other reason why I write in Aklanon is to earn money, although very little by being asked to translate Aklanon poems, short stories and other works for their theses or researches.

Lastly, I write in Aklanon to expose the social and environmental cancers that ferment in our country, and hopefully will prick the consciousness of our leaders. To me poetry is a social responsibility.

All the poems that you are about to read were written for a contest, and fortunately, they won prizes. Ay, Saeamat is one of the poems in the collection that won a writing grant in poetry writing in Aklanon from the Cultural Center of the Philippines. Eva, Si Adan won third prize in the regional contest sponsored by Sentro ng Wika, UP in the Visayas and the NCCA, while Si Ambong, Ati won first prize in the same contest, professional written category

As you read my poems, you will notice that the incidents mentioned in the poems were based on Philippine history, current events and culture.

Ay, Saeamat cites the cycle of human life.: birth, marriage, and death. In each stage, Filipinos celebrate or honor it. In each celebration, Filipinos prepare foods for the visitors, either invited or not.

To add tension, I  included this line: “Maski salin eon lang.” in the last line of the first stanza. To heighten the tension, I included the following lines that reflect the common incidents during Martial Law time:

Pirme eon lang abi nga linaga nga kamote

Ro ginapamahaw namon ni Nanay

Ay ginkangay abi si Tatay

Ni Hepe M sa Kampo K

Ay kuno nagpakaon si Tatay it limang katawo

Nga may bitbit nga sako

Ag sang dag-on eon imaw

Nga owa kauli.

Ag hasta makaron ra’y Tatay

Nga sanggutan

Hay owa eon

Hibag-euti.

The second poem, Eva si Adan talks about man’s wrong perceptions about women’s capability and  power. These can be seen in these lines:

Pero owa madumdumi't mga eaki

Nga maski si Mark Anthony

Hapatiyog-tiyog ni Cleopatra

Maski sa guwa it kama.

Owa nanda madumdumi nga si Gabriela gali

Ro nagpahaba't daean ni Diego Silang.

Ag sa Edsa kon owa ring kaeambong

Maghigot it rosas sa punta't armalite ni Freddie

Hay basi owa si Cory makasindi't kandila

Sa ermita't Malakanyang.

I wrote Si Ambong, Ati primarily for a contest. This poem won first prize in the written professional category. This poem exposes how lowlanders ostracize the Ati in Iloilo City, and in other provinces in Panay, and the neglect being done by our government toward the Atis.. The persona hopes that the Ati will be given equal opportunity in education and other benefits being availed of by the lowlanders.  Ambong in Kinaray-a is beautiful.

The first few lines portray the sad plight of Ati in Iloilo City:

Si Ambong, Ati—maitum.
Kueong ra buhok, gision ra eambong, ga siki.
Gakung-kong, kung-kong ka maeupsi nga eapsag
Gapakalimos sa Jaro Cathedral, sa J.M. Basa Street
Ay gintabog eon ra pamilya sa eugta nga anay ginaayaman nanda’t haeo.
Si Ambong, Ati, maitum, indi kantigo magbasa, indi kantigo magsueat
Maski ka anang ngaean ay sa andang barangay owa’t eskuylahan.
Si Ambong, Ati, ginasinggit-singgitan, ginadela-delaan
It mga unga kun imaw mag-agi sa daean ay maitum.
Ginapahadlok it mga nanay sa andang gatangis nga mga unga.
O sa mga unga nga indi magtueog.
Kon fiesta, ginataw-an si Ambong it salin nga suea
Ginasueod sa plastic o sa bag-ong bukas nga lata.
Kun bukon ngani, ginabagsakan it gate.
Agod makayupyop it sigarilyo, gapamueot si Ambong it upos sa kalye.
Agod makasamit it hamburger o juice sa pakite,
Ginapaeapitan ni Ambong ro nagakaon maski sin-o nga anang maagyan.
Pag-abot it gabii, maeugad si Ambong sa sidewalk o sa waiting shed
Kahulid ka anang maeupsing eabsag—
Mayad eang kun may karton nga banig ag owa’t baha o uean --
Agod magbaskug euman ra tuhod sa pagpakalimos pagka-aga.

Ay, Saeamat

Ay, saeamat

Ay may bunyag eon man

Sa among barangay—

Makasamit eon man ako’t

Sutanghon ag litson

Maski salin eon lang.

Pirme eon lang abi nga galunggong ag dayok

Ro suea namon ni Nanay.

Ay, saeamat

Ay may eubong eon man

Sa among barangay—

Makasamit eon man ako’t

Libreng siopao

May Coke o Pepsi pang pangtulak.

Pirme eon lang abi nga linaga nga kamote

Ro ginapamahaw namon ni Nanay

Ay ginkangay abi si Tatay

Ni Hepe M sa Kampo K

Ay kuno nagpakaon si Tatay it limang katawo

Nga may bitbit nga sako

Ag sang dag-on eon imaw

Nga owa kauli.

Ag hasta makaron ra’y Tatay

Nga sanggutan

Hay owa eon

Hibag-euti.

Eva,  Si  Adan
Bangud ginabot ka eang kuno sa gusok ni Adan
Agud may anang hampang-hampangan,
Maistorya-istoryahan ag mapautwas-utwasan
Sa oras nga anang kinahangean
Hay abu eon nga ngaean
Ro andang ginsueat sa imong daean:
Salome, Magdalena, Maria Clara, Bagyo Esyang.
Bangud mahuyang kuno ring dughan,
Maski ro bagyo nga makaeuka't butong
Ag makapaeunod it barko
Hay ginapapangaean man gihapon kimo.
Pero owa madumdumi't mga eaki
Nga maski si Mark Anthony
Hapatiyog-tiyog ni Cleopatra
Maski sa guwa it kama.
Owa nanda madumdumi nga si Gabriela gali
Ro nagpahaba't daean ni Diego Silang.
Ag sa Edsa kon owa ring kaeambong
Maghigot it rosas sa punta't armalite ni Freddie
Hay basi owa si Cory makasindi't kandila
Sa ermita't Malakanyang.
Mayad gid sanda magpalitik kon paano
Ka eang mapasunod-sunod sa andang ikog.
Owa gid sanda gapalitik kon paano mo magamit
Tanan ring utok, eawas ag hueag
Para kita tanan makatakas sa linaw it utang.
Owa ka gid kuno't kalibutan
Sa pagdumaea't gobyerno o simbahan.
Mayad ka eang kuno maghibi-hibi, magkiri-kiri
Kon magumon ring hilo sa imong saeag-utan.
Kon abu ring hasayran ag kon maghambae ka't
Kontra sa sueondan nga anda man nga hinimuan
Isaea ka ka amasona ag dapat eang nga isilda.
O kon bukon ngani myembro ka't grupo ni Brainda.
Eva, tupong gid eang kamo ni Adan
Sa tanan nga lugar, sa tanan nga butang.
Kon ham-at imo imaw nga ginapagustuhan?
O gusto mo gid eang nga ipadumdom
Nga kon ham-at makapalingkod imaw it leon
Hay ikaw ro anang kaibahan.

Si Ambong, Ati
Si Ambong, Ati—maitum.
Kueong ra buhok, gision ra eambong, ga siki.
Gakung-kong, kung-kong ka maeupsi nga eapsag
Gapakalimos sa Jaro Cathedral, sa J.M. Basa Street
Ay gintabog eon ra pamilya sa eugta nga anay ginaayaman nanda’t haeo.
Si Ambong, Ati, maitum, indi kantigo magbasa, indi kantigo magsueat
Maski ka anang ngaean ay sa andang barangay owa’t eskuylahan.
Si Ambong, Ati, ginasinggit-singgitan, ginadela-delaan
It mga unga kun imaw mag-agi sa daean ay maitum.
Ginapahadlok it mga nanay sa andang gatangis nga mga unga.
O sa mga unga nga indi magtueog.
Kon fiesta, ginataw-an si Ambong it salin nga suea
Ginasueod sa plastic o sa bag-ong bukas nga lata.
Kun bukon ngani, ginabagsakan it gate.
Agod makayupyop it sigarilyo, gapamueot si Ambong it upos sa kalye.
Agod makasamit it hamburger o juice sa pakite,
Ginapaeapitan ni Ambong ro nagakaon maski sin-o nga anang maagyan.
Pag-abot it gabii, maeugad si Ambong sa sidewalk o sa waiting shed
Kahulid ka anang maeupsing eabsag—
Mayad eang kun may karton nga banig ag owa’t baha o uean --
Agod magbaskug euman ra tuhod sa pagpakalimos pagka-aga.
Si Ambong, Ati—maitum. Ra ele-ele, ra hibi, ra pangamuyo
Indi mabatian, indi mabatyagan it gobyerno sa siyudad it tawo.
Ra singgit it tabang hay singgit sa Pluto.
Si Ambong, Ati-- maitum, indi makit-an it atong gobyerno.
Kon Dinagyang, sa selebrasyon etsa pwera si Ambong.
Eutay kuno imaw sa mga bisitang dumueo-ong.
Si Ambong, maitum, ginatabog it blue guard
Bag-o pa man imaw maka-eapak sa gate it Atrium ag SM Shoemart
Kunta may Gloria nga magbatak kay Ambong sa libtong it kaimueon
Agod sa ulihi ro gobyerno may buwes nga masukot kay Ambong;
Agod sa ulihi makabakae man imaw it Levis o barong
Agod sa ulihi makaeskuyla man sa U.P. ra mga inapo;
Agod sa ulihi owa kana’t magtamay, owa’t magtabog
Kon imaw mag-agto sa SM City ag sa Atrium.
Si Ambong, Ati--Maitum. Apo ni Maniwantiwan.
Ag Filipino. Pares kimo, pares kakon.
Kon ham-at owa imaw sa listahan it mga Filipino nga dapat buligan?
Kon ham-at indi imaw makasueod sa atong ugsaran?
Kon ham-at indi naton imaw maagbayan?
Kon ham-at indi imaw makadungan katon magkaon sa restauran?
Siyudad man baea ra’t tawo, indi baea, banwa? Indi baea, banwa?

Elbowing with Filipino Literary giants

Melchor F. Cichon

It was in college where I started to read poems, short stories and novels written by Filipinos.

In short I was introducing myself to Filipino literary giants like NVM Gonzales, Leopoldo Yabes, Edith Tiempo and her husband Edilberto Tiempo.

Later, I read the works of Cirilo Bautista, Teo Baylen, Jaime Ann Lim, Raul Ingles, Leoncio Deriada, Hermie Beltran, Merlie Alunan, and others which at the moment I cannot recall.

As time went by, their names, not necessary their works, stuck to my mind. And obviously, I admire them. At times, I wanted to see them personally and shake hands with them. There were times too that I wished my name would also be included in the card catalog of the University of the Philippines Main Library along with these great Filipino writers.

But that dream remained for more than two decades.

But I wrote my piece of literature: poems, and short stories, never mind whether they are poetry or not. Some were published but many were rejected, especially in the Philippines Free Press. Some of my works were published in the Philippine Collegian, The Quezonian, Weekly Graphic, Philippines Free Press, and even in a book of poems along with two other translators of Teo Baylen's poems in Kalabaw at Buffalo.

Then I decided to transfer from UP Diliman Library to UP in the Visayas (UPV) Library in Iloilo City. UPV then was called UP in Iloilo City (UPIC).

It was also my turning point in my literary career.

I met Dr. Leoncio Deriada, the Father of Contemporary Written Literature in Western Visayas. I was then the OIC of the UPV Library when he came to me asking if his wife could work in the library, while he would be teaching literature in UPV. Upon learning this, I told him that I am also writing poetry. Really he said. He asked if I could show him some of my "best works".

The next day, I brought my notebook filled up with "poems".

After scanning my masterpieces, he told me if I wanted to have a one-on-one workshop with him. With some hesitations, I agreed.

The first word that he told me on poetry writing is to create tension in the poem, wherein there are at least two opposing ideas in the poem. And the second one is to use words that create mental pictures like red rose instead of just saying flower.

These two words remain in my mind until today.

The next few days after that workshop were busy days for me.

I wrote poems, revised them again and again until I was sure that they would be acceptable to Dr. Deriada.

I showed some of my works to him. One or two were Ok, but the rest needed more revisions. Or be thrown to the waste basket.

Then one day, he told me to submit a poem for Home Life magazine where he edited the poetry section.

I did.

The title of the poem I submitted is A Letter.

Here is the poem:

A Letter

John,

I will definitely go home

To our house

Where we can see the clouds

Through the roof.

I'm fed up

With the twinkling neon lights,

But I have not yet paid

For the earrings that I got

From Mama San.

I need them so my tinkling

Will be louder and my hips

Will be heavier.

Don't worry, John,

This Christmas

You and I will create a moon

And through the roof

We two alone

Will grasp its light.

Ana

And that poem was the first major poem that I wrote that won a prize, first prize in a national poetry contest.

With that award, I was able to attend national poetry workshops, national writers conferences/assemblies.

And it was during these meetings where I elbowed with Filipino literary giants.

I shook hands with them. I shared dining tables with them and discussed with them the various aspects of Filipino literature.

Now my name appears in the virtual catalog of the UP Library System.

And in the U.S. Library of Congress.

Ang Malikhaing Panulatang Akeanon:

Isang Reaksyon sa Papel na Sinulat ni Dr. Isidoro Cruz

Ni Melchor F. Cichon

December 1, 2014

Bago ang lahat, ako'y nagpapasalamat kay Gng. Phillip Yerro Kimpo sa pag-inbita niya sa akin na magbigay ng kuropkuro hinggil panulatang Aklanon. Labis rin akong nagpapasalamat sa lahat na namumuno nitong seminar. Kung hindi dahil sa inyo, wala rin siguro ako rito.

Aaminin ko. Kakaunti lang talaga ang mga librong Akeanon. Subalit kung magsasamgguni tayo sa listahan ng mga libro na nasa blog ko ay sigurong makikita atin kung ano-ano ang mga librong sinulat at nalathala ng mga manunulat na Aklanon.

Pero dapat nating tandaan na ang literaturang Akeanon ay yumabong ng dumating si Dr. Leoncio P. Deriada sa Lungsod ng Iloilo. Dati kasi siyang nakabase sa Silliman University, Dumaguite City. At pinasigla niya ang bagong panulatang Akeanon dahil sa kanyang pagtuturo sa aming mga manunulat, kasama na rito sina John Barrios, Alex de Juan, Arwena Tamayo, at marami pang iba.

At kapag sinabi kong Literaturang Akeanon, ang ibig kong sabihin ay yaong mga tula, sanaysay, nobela, bugtong, kasabihan, luwa, haiku  at iba pang mga porma nito na sinulat ng mga Aklanon sa ano mang wika, mapa-English, Spanish, Tagalog, Hiligaynon, Filipino, Kinaray-a, at Aklanon man. At ayaw na ayaw naming mga Aklanon writers na  matawag na kami ay bahagi ng Hiligaynon Literature. Kaming mga Aklanon writers ay mga Aklanon writers, at ang aming literatura ay Aklanon Literature.

Noong 1568, may isang tulang Akeanon na sinulat sa baybayin. Ang pamagat nito ay: Hambae Inakeanon. Ito ay isinama ko sa librong, 32 Best Aklanon Poets noong 2009.

Noong 1913, inilathala sa pahayagang Ro Akeanon, ang isang tulang “Alay sa Pahayagang ‘Ro Akeanon’ ”. At sa sumunod na taon, inilathala naman ang isang tulang “Sa mga Dalaga: mga Tubo Sa Akean.”  Noong 1925, si Gabriel M. Reyes ay sumulat ng isang nobelang Toning. Ang 35-pahinang nobelang ito na nasa Hiligaynon na nilimbag ng La Panayana. Binubuod ng huling talata nito ang buong kuwento:

“Kinumusta niya si Toning, inilapat ang kanyang huling halik sa anak at lumisan na walang iniwan kundi ang malungkot na karanaasan ng kanyang buhay na nagpakita ng mapait na bunga ng bisyo, at kung kay Toning naman ay nagpakita ng birtud ng kagandahan, at ang pangngailangan ng kabatian ng isang babae sa buong buhay niya at kalagayan.”

Noong 1926, si Peping Tansinko Manyas ay naglimbag ng isang maikling nobela na pinamagatang Tagiposuon nga Hueowaran: Baeasahon Nga may Mataeupangdan (Pusong Huwaran: Babasahing may Aral). Kinukuwento ng 12-tsapter na nobelang ito ang mga kabayanihan ni Pedring at ng kanyang asawang si Pesing upang palayain ang kanilang lupang tinubuan sa mga mananakop. Kasama sa mga obrang ito ang mga tula ni Manyas katulad ng “Sa Adlaw Nga Kinamatyan nay Doctor Jose Rizal.” (“Sa Araw na Ikinamatay ni Doctor Jose Rizal.”). Isa pang tula ni Manyas na napasali sa aklat na ito ay “Haead Sa Adlaw Nga Kinamatyan Ku Napueo Ag Siyam Sa Akean.” (“Sa Araw ng Kamatayan ng Sampu at Siyam sa Aklan”).

Noong 1957, inilathala ni Tente Undoy ang Mga Bilisad-on.  Lakip nito ang 105 na mga kasabihan sa Akeanon.

Ito ang paliwanag ni Tente Undoy tungkol sa bilisad-on:

“Ang mga kasabihan ay mga matimgas at matuwid na mga salita hinggil sa mga katotohanan ng buhay sa ibabaw ng mundo. Ang lakas nitong mga katotohanan ay nagpapatuwid ng baluktot na ugali; nagpapagising sa natutulog na mga tao sa kanilang panaginip, nagpapasaya ng labis ng kahirapan, nagbibigay ng pagtitiwala sa pusong nagpapabaya sa guhit ng palad; at gumagabay sa daan na iniilawan ng ilaw ng silangan.”

Isa sa mga kasabihan na nalathala sa aklat na ito ay ito:

"Ayaw pag matamataha o sikasikaha ro makita mong parang minimong tawong sumaeangdo sa imong tangpaan ay indi mo masayran kun mas tampapaw pa ro ana ko imong baean-an o kabusalian. (Huwag mong matahin o maliitin ang isang taong sa akala mo'y aba na dumating sa iyong tanggapan at baka mas umaapaw pa ang sa kanya kesa sa iyong bayong o kabusalian)."

Sa libro ni Beato de la Cruz, Contribution of Aklanon Minds to Philippine Literature, makikita natin  ang isang tulang Awit ng Balinganga".

Hindi kumpleto ang literaturang Akeanon kung hindi natin isali ang mga tulang pabigkas. Kasali dito ang luwa, alamat, kasabihan at komposo. Hanggang ngayon, ang mga literaturang ito ay buhay pa rin, kahit nawala na ang tinatawag na mga laro katulad ng konggit at bordon. Noon, kung mayroong patay, naglalaro ng bordon ang mga nagdadalamhati at yaong mga natatalo sa larong ito ay pinaparusahan, at ang parusa ay magbigkas ng isang luwa.

Ito ay isang halimbawa ng luwa:

Nag-agto ako sa Kalibo

Nakakita ako't mueto

Pinitik ko ra ueo

Tumugpa sa kaldero

(Pumunta ako ng Kalibo

Nakakita ako ng multo

Pinitik ko ang kanyang ulo

Nahulog sa kaldero)

Patay na ang larong bordon, ngunit buhay pa rin ang pagsusulat ng luwa. Nang magbigay ako ng poetry writing workshop sa Lezo, Aklan noong November 28, 2014, pinasulat ko ng luwa ang mga estudyante at mga guro na sumali sa nasabing palihan. Ito ang isa sa mga sinulat nila:

Nag-agto ako sa Kalibo

Nakakita ako it Ati

Nagbuoe ako it alambri

Ag ginkuhit ko ra panti

***Irish Gail Y. Tugna, November 28, 2014

Pumunta ako ng Kalibo

May nakita akong Ati

Kumuha ako nga alambri

Sinungkit ko ang kanyang panti.

***Salin ni Melchor F. Cichon

Ang mga luwa na Akeanon ay mababasa sa blog ko (http://luwaofwesternvisayas.blogspot.com/) at sa Facebook Account ko.

Ito ang isang halimbawa ng luwa na sinulat ko:

Pag-agto ko sa bukid

Nakakita ako it ibid;

Paglingot ko sa waea,

Gatueok kakon rang nobya.

(Nang pumunta ako sa bundok

Nakakita ako ng bayawak;

Ng lumingon ako sa aking likuran,

Ang nobya ko'y sa akin nakatingin.)

Paano ba sinusulat ang luwa?

Let me quote what I wrote some years back about luwa.

A luwa is a form of poetry that  is usually written in four lines. It used to be first stanza of corrido, that kind of poetry that relates the exploits of kings and princeses. There are also longer luwa.

It is said that it is not advisable to recite luwa if one is not in the wake, because it is believed that a member of the family will die if this is done outside of its proper place.\Because luwa were recited in wakes as part of a punishment to whoever is the loser in a game like konggit, truth or consequence, and bordon, they are very much appreciated if the lines have rhyme, rhythemm, and humor. This is one reason why there are nonsense luwa. The rhythms of luwa are not consistent though., but there are a lot of luwa that have rhyme. This includes the aaaa, aabb, and abab rhyme structure. Occasionally, we can find luwa that have abcd endings.

Here are examples:

Example of an aaaa rhyme scheme:

Pag-agto ko sa Ibajay

May hakita ako nga patay

Gintagting ro ra eagay

Mas mabaskog pa sa lingganay—Unknown

Here you will notice that the endings of all lines are in ay.

For the aabb rhyme scheme:

Pag-agto ko sa bukid

Nakakita ao it ibid;

Paglingot ko sa waea,

Gatueok kakon rang nobya.—Melchor F. Cichon

Here the first and second lines end in id, while the third and the fourth lines end in a.

Here is another ending. The abab rhyming scheme.

Igto sa bukid

May busay nga naga-ilig;

Kon ,agpaligos igto si Ismid,

May daeang butong nga binulig. – Melchor F. Cichon

There are luwa with Spanish or English words.

Paris it navagante

Sa tunga it travisiya

Kinueabos rang suwerte

Hay gulpi nga nadisgrasya—Unknown

Igto sa bukid

May kwarta nga nagaligid

Nagaligid, naga-roll

Dumiritso sa waterfall.—Unknown

There are bawdy luwas, but they are full of imagery. Here is an example:

Pag-agto ni Inday sa Boracay

Napusa ro anang tuway;

Pagkasayod ka anang nanay,

Ana imaw nga ginminueay.—Melchor F. Cichon

For a nonsense luwa here is a classic example:

Secut erat en principio

Bisan libat basta gwapo;

En principio secut erat,

Gwapo pero libat.—Unknown

Secut erat is a Latin word that means Glory Be, a Catholic prayer.

Here are other nonsense luwa:

Nag-agto ako sa Navas

May hakita ako nga bayawas;

Akon nga ginpaeas,

May nahueog nga sibuyas.

There are luwa tat have double meanings. These are the luwa that belong to the adult readers/listeners, if they can deciphere the meaning. Here are two examples:

Masupsup kunta ako

Sa maisot mo nga tuway,

Ugaling ra diperensiya

May bangkaw sa tunga.—Melchor F. Cichon

Maligos kunta ako

Sa maisot mo nga sapa

Ugaling ro kinasaea

My guardia civil sa tunga.—Melchor F. Cichon

There are luwa that are really metaphysical. Here is one:

Ako mangunguma nga taga-Lezo

Maagto sa eanas agod mag-arado,

Rang saeaburan puno’t bungot-bungot

Rang aradong mabuot

Indi magdueot kon indi magtindog.—Melchor F. Cichon

***

Ako si Haring Marikudo

Manugtanum it amamakoe,

Pero ro gustong-gusto gid ni Inday kuno

Ro amamakoe nga sukoe.---Melchor F. Cichon

***

Isa pang uri ng pambigkas na literaturang Akeanon ay ang patugmahanon (bugtong) na hanggang ngayon ay ginagamit pa rin.

Halimbawa:

Ro kaeo ni Esko, puno it bueawan. (Ang sombrero ni Esko, puno ng ginto. Sagot: Aswete.

Ngayon, tatalakayin natin ang pangkasalukuyang literaturang Akeanon.

At ito ay pinasigla ng dumating si Dr. Leoncio P. Deriada sa Lungsod ng Iloilo. Hayaan po ninyo akong basahin ang sinulat kong sanaysay tungkol sa literaturang Akeanon pagkatapos ng regimeng Marcos. Ito ay isinalin sa Filipino ni Lawrence Anthony R. Bernabe at nalathala sa Bigkas Binalaybay: Kritisismo, Antolohiya na inidet nila John Barrios, Melchor F. Cichon, Jonathan P. Jurilla at J.I. E. Teodoro noong  2008.

Matapos ng 1986 Edsa Revolution may naganap na bagong rebolusyon pangliteratura sa Kanlurang Bisayas. Sa pagtaguyod ni Dr. Leoncio P. Deriada, isang dating propesor sa literatura sa UP Visayas, isang rebolusyong pangliteratura ang naganap ng halos sabay-sabay sa Iloilo, Antique at Aklan. Sa kanyang suporta at sa pagpondo ng Cultural Center of the Philippines at nang lumaon sa pamamagitan ng Presidential Commission for Culture and the Arts, na siyang naging National Commission for Culture and the Arts (NCCA), ang mga manunulat sa mga probinsiyang ito ay muling nagsulat ng mga tula at maikling kuwento sa Hiligaynon, Kinaray-a at Akeanon.

Sinuportahan ng NCCA ang pagtatag ng mga lokal na tipunang pang-sining at pinunduhan ang mga kumperensiya, palihan at paglalathala. Naggawad din ito ng mga writing workshops at venue grants. Dalawa sa mga manunulat na nakakuha ng grant na ito sa pagsulat ay sina John Barrios at Melchor F. Cichon.

Naging epektibo ang "political na lapit" ni Dr. Deriada para itulak ang mga lokal na manunulat na sumulat sa kanilang sariling mga wika. Sinabi niya ito sa mga manunulat ng Kinaray-a:

"My politicizing would begin by my saying. There is no such thing as a superior language. No one can give power and dignity to your language except you. Your language has dignity and power if you can do three things with it: sing your songs in it, compose your poems in it, and pray in it. If you can do these in Kinaray-a, then your language is the same level as any language in the world."

Di-naglaon, ginamit rin ang parehong pamamaraan sa mga manunulat sa Akeanon.

Pagkatapos magdaos ng mga palihan sa malikhaing pagsulat at patimpalak sa mga manunulat na Ilonggo at Kinaray-a, pinagpatuloy ni Dr. Deriada ang kanyang krusada sa Aklan. Narito  kung paano niya halos pinilipit ang mga braso ng mga manunulat na Akeanon na magsulat sa Akeanon:

"Liberating itself likewise from literary oblivion was Aklanon. Just as the Antiquenos were forming Tabig, emerging Aklanon writers also formed the Aklanon Literary Circle in Kalibo. Spearheading this was Melchor F. Cichon, a librarian at UP Visayas. Ably assisting him was UP Visayas student John E. Barrios.

"In my various workshops in Iloilo, Cichon had been there listerning to the things I was telling Kinaray-a writers to challenge them. Cichon and Barrios took the challenge and soon the Aklan issue of Ani, which I edited with Cichon, et al., was published by the CCP and launched in Kalibo in early 1993. Cichon, who was by then writing in English and Tagalog-based Filipino, turned out to be the leading poet in his language and has the distinction of being the first Aklanon ever to publish a book of poems in his own language. Eventually, Cichon and Barrios won writing grants from the CCP."

Bukod sa pag-udyok sa mga manunulat sa Kanlurang Bisayas na magsulat, tinutulak rin niya sila na sumali sa isang patimpalak pangliteratura. Isa sa mga ito ang Bigkas Binalaybay ng Sentro ng Wikang Filipino ng UP Visayas. Ang taunang patimpalak sa tulang pasulat at pabigkas ay nakalikop na ng maraming  tula sa Kinaray-a, Hiligaynon, Filipino at Akeanon. Sa pagdaan ng mga taon, nagwagi ang mga makatang Akeanon sa patimpalak na ito. Kabilang dito sina Melchor F. Cichon, Rommel Constantino, Alexander de Juan, Rocky Abello, Antonio F. Tolentino, at June Mijares.

Ang unang palihan sa malikhaing pagsulat na naidaos sa Kalibo, Aklan ay noong Nobyembre 9-10, 1991 sa pamumuno ni Dr. Leoncio P. Draiada. Inisponsor ito ng mga kalilitaw na grupo ng mga Akeanong manunulat, ang Akeanon Literary Circle. Noong Enero 28, 1994 ang unang isyu ng Bueabod, literary journal ng Akeanon Literary Circle, ay inilunsad sa Kalibo, Aklan. Isang pahina ito na mimeograph o photocopy. Ilan sa mga nag-ambag sa journal na ito ang mga kontemporaryong mga makatang Aklanon tulad nina Pett Candido, Joeffrey Ricafuente, at Rommel Constatino. Sa journal na ito din unang lumabas ang mga tulang Akeanon nina Dominador Ilio at Roman de la Cruz. Kapwa silang tinuturing sa pinakamagaling sa mga nakatatandang mga Aklanong manunulat sa Ingles.

Mula 1986 hanggang 2000, tatlong libro ang nilathala ng CCP at NCCA na inedit ni Leoncio P. Deriada atbp. na may kalakip na mga tulang Akeanon, ang Ani, ang Patubas at Mantala. Noong 1998, limang maikling kuwentong Akeanon ang nalathala sa librong Selebrasyon at Lamentasyon: Antolohiya ng mga Maikling Kuwento sa Panay na inedit nina Carmen L. de los Santos, Ma. Milagros G. Lachica at John E. Barrios. Noong 1999, nilathala ni Melchor F. Cichon ang librong Ham-at Madueom ro gabii? (Bakit Madilim ang Gabi?) na naglalaman ng kanyang koleksiyon ng tula. 

Isang bagong pagsulong ang nangyari noong  2002 nang ang mga unang haiku sa Akeanon at English na sinulat ni Melchor F. Cichon ay nalathala sa SanAg, ang literary journal ng Fray Luis de Leon Creative Writing Desk, University of San Agustin at sa Heron's Nest, isang internasyonal na haiku journal na nabase sa Amerika. Isa pang pagsulong sa literaturang Akeanon ang naganap noong 2005 nang lumabas ang unang koleksiyon ng mga maikling kuwento sa Akeanon ni John E. Barrios, Engkan(aw)o ag iba pa nga Matag-ud nga Istorya.

Nang mabuo ang Akeanon Literary Circle, halos lahat ng mga miyembro noon ay mga nag-aaral sa kolehiyo tulad nina John E. Barrios, Alex de Juan, Joeffrey Ricafuente, at Rommel Constantino. Ang bunso noon ay si Am Roselo. Nasa hayskul pa lang siya noon. Ngunit makalipas ng kanilang pagtatapos , naging tigang ang Bueabod sa loob ng halos isang dekada.

Habang hindi pa aktibo ang Bueabod, isang bagong midyum para sa pagsusulat ang lumitaw sa Pilipinas. Ito ang internet. At sa pagdating ng internet, isang bagong uri ng literaturang Akeanon ang nalikha. Ito ang tinatawag ngayon na virtual na literaturang Akeanon. Sa pamamagitan ng internet may natuklas na mga bagong manunulat na Akeanon at nagkaroon ng mga bagong uri ng mga tula sa literaturang Akeanon. Ang mga ito ay ang haiku, senryu, at tanka. Ang mga ito ay mga Hapon na mga uri ng maikling tula na hindi nagagamit ng mga manunulat na Akeanon hanggang sa pagdating ng bagong milenyo.

Tulad ng nabanggit kanina, ang bagong uri ng mga makatang Akeanon ay kagagawan ng website na ito: http://www.my.akeanon.com/. Nilikha ito ng isang grupo ng mga kabataang Akeanon kung saan ang mga Akeanon mula sa iba't-ibang sulok ng mundo ay makapagpalitan ng mga idea. Dito na nagsimula ang on-line workshop sa pagsulat ng tula sa ilalim ni Melchor F. Cichon. Sayang at wala na itong site.

Gamit ang teknik na ginamit ni Dr. Leoncio P. Deriada sa mga palihan sa malikhaing pagsusulat, nagsusulat at nagpo-post sila ng kanilang mga haiku, luwa, o mas mahabang tula sa my.akeanon.com.  Tuwing Sabado, kinokolekta ang kanilang mga gawa, sinusulatan ng mga komeno at pagkatapos ipinopost ang mga orihinal at inayos na tula. Ang resulta ng virtual na palihan na iyon ay ang librong Haiku, Luwa and Other Poems Written by Aklanons na inedit nina Melchor F. Cichon, Edna Laurente Faral at Losally R. Navarro.

Mayroon ding website na nakatuon sa literaturang Akeanon (http://www.geocities.com/aklanonliterature). Sa website na ito, matatagpuan ang mga Akeanong bugtong, kasabihan, luwa, mga tulang mahaba, awit, alamat, salaysay, mga profile ng mga manunulat na Akeanon, annotated Aklanon bibliography, at haiku. Noong Abril 17, 2006  ang website na ito ay binisita na ng 16,417 na beses. May blog ring http://anahawleaf.blogspot.com na tumatampok ng mga haiku at luwa ni Melchor F. Cichon. May iba pang website na nakatuon din sa Aklanon Literature, Pagsapoe (http://pagsapoe.blogspot.com/) na ginawa pa noong 2008. Ito ay ginawa nila Shur at Perry Mangilaya, magkakapatid at pawang mga Aklanon.

Nong 2007, pumili si Melchor F. Cichon ng 25 na pinakmahusay na tulang isinulat ng mga Akeanon. Ang resulta nitong koleksiyon ay nakapost sa kanyang blog, ang Bueabod It Akeanon Literary Circle, http://bueabodalc.blogspot. com/. Itong koleksiyon ay naging basihan sa librong The 32 Best Aklanon Poets na inedit ni Melchor F. Cichon na nalathala noong 2009.

Ito rin ang panahon kung saan naisulat ang maraming Akeanong luwa. Iba't-iba ang paksa nila: pag-ibig, kalikasan, kakulangan sa kaunlaran, kasarian, nasyonalismo, kahirapan, at iba pa.  Dito nagkaroon ng diin sa pagsusulat ng luwa na nalathala sa internet. Ang pinakabagong ambag sa literaturang Akeanon ay ang pagkakalathala sa internet ng tula para sa mga kabataan. Sa pagkakaalam ko, tatlong makata pa lamang ang sumusulat nito: sina Melchor F. Cichon, Cirilo Castillon, Jr., at si Edna Laurente Faral.

Noong 2011, inedit at inilimbag ni Melchor F. Cichon ang Matimgas nga Paeanoblion; Anthology of Poems Written by Aklanons. Ilan sa mga tulang kasama nito ay sinulat nina Angelo Anchita, John Barrios, Joi Barrios, Alexander de Juan, Mila de la Rosa, Phillip Kimpo, Jr., Belle Nabor, at ni Arwena Tamayo.

Ito ang sinabi ni Prof. John Barrios sa koleksiyon na ito: "Ang koleksyon ng mga tulang ito na nabuo sa ambag ng labingpitong (17) manunulat na Aklanon na nakakalat sa iba't ibang panig ng bansa at mundo ay isang pagpapatunay na mayroong maaring balikan at muling bubuuing kultura at kasaysayan. Ang pagkakatanim sa isipan ng mga imahen tulad ng ati sa ati-atihan, ang Jawili Falls, Bagyong Frank, eleksyon at kahit na ang  pinakaordinaryong gawain tulad ng pag-inom sa isang baryo ay kakikitaan pa rin ng mga kahulugan."

Dagdag pang reaksiyon ni Prof. Barrios sa librong ito:  " Angkop lamang ang pamagat ng koleksiyon na Matimgas nga Paeanoblion dahil ito ay kumikilala sa pamana ng mga naunang manunulat at manugbinalaybay na Aklanon.  Kayat mahalagang balikan at kilalanin ang mga sinulat nina Balinganga, Jose Manyas, Ananias Mariano, Pedro  Tordecilla, at iba pang manugbinalybay na Aklanon."

Ano nga ba ang hinaharap ng literaturang Akeanon?

Bago yan, ikinalulungkot kong sabihin na sa mahigit 40 estudyante at guro na sumali sa nakaraan kong palihan sa pagsusulat ng tula sa Lezo, Aklan, isang Aklanong manunulat lang ang alam nila at ito ay si Dr. Jessie Gomez, ang sumulat ng titik ng Aklan March.

Kung tutuusin, iilan lang talaga ang mga malikhaing manunulat na Akeanon.

Sa ganoon sitwasyon, ano-ano naman ang ginagawa ng mga Aklanon upang lalong sumigla at umunlad ang literaturang Aklanon?

Tuwing Sabado ang Gregory Ilejay Castillo Elibrary sa Kalibo ay nagbibigay ng libreng poetry writing workshop. Ang mga resource persons dito ay sina Alex de Juan, John E. Barrios at si Melchor F. Cichon.

Bukod dito, nakikipag-usap ako sa mga Aklanon sa iba't-ibang parte ng mundo at naghihikayat na sumulat ng tula o ano mang porma ng literatura, lalo na sa wikang Akeanon. Karamihan sa kanilang mga obra ay nailathala nila sa kani-kanilang mga Facebook account katulad ni Mila de la Rosa at ang magkapatid na sina Shur at Perry Mangilaya. Sa nabanggit ko na, sila ang gumawa ng blog na Pagsapoe kung saan ang kanilang mga tula sa Akeanon ay inilathala nila. Si Shur Mangilaya ay taga-Ibajay, Aklan at ang mga tula niya ay nanalathala sa Ani. Si Perry Mangilaya naman ay ang editor ngayon ng Liwayway magasin.

Hindi ko alam kung saan tutungo ang panulatang Aklanon. Ang natitiyak ko lang ay kung maraming kabataan ang maturuan ng wastong pagsulat ng ano mang literatura, at kung bibigyan ng suporta ng ating pamahalaan ang mga palihan, kongreso, kumpirensiyang katulad nito, at sa pagpalimbag ng mga libro nila, naniwala akong mas madali ang pag-unlad ng literaturang Akeanon.

Sana nga.

Maraming salamat.

***

Sanggunihan

Barrios, John E. (2011). Introduction. In: Matimgas nga Paeanoblion: Anthology of Poems Written by Aklanons, ed. by Melchor F. Cichon. Lezo, Aklan: Tierra Alta Publications, pp.9-19.

Cichon, Melchor F.  (2008), Ang Muling Paglitaw ng Literaturang Akeanon. In: Bigkas Binalaybay: Kritisismo at Antolohiya/ edited by John E. Barrios, Melchor F. Cichon, Jonathan P. Jurilla and J. I. E. Teodora.—Lungsod Iloilo: Unibersidad ng Pilipinas visayas, Sentro ng Wikang Filipino, pp.25-40.

Cichon, Melchor F., ed. (2009). The 32 Best Aklanon Poets. Lezo, Aklan. Tierra Alta Publications.

Aklanon’s Beliefs and Practices on Death

By

Melchor F. Cichon
2012

Aklanons show great respect for the dead. Out of these, various beliefs and practices have developed which have become a tradition. This tradition has been handed down to them from their great grandparents. The Spaniards must have reinforced this tradition through the introduction of Catholicism in the country as well as the Chinese through their commerce. It may be difficult to discern which beliefs and practices are of Spanish or Chinese origins. However, we can surmise that those beliefs and practices related to money like placing the first given alm to the palm of the dead must have been influenced by the Chinese,

When a person is dying, his immediate relatives call a parish priest or a pastor to give the last sacrament. It is also the time when the dying person could ask for blessings or forgiveness. Dying people should ask for a confession from a priest. The Aklanons believe that there is life after death. In this critical moment, a cantor or a member of the church choir is asked to sing religious songs to make his final journey pleasant and perhaps to ease whatever pain the dying person is suffering.

If a person dies, his immediate family would inform all his relatives of the incident as well as the parish priest. Upon the priest’s instruction  the sacristan would toll the bells. The purpose of this is to inform people in the community that somebody had died. The townspeople who would hear the tolling of the bells are expected to pray for the repose of the should of the dead. The intervals between strokes of the bell’s tolls would determine the age of the deceased. If the strokes are done briskly, the deceased is a child. If the intervals are long, the dead is an adult.

Before the 1960s. burial was usually done twenty-four hours after the person has died. But with the popularity of embalming, burial is done within weeks especially when a member of the family is away and is expected to come home.

It is believed that with shoes on, the journey of the dead will be difficult and he will be damned in hell so the deceased is not allowed to wear shoes, only socks.

During the wake, people in the community and members of the family from far away would come home to pay their last respects. Usually they would give alms. Others would give food. Another distinct practice is the holding of the feast on the third day after death. The usual food being served are ubod of coconut mixed with pork. Vegetables that are vine-like are however a taboo. Usual games being played are bordon, card games like paris-paris, karga buro, etc. Other gives being played are konggit and mahjong. One popular game is the bordon. Participants are often teenagers. They form a circle and one participant would be in the middle to be the “makataw” or “it”. Other participants would hold hands and sing “bordon de las bordon, singsing papanawa…”

Dalia sa pagpalakat

Singsing sa pagpadapat

Basi kon malipat

Isa ka makawat.

Andar de las singsing

Singsing de los andar

Andar de los singsing

Singsing de los andar.

Singsing papanawa

Palibot-libota

Mentras makadangat

Sa Hari kag Reyna.

White this song is being sung, the hands of the participants are moved back and forth, bluffling the person in the middle as to who is holding the singsing. The singsing here is anything from stone to marble. From time to time, the participant at the middle would grasp the hands of the participants to catch the singsing. Whoever is caught holding the singsing will be punished by making him recite a ditso or a luwa. Here is an example of a luwa:

Ay abaw Inday nagapakatig-a

Daw bato bantiling ro anang kaha;

Indi ka pagdutlan gunting ag labaha,

Dutlan ka gid Inday ku akong paghigugma.

Like the bordon, konggit is played only during the wake. The game is played with small stones, as big as marbles. The number of players range from two to five. Before the start of the game, the participants would first decide via a jack ‘ poy. Those stones which were not caught could still be taken by the player if he is able to strike two stones, which were previously pared by putting an imaginary line between them. If he  fails to strike the other stone, the next player continues the game until all the stones are taken. Each player then counts all the stones he/she has taken.  Whoever has the most number of stones is declared the winner.  Another round of konggit is played.

These games are rarely played now during the wake. What are popular these days are mahjong, tumbo, and card games like pusoy dos and lucky nine.

When there is death in the family, the family members are expected to mourn by wearing black clothes. Others would wear black ribbons. In case the deceased is a mother and has left a child, the child should wear a piece of red cloth so the parent would not disturb the baby at night. Another practice of mourning is by hanging a black cloth on the window facing the street. Members of the family are nnot allowed to take a bath until after the burial. They are not allowed to seep the floor also. This is to prevent another death in the family. Children are not allowed to listen to radios. No social gatherings should be held during this period. Weddings are also postponed until after a year to avoid back luck to the newly married couple.

The deathbed of the deceased and the clothes worn during his death are thrown outside the house to rot. If he died on a bed made of bamboo thatches, one thatch is removed and thrown away. This is to prevent another death in the family.

When the deceased is brought out of the house for burial, all the members of the family pass under the coffin.  This is done to prevent the spirit of the dead to disturb those who are left  behind. When the coffin is being brought out of the house, the feet portion of the coffin is put forward as if the deceased person were passing through the door himself. Care is being taken cared of to prevent the coffin from bumping any portion of the door so as not to disturb the soul of the dead.

If the deceased is a Catholic, he is brought to the Catholic church for blessing. Mass is offered for the repose of his should  if the cause of the death is suicide, the priest will not allow the dead to be brought inside the church.

At times, a priest is requested to welcome the deceased ag a crossroad nearest the church. Then, mourners would walk toward the cemetery.

In the church, the coffin is opened for the mourners to make a final view. It is understood that no tears should drop on the deceased’s face because it will only make his journey difficult and will cause bad luck to the family. Picture taking is done and eulogies are said, if there’s any.

Procession continues to the cemetery. Again, great care should be observed so as not to bump on any part of the coffin on the church’s door. Also, the feet portion is put forward while leaving the church.

On the way, people who are at the streets usually pray for the repose of the sould of the deceased. Others would take off their hats or make a sign of a cross.

In Zamboanga City, I observed that people in the streets would throw coins to the passing coffins. These are picked up and given to the family of the deceased.

Upon reaching the cemetery, the coffin is again opened for the last time. Here, people would come very close to the coffin, particularly the immediate members of the family. Pins and other decorations inside the coffin are removed and thrown away so as not to make the journey of the deceased difficult. Loud crying is usually heard. Mourners would start throwing flowers and a handful of soil to the coffin as pabaon. Then the coffin is closed and nailed. The coffin is then lowered into the grave or entombed in the pantheon. Snacks are served inside the cemetery. Upon leaving the cemetery, mourners would pass through the smoke prepared near the gate. This is done to prevent any illness that would befall the mourners’ family, especially when there is a child in the house. If no snacks are given in the cemetery, the mourners are expected to go to the house of the deceased to eat. From the day of the funeral, a nine-day novena is held. People in the neighborhood would come to pray, play, and so to gamble. As usual, the bereaved family serve drinks and foods to those who come.

In the beginning of the 1960s, much changes have taken place on the belifs and practices on death among Aklanons, particularly among the later generations. Today, bordon or konggit is seldom played and so are mahjong, pusoy dos, and tumbo games.

Implications

As noted earlier, so much foods are served during the novena, the patnog, and the katapusan which cause so much spending. This is an added burden to the members of the bereaved family who are already economically drained.

Aside from this unusual and untimely spending, activities like planting, and harvesting of palay are suspended until after the burial which can affect the family’s income.

The Re-Emergence of Aklanon Literature

By

Melchor F. Cichon

Updated: January 18, 2008

(This article was based on the paper which this writer read during the First Provincial Conference on Aklanon History, Culture and Society, Second Floor, Capt. Gil M. Mijares Bldg., 19 Martyrs St., Kalibo, Aklan, April 21, 2006.

The word Aklanon has two meanings. It may refer to the natives of Aklan and to their language.

Aklanon literature refers to all kinds of literary works in any languages written by Aklanons, either published or unpublished. Or by other people about Aklanon literary works.

In this paper, unless stated, Aklanon literature refers to the kind of literature written by Aklanons in their own language.

For several decades now Aklanons have been writing literary pieces in Spanish, Tagalog, Hiligaynon, Kinaray-a. Surprisingly, this writer has discovered that Aklanons have been writing poems in Aklanon since 1568.

In 1925, Gabriel M. Reyes published a novel, Toning. This 35-page novel in Hiligaynon was published by La Panayana. It’s last paragraph summarizes its story:

“Guincomosta niya si Toning, hinalucan ang bata sing catapusan, cag tumaliuan nga ualay guinbilin cundi ang masubo nga agui sang iya quinabuhi, nga nagapaguita sang mapait nga bunga sang bisio, cag con sa cay Toning nagapaquita man sang pagcaanyag sang virtud, cag pagcaquinahanglan sang caugdang sa isa ca babae sa bugos niya nga quinabuhi cag pagcahimtang.”

In 1926, Peping Tansinko Manyas published a short novel entitled Tagiposuon nga Hueowaran; Baeasahon Nga May Mataeupangdan. This 12-chapter novel tells about the heroic deeds of    Pedring and his wife Pasing  to free their fatherland from the colonizers.

Included in this work are the following poems by Manyas

“Sa Adlaw Nga Kinamatyan nay Doctor Jose Rizal”, dated December 1, 1913. This poem tells the significance of the death of Dr. Jose Rizal.

Here is the poem:

Sa Adlaw Nga Kinamatyan Nay Doctor Jose Rizal

Ni Peping Tansinko Manyas

Rizal, sa imong taeahurong eubnganan,

Nga binunyaga’t euha king ginikanan.

Sinubeaka’t matahum’g mang kabueakan;

Adlaw ngara, akon mang ginahaearan,

Ro imong mahimayaong eubongan,

Pag pamaeandong adlaw mong kinamatyan,

Pag panubos ku kalisdanang napas-an,

Ku banwang eumos sa kagha ag kaeupigan.

Dinuea, Rizal, kabuhi mo ag eawas,

Ku manga nag gahum’g, may gawing mapintas,

Apang ri’ng ngaean ag dugo nga umawas,

Nga sa kasakitan ku banwa humaw-as,

Sa among tagiposuon wa’t pag kaeugnas,

Rayang sinabod mong timgas nga eamigas,

Ay ro kaduemanan hay nabukeas,

Umiwag masigang Adlaw’t Pilipinas.

Rizal ro eubongan imo nga linugsad,

Wa mo kahilaki, kabuhing hinaead,

Sa kaeangitan imong pinanaad,

Dugo nimo nga inuea hay mamuad,

Maga kaaeaman nga ikabansag,

Nga maga hatud ku imong mga igmanghud,

Sa KAHIMAYAAN nimo nga gina hangad,

Ku banwa natong kueabos it paead.

Hinayhay sa atong manga kabukiran,

Sa makanonggusbong adlaw mong kinamatyan,

Hayahay nga bumayaw ku kadungganan,

Ku Pilipinas naton nga naeueotan,

Nga pumadabdab sa katagiposuonan,

Ku paghigugma sa banwang binugtawan;

Kabay nga imaw mabanhaw it uman,

Agud maangkon ro KAHAMUNGAYAAN.

Rizal, banwa’y naga antus kalisdanan,

Tuksa ro eangitnon nimo nga pueuy-an:

Tueoka makasisin-it nang kahimtangan,

Sa sugong nang gina antus nga kasakitan,

Eawod nga euha anang gina eanguyan,

Krus hay maw ra ana nga gabayan,

Nga sa kapilitan imaw hay maeugdang,

Kon ku atong manga kadugo imaw pabay-an.

Rizal, rayang adlaw nimong kinamatyan,

Among gina tahud ag gina padungganan,

Ag pag tahud ku adlaw nga kinamatyan,

Ku Makagagahum ag Hari sa tanan,

Tungod nga rayang adlaw mong kinamatyan,

Binayaw ag tinahod ro katarungan,

Ku Pilipinas naton nga nahamut-an.

Kalibo, Akean, Diciembre 1, 1913.

“Haead Sa Adlaw Nga Kinamatyan Ku Napueo Ag Siyam Sa Akean”, 1913. This relates to the death of the 19 Martyrs of Aklan. The English version of this poem was published in the book Hiligaynon Literature: Texts and Contexts (1992) edited by Lucila V. Hosillos.

Here is the Aklanon version:

Haead Sa Adlaw Nga Kinamatyan Ku Napueo Ag Siyam Sa Akean

Ni

Peping Tansinko Manyas

Makangingidleis, mamingaw nga kaaganhon,

Ro pomukaw sa inyo nga katoeugon,

Inyo nga gin bugtawan…Ay!...Kamatayon,

Gin tangisan it abung tagiposuon,

Ro inantus ninyong kasakit nga sugong,

Ku pag euwas sa Banwang kaugalingon.

Himaya kamon ro adlaw ngarandaya,

Nabukeas tabon sa among mata;

Sa inyong pag kamatay, kami kumilaea,

Ku pag higugma sa binugtawang banwa,

Eamigas ro inyo nga sinabod ngara,

Nga among gina palangga ag gina higugma.

Bulahan ro inyong manga kapaearan,

Ngani kamo among gina padunggan,

Himpit, tunay amon nga gina haearan,

Ro adlaw ngara nga inyong kinamatyan,

It bugana nga manga kalipayan,

Ag among gina hadkan ro inyong eubongan. (1926)

The first Aklanon translation of the Philippine National Anthem was translated into Aklanon by G. Peping Tansinko Manyas.

“Kaeantahon nga Pilipinhon” (Marcha Nacional Filipina),

Sinueat nay G. Jose Palma;

Gin Inakeanon nay G. Peping Tansinko Manyas,

Musika nay G. Julian Felipe.

Eugtang nahagugmaan,

Mutya't adlaw sa Sidlangan,

Eakas nang kasilaw,

Kimo'y naga parayaw

Eugtang maparayawon,

Natawhan't mga tawong bantugan,

Manga ibang nasyon,

Ikaw paga tahuron.

II

Sa eangit kimong gatimbang,

Sa bukid, kadagatan.

Wasaag ag hangad ku tanan,

Ro imong Katimawaan.

Ro imong hayahay nga sa pakig-awayan,

Naga banaag,

Di nimo paeung makit-an.

Anang Adlaw ag Kabituonan.

III

Eugta't kalipayan ag pag hiliuyon,

Kimo'y hamungaya mag pahimunong;

Sa imong manga inunga himaya,

Mag pagin-matay kon ikaw eupigon.

Here is my version of our national anthem.

•         Banwang Hageangdon
ni Jose Palma
Gin-Inakeanon
ni Melchor F. Cichon
Sta. Cruz, Lezo, Aklan

Banwang haeangdon
Onga't Adlaw nga Oriente.
Sa imong dughan
Ro kaeayo gadabdab.

Banwa it gugma;
Duyan it baganihan.
Ro mga sumaeakay
Indi makaeapak.

Sa asul nga eangit, sa agahon
Sa bukid, sa eawod,
Ring binaeaybay gasiga,
Sa mahae nga kahilwayan.

Ro kasiga king bandera
Gatao't pwersa sa kadaeag-an.
Maski hin--uno ring bituon, ring adlaw
Owa't pagkapaeong.

Eugta't kalipayan, eugta it pagmahae.
Sa imong sabak himaya ro pangabuhi.
Gloria para kamon nga maghaead it dugo
Kon kimo may magsipaea.

•          

“Haead Sa Pahayagang “Ro Akeanon”, April 26, 1913. This poem highlights the contributions of this newspaper to the development of Aklan.

Haead Sa Pahayagang “Ro Akeanon”

Ni Peping Tansinko Manyas

Binatyag it hagtob sa tagiposuon,

Ro kalipayan nga wa’t ikag tupong,

Pag kabaton ko, pahayagang RO AKEANON,

Pag katawo nga mabuhay eon nga handom,

Nga maga ta-o’t daean sa pag paangkon

Ag pag dalisay hambae nga kaugalingon.

Hamungayaon  ag bugnaan’t kaeangitan,

Kabuhi nga haeawig ikaw hay taw-an,

Ayunan, dapigan, padunggan, unongan,

Sagupon, ag ku tanan ikaw buligan,

Ku mahiligugmaon sa banwang minat-an,

At ring kabuhi hay kadungganan’t Akean.

Batona rayang kubos nakong paarag,

Sa imong pag katawo akong nahaead,

Kabay nga riing daeang masiga nga iwag,

Sa mga kabanwaunan eumapeaag,

Ag sa katagiposuonan mamuskad,

Ro imong katuyoang eabi sa kayad-ayad.

Kalibo, Akean, Abril 26, 1913.

“Sa Manga Kadaeagahan Nga Tubo Sa Akean”, April, 1914. This poem relates the beauty of Aklanon ladies who are ready to offer their lives for their country.

Also in this book is Manyas’ translation of the Spanish poem by Manuel Laserna entitled: Eugta’ng Nahamut-an (Sinueat nay Manuel Laserna.).  Its original Spanish version is also found in this book.

Here are the two versions of this poem. The Aklanon version is followed by the Spanish version.

Eugta’ng Nahamut-an

Ni Manuel Laserna

Hamut-ang Pilipinas,

Eugta nga naeueotan,

Kadalig ku imong ngaean,

Banwang nahagugmaan.

Sa handung ku hayahay,

Nga may adlaw ag bituon,

Gapusog tagiposuon

Nga sa kaeuwasan gutom.

Banwang gina mahae ag nahamut-an,

Kimo ko gina paarag tanan,

Manggad ag kusog pati kaaeaman,

Sa pag tinguha imong kalipayan.

Kong ra akong dugo pa kinahangean,

Sa pag eubos ku imng kaeuwasan,

Kabuhi indi pag kahilakan,

Kimo ko gina haead tanan.

Here is the Spanish version:

Quirida Filipina

Querida Filipina,

Tierra earisima,

Cuan dulce es tu nombre,

Patria amada.

BAjo la sombra de tu bandera,

Con sol y estrellas,

El Corazon palpita sediento de libertad.

Patria de mis amores,

Por y para ti ofrezco,

Salud y ciencia por lograr tu libertad.

Si mi sangre, salud y ciencia por lograr tu libertad.

Si mi sangre aun es necesaria para tu felicidad,

La vida es nada! Morir quisiera:

Todo per ti, hasta la mas cara.

Note: The title of the Spanish version is supplied by this writer.

In 1957, Tente Undoy published Mga Bilisad-on. This includes 105 maxims in Akeanon.

This is how Tente Undoy describes  bilisad-on or maxim:

“Ro bilisad-on hay mga matimgas ag matadlong nga bisaea nga hanungod sa mga kamatuoran sa kinabuhi sa ibabaw it kalibutan. Ro anang kusog ku rondayang mga kamatuoran naga patadlong ku tiku nga ugali; nagapapatagumpa-aw it poaino-inong nahahababaeanga sa pag pangabuhi nga pa tunyo-tunyo; nagapabugtaw it nagakinatueog nga mga taw sa andang damguhanon; nagapapalipay it maayadayad sa linaw it kalisdanan; nagata-o it pasalig sa tagipusu-on nga naga pabaya eonlang sa hunod it maea-in nga paead; ag nagatuytoy sa daean nga gina iwagan it owa naga amamaeong nga kahayag it sidlangan.”

Here are some of them (unedited):

Item 7. Ro pinaligos nga ugali mabudlay mabanlawan. Ro kaeangsa ku hugom it ugaling watsayud ginakangil-ad it kadagayaan.

Item No. 11. Kinahangean nga duea-on tar o pagkahadluk sa atong painoino ay kun ro tawo ma-unahan it kahadluk sa atubangan it disgrasya, naduea eagi ro katunga ku anang kusog sa eawas ag kapagsik ka hibaeo.

Item No. 62. Ayaw pag matamataha o sikasika-a ro Makita mong parang minimong tawong sumaeangdo sa imong tangpaan ay indi mo masayran kun mas tampapaw pa ro ana ko imong baean-an o kabusali-an

Item No. 64. Tanan ro butang riya sa kalibutan may pagea-in sa datihan. Busa, atong nanid-an nga owat matulis nga indi masumpo,owat mataeas nga indi mag umae.

Item No. 105. Ponggan mo ring kaila kon ro imong naila-an nga bagay indo nimo mabu-oe sa matawhay ag matarung nga pag hingoha. Ayaw pag gamiti it paagi nga gina himo eamang kung sapat nga owa it paino-ino ag hibaeo. Kun hilipata nimo ra, kamana man it sapat ro pag hayga ag pag kabig kimo.

We can see some of the old Aklanon poems in the book Contributions of the Aklan Mind to Philippine Literature by Beato de la Cruz.  This particular book, one can find  some pre-Spanish literature, literature of the Spanish period, Spanish writers in Aklan, and the writers in the vernacular.

But the oldest Aklanon poem that this writer has known is The “Song of Balinganga”

Balinganga was said to be the eldest son of Bangkaaya, one of the first Malayan datus who migrated to Panay Island in 1212.

Nabor (1968) gives us a good background of this poem:

The “Song of Balinganga”

“Other than the syllabary itself, the most antiquated sample of Old Inakeanon writing that we have so far is the 1911 reproduction made by Capitan Juan Orbista of the 1725 Moysing reproduction of the 1568 Kabanyag reproduction of the original “Song of Balinganga.” According to tradition, the original and the rest of its copies were written on hardwood (amaga) tablets.

The Juan Orbista reproduction was submitted by Apolinar Orbista, Sr., eldest son of the former, to the chairman of the Aklaniana Research Society in appropriate ceremonies held at the Aklan College Auditorium in 1962.

In his manuscript, Orbista (the elder) explains that his reproduction is but a hokwa or a copy of a writing which goes back to Balinganga, The Orbista Ms. contains a number of other songs and poems in Inakeanon writing, It also contains Orbista’s transcription of the famous Code of Kalantiaw from the original syllabic writing system into contemporary Inakeanon graphics.”

Here is the poem:

Hambae Inakeanon

Author: Unknown

I

Hambae Inakeanon

Manat saeaysayon

Hanongod sa dato,

Nga si Bangkaaya,

Ag anang asawa,

Imaw si Katorong,

Kat sanda nga daywa

Mga bataon pa.

II

Sanda hay nagkita

Sa sangka daeanon,

Daeagang malangya

Miron nga dongganon:

Ag sanglit gaoy eon

Rato nga daeaga,

Pomaeapit dayon

Datong miron kana.

III

Sinangpit nat dayon

Nga kana omaba,

Agod di gaoyon,

Makapahoway pa.

Dayon na nga abhon

Ay mana eat opa,

Kono, kabog-at na

Kato nga daeaga.

IV

Naghinadya dayon

Miron ag daeaga:

Nagpanaw sa nayon

Kon tawgon Tawaya

Nag-abot panag-on

Sanda nag-asawa,

Nagin malipayon

Pangabohi nanda.

Here is the poem in its original Aklanon spelling:

The Aklanon oral literature are found in our luwa, riddles, legends, proverbs, and composo.

Luwa is a form of poetry that is usually written in four lines. It used to be the first stanza of corrido, that kind of poetry that relates the exploits of kings and princes.

Because luwa were recited in the wakes as a part of a punishment to whoever is the loser in a game like konggit, truth or consequence, and bordon, they are very much appreciated if the lines have rhymes, rhythms, and humor.

Luwa have  aaaa, aabb, and abab rhyme structure. Occasionally, we can find luwa that have abcd endings.

Example of an aaaa rhyme:

Pag-agto ko sa Ibajay

May hakita ako nga patay

Ginbagting ko ra eagay

Mas mabaskog pa sa lingganay.—Unknown

For the aabb example:

Pag-agto ko sa bukid

Nakakita ako it ibid;

Paglingot ko sa waea

Gatueok kakon rang nobya.--Melchor F. Cichon

For the abab ending, here is an example.

Igto sa bukid

May busay nga naga-ilig;

Kon magpaligos igto si Ismid

May daeang butong nga binulig.--Melchor F. Cichon

And for abcd scheme, here is an example:

Ikaw ro kalipay

Ku tagipusuon kong gakusmaod,

Ikaw ro nagpahamtang

Ku probinsya it Akean sa bug-os nga kalibutan.--Cirilo Castillon, Jr.

There are luwa with Spanish and English words:

Ora pronubis

Ro habakae ni Nanay ibis

Duminum kubiskum

Ana ra nga gintuom—Melchor F. Cichon

There are bawdy luwa, but they are full of imagery. Here is an example:

Pag-agto ko sa Boracay

Napusa ro ay Inday nga  tuway;

Pagkasayod ka anang nanay,

Ana imaw nga ginminueay.--Melchor F. Cichon

There are luwa that have double meanings. These are the luwa that belong to the adults, if they can decipher the meaning. Here two examples.

Masupsup kunta ako

Sa maisot mo nga tuway

Ugaling ra diperensya

May guardia nga anay. --Melchor F. Cichon

Maligos kunta ako

Sa maisot mo nga sapa

Ugaling ro kinasaea

May guardia civil sa tunga.--Unknown

There are luwa that are really metaphysical. Here is one:

Kon gusto mo gid man ako

Nga mangin nobya mo;

Ro adlaw imo nga tukuran

Agod indi kita madueman.--Melchor F. Cichon

Here are some contemporary luwa with traditional undertone.

Luwa:

Nag-agto ako sa Ibajay

Masadya gid anang bay-bay

Owa ako it oras nga magtampisaw

Ay ro barko eon hay mapanaw.--Badjao

Nagpanindahan ako sa Malinao

Kaibahan ko si Tatay

Nagbakae it bolinao

Pasalubong kay nanay.--Losally R. Navarro

Manami kunta tan-awon

Kitang mga Pilipino nagahugpong;

Paano kita magtililipon

Ay owa’t trabaho sa aton.--Ni Bugoy

Kon fiesta sa Lezo,

Ro tagbaeay owa eon gaabiso

Basta bukas ro andang pwertahan

Sueod, kumaon nga owa’t dahan.--ni.Jay Jose  Feliciano

Patugmahanon

Like any other people, Aklanons like riddles. Here are some of them.

Anwang

Magueang eon si Isyang indi pa gihapon kantigo mag-iwang.

Aritos

Daywa ka itlog, gakabit-kabit.

Kon gapasueod, masakit; kon sa sueod eon, nagapamamit.

Aswete

Ro kaeo ni Esko, puno it bueawan.

Maitum ag boebueon, mapuea Kon busikaron.

Atis

Batsihon ra ueo, pero ra utok manami supsupon.

Si San Pedro, gueoson ra gueo.

Baba

Bubon nga madueom, puno it sanduko.

Bubon nga madaeum, puno it espada.

Mga Hueobaton

Like any other riddles, Aklanon riddles serve as reminder to everyone.  Here are some of them:

Babaye, madanlog ro atong kalibutan.
Magdahan ka gid ay basi ka hidaphag
Ag ro imong alima hay maeapukan.

Babaye, ring kadungganan haeongi
Agod ring mga unga
Indi magpanunod king kahueoy-anan.

Baeay man nga bato
Kon ro gaestar hay demonyo,
Mas mayad pa ro kubo
Kon ro gaestar hay tawo.

Bag-o himuon ro anong butang,
Hunahunaa anay ro imong abutan.

Bag-o ka magkaon
Panumduma ro nagta-o kimo.

Bag-ong hari, bag-ong ugali.

Bag-ong pare, bag-ong paagi’t pagsermon.

Bangud sa gugma
Nahimo nga ikog si Maria.

Basta bata, gahuro-huro pa.

Basta kutikot,
Masyadong mahaeang.

Basta umpisa malisod.

Bisan alinon mo nga paksi
Ay pinaligos nga ugali.

Bisan alinon nga pagtago it baga,
Madabdab ay kaeayo.

Bisan ano kadueom
May kasanag.

Bisan ano kahaba ku eubid
May utbong gid.

Bisan ano kahaba nga prosesyon
Sa simbahan man gihapon madayon.

Bisan ano kapait patam-isa eang.

Bisan ano katig-a
May parti gid nga mahumok.

Komposo are folk songs. Aklanon folk songs deal on environment like the following:

MAMUGON

Mamugon ako, mamugon

Sa tawo nga manggaranon;

Alas dos ako pakan-on, ay, ay,

Orasyon ako paulion.

Pag-abot ko man sa baeay,

Mangayo ako it humay;

Tinuro ako ni Tatay, ay, ay,

Una sa eusong ro paeay.

Alinon ko man ro paeay,

Eawas ko karon ginabudlay;

Kon buhi kunta si Nanay, ay,.ay,

Makaon ako, mapahuway.

MAGMAMANI

Kaming magmamani, duro sa kaimoe;

Kaming magmamani, nga makaeueuoy;

Kaming magmamani, nga owa't ikasuboe;

Among ginapakita ro mehoras namon sa Daja.

Ay sa kailo kaming magmamani,

Birang do among saya, kulintas nga mani;

Singsing ag pulseras, aritos nga mani,

Among ginapakita ro mehoras namon sa Daja.

TIKWI! ABAW RONG BANUG

Tikwi! Abaw rong Banug

Nga nagbalik sa ginpukanan.

Siniba ni Bukbulilaw,

Nga batadbataran.

NAGTANUM AKO’T PINYA

Nagtanum ako’t pinya,

Sa binit it karsada;

Umagi ro maistra,

Good morning, maayong aga.”

“O Nanay, O Tatay,

Tagai ako’t piso.

Ginaalin do piso?

Ibakae it aritos!

Aritos nga moda,

Angay gid sa daeaga;

Daeagang aeon-eaon,

Angay gid pangasaw-on.

PINPIN DE SIRAPIN

Pinpin di sirapin

Kutsilyo de almacin

Haw-haw di karabaw

Batutin

Sayang pula, tatlong pera

Sayang puti, tatlong salapi

Tigbak, buang, binunu, aswang.

As for the Aklanon written literature, we find them in longer poems, short stories, novels, essays, and lately haiku.

Except for riddles, composo, proverbs and luwa, most of the Aklanon written poetry, legends and short stories are in English. This is understandable because there were no venues for Aklanon literature. If there were they were very limited. We have for example the Aklan Reporter published and edited by Mr. Roman de la Cruz that used to publish Aklanon short stories. Or those who have the means would just publish their own works.

As a result most of the Aklanon writers would contribute their pieces to national magazines like the Philippines Free Press, Liwayway and Sunday Times Magazine. But the competition in these magazines is very stiff.

After the 1986 EDSA Revolution came a new literary revolution in Western Visayas.

Spearheaded by Dr. Leoncio P. Deriada, a former professor in literature at the U.P. in the Visayas, a literary revolution took place almost simultaneously in Iloilo, Antique, and Aklan.

Through his encouragement and with funding from the Cultural Center of the Philippines and later through the Presidential Commission for Culture and the Arts, which later gave way for the National Commission for Culture and the Arts (NCCA), writers in these provinces started to write poems and short stories in Ilonggo, Kinaray-a and in Aklanons.

The NCCA encouraged the establishments of local arts councils and subsidized conferences, workshops and publications. It also awarded writing grants and venue grants. Two of these writers who availed of these writing grants were Prof. John Barrios and this writer. The Bishop Gabriel Reyes Foundation also availed of these grants.

Dr. Deriada’s “political approach” to encourage local writers to write in their own languages was effective. He said this to Kinaray-a writers.

“My politicizing would begin by my saying: There is no such thing as a superior language. No one can give power and dignity to your language except you. Your language has dignity and power if you can do three things with it: sing your songs in it, compose your poems in it, and pray in it. If you can do these in Kinaray-a, then your language is the same level as any language in the world.”

Later, he used the same approach to Aklanon writers.

After conducting creative writing workshops and contests among Ilonggo and Kinaray-a writers, Dr. Deriada continued his crusade to Aklan. Here is how he practically twisted the arms of Aklanon writers to write in Aklanon:

“Liberating itself likewise from literary oblivion was Aklanon. Just as the Antiquenos were forming Tabig, emerging Aklanon writers also formed the Aklanon Literary Circle in Kalibo. Spearheading this was Melchor F. Cichon, a librarian at UP Visayas. Ably assisting him was UP Visayas student John E. Barrios.

“In my various workshops in Iloilo, Cichon had been there listening to the things I was telling Kinaray-a writers to challenge them. Cichon - and Barrios - took the challenge and soon the Aklan issue of Ani, which I edited with Cichon, et al., was published by the CCP and launched in Kalibo in early 1993. Cichon, who was by then writing in English and Tagalog-based Filipino, turned out to be the leading poet in his language and has the distinction of being the first Aklanon ever to publish a book of poems in his own language. Eventually, Cichon and Barrios won writing grants from the CCP.”

The first creative writing workshop held in Kalibo, Aklan was on November 9-10, 1991 under the leadership of Dr. Leoncio P. Deriada.  It was sponsored by the newly established Aklanon writers, the Akeanon Literary Circle. On January 28, 1994, the first issue of Bueabod, the literary journal of Akeanon Literary Circle, was launched in Kalibo, Aklan. . It was in the same occasion when the special Aklanon Issue of Ani was launched.

Aside from encouraging the writers in Western Visayas to write, he also encouraged them to enter into a literary contest. One of these contests is the Bigkas Binalaybay.

This annual written and oral poetry competitions have produced a considerable number of  poems in Kinaray-a, Hiligaynon, Filipino and Aklanon.

Through the years, Aklanon poets have been winning in this contest. This includes Melchor F. Cichon, Rommel  Constantino, Alexander de Juan, Rocky Abello, Antonio F. Tolentino, and June Mijares. Their winning entries are included in Bigkas Binalaybay; Kritisismo, Antolohiya, edited by John E. Barrios, Melchor F. Cichon, Jonathan P. Jurilla, and J. I. E. Teodoro., 2008.

When the Aklanon Literary Circle (ALC) was formed in the 1990s, Melchor Cichon, John Barrios and Alexander de Juan put up Bueabod, the literary journal of ALC. It was a one-page mimeograph or photo-copied journal. In this journal some contemporary Aklanon poets like John Barrios, Pett Candido, Alexander de Juan, Jeoffrey Ricafuente, Rommel Constantino and others contributed poems. It was also in this journal where the Aklanon poems of Dominador Ilio and Roman de la Cruz first appeared. Both writers are considered the finest among the elder Aklanon English writers.

Here is a poem by Dominador Ilio:

Bita

Ro masi-ut nga katamnan it bita

(Ro anang mapait nga panit it kahoy

Gina ea-ga para bueong sa takig)

Hay kadueom ku kinaunang eubnganan

Nga gintawag nga Bita.

Ro baeay ku tatlong magmanghod

Nga si Anacleta, si Josefa ag si Lorenza

Hay una sa maeunang nga aeagyan sa Bita.

Ro baeay ku ap-at nga eaking magmanghud

Nga si Manuel, si Tomas, si Amadeo,

Ag si Jose una man sa daean pa Bita.

Sanda tanan nagsaad nga mamuyo sa maeayo,

Sa maeayo-eayo sa Bita.

Ngani pinangasawa ni Amadeo si Anacleta

Ag nagbungkas sanda it paag sa Kabangkat,

Si Manuel dinaea nana s Josefa ag idto

Nagbaeay ag nanguma sa bukid it San Dimas,

Pinangasawa ni Tomas si Lorenza ag sa Kogon

Nananum sanda it abung euy-a ag eunga

Si Jose inapok sa Patnongon sa Antique

Idto nangasawa ag wa gid hibalik sa Bita.

Apang sa kabuhayan, ro andang mga inunga

Ro nag hatud kanda tanan balik sa Bita.

Here is one of the Aklanon poems of Roman de la Cruz:

Panaeambiton

Tampuean mo ku imong

Mainit-init nga paead

Ro maeamig ko nga likod

Ag tug-anan mo ako

Nga indi mo eon pag-aywan.

Tamda ro atong kahapon

Kat owa ka pa magtugbong sa syudad.

Nagsumpaan kita nga magmaeahaean

Hasta sa kamatayon

Suno sa kudlit ku atong paead.

Kon pumanaw ka it uman

Kahil-o man dayang gugma.

Ako magataliwan

It dayon.

Many of the poems published in this journal were anthologized in Patubas, Ani (Aklanon issue), and in Mantala. Some of them were selected as best poems of the month by Mr. Isagani Cruz in his column Critic at Large.

From 1986 to 2000, three books were published by NCCA edited by Dr. Deriada et al. which included Aklanon poems. One of these books is the Ani Aklanon issue. In 1999, the book by Melchor F. Cichon, Ham-at Madueom Ro Gabii ? (Bakit Madilim Ang Gabi?) was published.

The books on poetry by Bellysarius de la Cruz came out within this period. These are With Hope Undying (1988); Earth Glare (1994) and Poems in Praise of God (1997) In 2000, the novel of Roman de la Cruz, Life with the Family; a folk autobiographical novel came out.

In 1998, five Aklanon short stories were published in the book: Selebrasyon at Lamentasyon: Antolohiya ng Maikling Kuwento ng Panay edited by Carmen L. de los Santos, Ma. Milagros G. Lachica and John E. Barrios.

A breakthrough came out in 2002 when the first Aklanon haiku written by this writer came out in SanAg, the literary journal of the Fray Luis de Leon Creative Writing Desk, University of San Agustin, Iloilo City.

Here are three of the five haiku:

katueondon—

ro asul nga kahayag

gaagi eampas sa kalibutan

**

tungang gabi-i—

ro eaking unga gapakalimos

sa baybaon it Boracay

**

katueondon—

si Flor nag-uli halin sa Singapore

sa sueod it kahon

Another breakthrough in Aklanon literature took place in 2002 when the haiku by this writer was published in Heron’s Nest, an international haiku journal based in America. (see the haiku below).

Another breakthrough in Aklanon literature took place in 2005 when the first Aklanon collection of short stories by Prof. John E. Barrios, Engkant(aw)o ag iba pa nga Tag-ud nga Istorya came out.

When the Aklanon Literary Circle was formed, almost all the members then were college students like John Barrios, Alexander de Juan, Jeoffrey Villafuente, and Rommel Constantino. The youngest was Am Roselo. He was still a high school student then.

But after their graduation, Bueabod hibernated for almost a decade.

While Bueabod was hibernating, a new writing venue was evolving in the Philippines. This is the internet.

And with internet, a new kind of Aklanon literature evolved. This is what is now known as the Aklanon virtual literature.

Through the internet new Aklanon writers were discovered and new types of poems were added to Aklanon literature. These are haiku, senryu, and tanka. These are all Japanese types of short poems which had never been utilized by Aklanon writers until the new millennium.

As mentioned earlier, the new crop of Aklanon poets came out as a result of the appearance of this website: http://www.my.akeanon.com/.

This website was created by a group of young Aklanons where Aklanons from different parts of the globe can exchange ideas.

Then one day a certain Tata_Goloy opened a thread, Kangga ni Tata_Goloy. In this website, many Aklanons posted their opinions on how to further develop Aklan. Some of the contributors include beeSPUNKY in Canada, bugoy in Federated States of Micronesia, Cinderella in Alaska, USA, ember in Manila, Gumamila in Iloilo, kal in Alaska, miss-terryosa in Iloilo City, SunflowR in Florida, USA, Swiss in Switzerland, Tata-Goloy in Michigan, USA, Toryo in one of the states in USA, water sprite , in Manila, yamanitoshi in Makati, Manila, and Maeara, in Iloilo. All of them are Aklanons and have one common desire—to write essays and poems.

All the contributors used aliases.

Then a certain Badjao opened a new thread in my.akeanon.com. He called it Iskul Bukol.

In this thread, some of the above contributors posted poems in Inakeanon. Noting that the so-called poems posted in this new thread needed rewriting, Maeara posted some comments to improve their works.

Then SunflowR posted a haiku written by Melchor F. Cichon from Heron’s Nest, an online haiku journal based in America.

Here is the copy of that haiku. It is a poem on the impact of the eruption of Mt. Pinatubo to a town in Pampanga: And this is the first haiku published in an international journal written by an Aklanon

Sunday morning—

a boy digs in the mud

that buried a cathedral

Heron’s Nest, Vol. IV, No. 9: September, 2002

Knowing that Maeara is no other than this writer, Tata_Goloy asked him to conduct a virtual class in poetry writing.

He agreed to conduct a virtual poetry workshop.

Adopting the technique used by Dr. Leoncio P. Deriada in creative writing workshops, this writer suggested to them that they first write and post their haiku, luwa, or longer poems in my.akeanon.com website.

And they did post their contributions in this website.

Every Saturday, this writer collected their works, wrote his comments on them and then posted the original and the corrected ones.

The result of that virtual workshop is the book: Haiku, Luwa and Other Poems Written by Aklanons edited by Melchor F. Cichon, Edna Laurente Faral and Losally R. Navarro (2005).

But before this, this writer has developed a website that focuses on Aklanon literature (http://www.geocities.com/Aklanonliterature) In this website one can find Aklanon riddles, maxims, luwa, longer poems, songs, legends, short stories, profiles of Aklanon writers, annotated Aklanon bibliography, and haiku. As of April 17, 2006, this website was visited 16, 417 times.  Modesty aside, this website is the most popular website on Aklanon literature.

This writer has a blog, http://anahawleaf.blogspot.com, which features his haiku and luwa.

In 2007, Melchor F. Cichon selected 25 of the best poems written by Aklanons. The result of this collection is posted in his blog Bueabod It Akeanon Literary Circle, http://bueabodalc.blogspot.com/

Also in 2007, he collected the works of Aklanon women poets. Again this collection is found in the above blog.

Both collections are first in the history of Aklanon literature.

What do Aklanon writers write? Who are the writers? What is the quality of their works?

What do Aklanon writers write?

Through the years, Aklan writers, like other writers in the Philippines, wrote on oppression, corruption, poverty, exploitation of women and the environment, love, religion, politics, insurgency, and hope. This is so because many of them are college trained and have gone to many places outside of Aklan like Manila, Iloilo , Antique. And abroad.

Allow this writer to present some Aklanon contemporary poets and present some of their works.

Losally R. Navarro was born in Banga, Aklan on January 3, 1973 but grew up in Malinao. Losally now stays in Calvary, Alberta, Canada. In the February issue of Homelife, a national magazine, one of her haiku was published.

Two of Navarro's best haiku are:

indi magkahadlok

bisan ro atong taj mahal

hay obra sa botong.

***

si Maria Clara

nag-agto sa Amerika

pag-uli naka-minis-skirt eot-a

Amzi V. Martinez was born in December 1976 in Balete, Aklan. He is presently working in Tofol, Lelu, Kosrae, Federated States of Micronesia as a Vocational Instructor. Here is an example of his luwa:

Manami kunta tan-awon

Kitang mga Pilipino nagahugpong;

Paano kita magtililipon

Ay owa’t trabaho sa aton?

Ellamae Fernandez was born on April 18, 1986. She is from Lezo, Aklan. Here is an example of her work:

Dominggo’t hapon—

nasa binggohan

nagasi-einggitan

Jay Jose Feliciano is from Kalibo, Aklan. He is presently working in Alaska, USA. Here is one of his poems:

paraisong pinas

naka-Mercedes nga gobyerno

nakakanggang pumueoyo

Ma. Terry F. Marte is from Poblacion, Lezo, Aklan. Here is an example of her haiku:

indi mahuyap nga euha

ro nahueog sa madamoe nga paead

sa idaeum it adlaw

Edna Romulo Laurente Faral was born in Batan, Aklan but resides in Tampa, Florida with her family. She is not only a folk dancer par excellence, but a fine haijin as well. Here are four of her finest haiku:

Oh, Eangit

Oh, eangit…

sa punta ka eang

kang tudlo

Sueat

sueat

halin kimo

ginatago sa dughan

Ikaw ag Ako

huo-

ikaw ag ako

sa tulay nga butong gaeatay

Renelyn Beglinger-Vallejo is married to a Swiss national and they now live in Switzerland. She was born in Ochando, Banga, Aklan.

Boracay

Dayang Boracay

Nga ginatawag nga paraiso—

Ham-at maputi ro baeas

Indi kaparis sa Kalibo?

7 kakilometro dayang isla

Maisot manlang ikumpara sa iba.

Ham-an abu nga hotel

Nga ginpatindog iya?

Owa sanda nahadlok’nga eumubog ra?

Cirilo Castillon, Jr. or Tata Goloy was born in Badio, Numancia. After working at the U.S. Naval Base in Subic Bay, Olongapo City, he then went to Saudi Arabia, and later on settled in Michigan , USA. Here are his haiku and his luwa:

Rang Amigo

Rang anino

akong amigo

hasta sa katapusan.

***

Nag-agto Ako sa Kalibo

Nag-agto ako sa Kalibo

Nakakita ako’t mag-asawang mueto

Umalagwa gid ako it tudo

Iwag manlang gali’t awto.

Cris Ocampo. Cris was born in Kalibo and finished his high school at Pilot Science Development National High School , (now Regional Science High School) in Kalibo, Aklan. A martial law baby, one can see his political ideas in his haiku and luwa.

Matig-ang Bagoe

matig-ang bagoe

gapanago sa amamakoe

hin-aga mano-eo

Jawili

Abaw kanami isipon

Ro Jawili nga mahae nakon

Ano natabo kimo makaron

Musyon akon ikaw nga tatapon

Belle Nabor. Her haiku have been published the Mainichi Daily News, a world famous newspaper that prints haiku. . Her other haiku were included in Sakura Anthology of Haiku published in Sweden along with other world famous haijin like Robert D. Wilson, Michael Rehling, an’ya, and 27 other poets, The Makata, Short Stuff, and in Poetry Country Mouse. Her popular blog, http://short.poems.blogspot.com/, that features her short poems: haiku, tanka, and cinquain, has been instrumental in her introduction to world haiku.

Here are some of her works:

Haiku Selections

sa sueod it train

madasig man

maghueag ro siyudad

***

gaoy eon sa pagtinan-aw

it kalibutan, ro kuhoe --

nagpanago’t uman

Tanka Selections

Pag-eubong

ro kahon sa atic

hay puno’t sueat, lus-aw nga tinta

ratong owa’t kaeag nga papel—gausoy

bukon kato’t  madali

ro pagpapahuway kana

Nagakahigugmang Manogbinaeaybay

para kino, maumpisa ako’t pagsueat

ku rayang binaeaybay, bag-ong hugpong

nga mga bisaea kaibahan kay tagipusuong

puno it pag-eaom

indi ako makahambae

Halipatan Ro Oras

galingkod kita nga daywa

sa idaeum it kabituonan

gabueabod ro atong mga alima

owa naton hipan-uhi

ro pag-abot it kaagahon

***

Edmund Saldivia.  The poet is a licensed engineer. He now works as a system analyst in Kingdom of Saudi Arabia.  He is a native of Kalibo, Aklan.

 

Cacique

(Rent-Seekers)

Ku panahon it Kastila,

Ro cacique bugana.

Sanda ro ginasaligan,

Ku eugta it simbahan.

Ginatunga do patubas,

Sa mamueogon may bawas.

Sa mangunguma ikap-at nga parte,

Ro habilin ana ku prayle.

Sa makarong henerasyon,

Ro cacique, iya gihapon.

Maeapit sa trono,

Alipores it palasyo.

Inutang nga kapital,

Si Juan ro kolateral.

Pasaka taga dag-on,

Paeas-anon naton.

Kalbong kagueangan,

Abandonadong minahan,

Basta eat-a inaywan,

Pagkatapos panginpuslan.

Ma-inpluwensyang anino,

Sa tugpa-an it eroplano.

Kontrolado ro kargamento,

Sa daungan it barko.

Tubi ag kuryente,

Sa alima ga-agi.

Yutilidad monopolyado,

Pasilidad manipulado.

Owa’t mayad nga amot,

Sa agrikultura ag industriya.

Parasitiko,

Sa ikonomiya it banwa.

George Calaor.  An Aklanon who wishes to have better Philippines, George has been writing poems with social relevance. Here is one of his best poems.

Sakada

Buyti't hugot ring espading

Ag hawani ratong mga panamgo

Nga ginakapyutan it kalisud

Iya sa maliway nga kampo.

Tapsa ro mga pagduhaduha

Nga nagapaeuya sa eawas

Ag pas-anon ro mga kalisud

Nga nagapabakod it dughan.

Nagadaea it pag-eaom.

Ag sa pangamuyo mo

Buksi ring tagipusuon

Ag isugid sa Ginuo

Ro bug-us nimo nga ginapangayu:

Nga ro katubwan hay mangin saksi

Sa pag-abot ku oras,

Sa mabahoe nga kadaeag-an--

Ag padayon nga kahilwayan.

Melchor F. Cichon

brown-out—

nagsueod ro aninipot

sa baeay namon

***

Ku Ati-atihan 2005 sa Kalibo

Sa plaza nag-eapta ro mga tawo

Ay nagpaburot ka armalite

Si SPO1 Jonathan Moreño

Analysis of the three periods of the Aklanon literature

Pre-Deriada, Before 1986

During this period, Aklanon writers were writing mostly in English and Spanish. But there were some Aklanon writers who wrote in Aklanon.

The most prominent among these writers were Peping Tansinko Manyas, Manuel Laserna, Roman de la Cruz, Leopoldo A. de la Cruz,  and Dominador Ilio.

Although, NVM Gonzales, Josephine Barrios and Jose Dalisay are all Aklanons by blood, they never have written any Aklanon poem or short story.

Of those who wrote poems in Aklanon were Manuel Laserna and Peping Manyas. In their writings, both Laserna and Manyas wrote on freedom and love of country. Their writing structure was mostly rhymed and metered.

Deriada Period, 1986-2004. During this period, new Aklanon writers were discovered. Influenced by Deriada, through his creative writing workshops and private conversations with the Aklanon writers, these new writers wrote mostly in Aklanon, English, and in Filipino. Almost all of them wrote in free verse, except Mr. Roman de la Cruz, who preferred to write in rhyme, but not metered. Their topics are now widened: love, poverty, nationalism, environment, gender. This was due to the writers' diverse milieu and experiences. All the new writers have gone to college and have traveled outside of Aklan. The many contests and grants given by the NCCA have boostered their enthusiasm. The help of Dr. Deriada in the re-emergence of Aklanon literature is great. It was during this time that the special issue of Ani came out. It was during this period that some poems in Aklanon came out in Mantala and in Patubas. It was also in this period that Alexander de Juan, Roman de la Cruz, John Barrios and Melchor F. Cichon won local and national awards and book writing grants. The book Ham-at Madueom Ro Gabii (Bakit Madilim ang Gabi) by Melchor F. Cichon was published. He eventually won the coveted Gawad Pambansang Alagad ni Balagtas (for Aklanon Poetry). It was given by Unyon ng mga Manunulat sa Pilipinas (UMPIL).

It was also during this period that the New Testament was translated and published in Macar Enterprises. It was translated by Vellyzarius de la Cruz.

Post-Deriada Period, 2005-2007

With the emergence of the World Wide Web and through the encouragement of Melchor F. Cichon, many new Aklanon poets were discovered. Many of them are Aklanons living in America and Europe. Through the internet and the creation of the website: http://www.my.akeanon.com/, many of the newly discovered Aklanon poets contributed their poems in this website. They wrote haiku, luwa and other poems. The result of their creative works were published in a book: Haiku, Luwa and Other Poems by Aklanon edited by Melchor F. Cichon, Edna Laurente Faral, and Losally Navarro. It was also during this period where many Aklanon luwa were written. The subjects of their works were varied: love, nature, under development, gender, nationalism, poverty and almost all topics. It was during this period also where luwa writing was given emphasis and published in the internet . The latest addition to Aklanon literature is the publication in the internet of poetry for children. However, only about three poets who have been writing on this: Melchor F. Cichon, Cirilo Castillon, Jr. and Edna Laurente Faral.

Problems being encountered by Aklanon writers

Unlike the English and Filipino writers, Aklanon writers encounter a lot of problems.

1. There is not enough copies of Aklanon dictionaries. At the moment, there are three Aklanon dictionaries. The book by Reyes et al. is now out of press, while that of de la Cruz is expensive. The work by Braulio is not that many.

Braulio, Eleanor Perucho. Akean-Filipino leksikon. Macar Enterprises,1999. 177p.

De la Cruz, Roman A. Five-language dictionary (Panay Island): English, Tagalog, Hiligaynon, Kinaray-a, Aklanon. Kalibo: Rock Publishing, 2003. 919p.

Reyes, Vicente Salas, Nicolas L. Prado, R. David Paul Zorc. A Study of the Aklanon Dialect. Vol. 2: Dictionary. Kalibo, Aklan: Public Domain, 1969. 396p.

2. The second problem is the lack of  encouragement and financial support from school administrators on the publication of their school organs.

3. Very few literature teachers in Aklan discuss the literary works of Aklanons writers.

4. There is a lack of literary contests in Aklan.

5. Workshops for creative writers are not held regularly in Aklan especially for high school students, and those who are new in creative writing.

What is next for Aklanon writers?

From the above statements, it is noticeable that Aklanon literature for children like nursery rhymes, and short stories, are very scarce. This writer hopes that this gap will soon be filled up by the present and future Aklanon writers.

It seems too that Aklanon contemporary writers will still write poetry, but mostly short poetry, like luwa and haiku.

As for the contents, Aklanon poets and fiction writers will still be writing poems, etc. with social relevance as they are still experiencing the impact of poverty, injustices, corruption, environmental degradation, and many other social issues.

In conclusion, Aklanon literature has a tradition to think of. Through the centuries, Aklanons have been writing different types of literature: poems, short stories, novels, riddles, songs, maxims, and legends. Through the internet Aklanon writers have been exposed to world literature particularly the short poems like haiku and tanka.

Sources:

Barrios, John E., Cichon, Melchor F., Jurilla, Jonathan P. and Teodoro, J. I. E., eds. Bigkas Binalaybay; Kritisismo, antolohiya. Iloilo City: Sentro ng Wikang Filipino, Unibersidad ng Pilipinas Visayas and Pambansang Komisyon para sa Kultura at mga Sining, 2008. 171p.

Cichon, Melchor F. Belle Nabor: A Filipino Haijin. Posted November 28, 2005. http://www.akeanon.com/. Retrieved: April 16, 2006.

Cichon, Melchor F. Dr. Leoncio P. Deriada: Masiglang Lider Sa Muling Pag-Uswag Ng Malikhaing Panulat sa Western Visayas. Daluyan, the official publication of the Sentro Ng Wikang Filipino, University of the Philippines, Diliman, Quezon City, vol. 5, No. 2, pp. 8-11, 1994.

De Juan, Alexander C. Ang Pag-ahon Ng Nakasulat na Literaturang Aklanon. Daluyan, the official publication of the Sentro Ng Wikang Filipino, University of the Philippines, Diliman, Quezon City, vol. 5, No. 2, pp.15-16, 1994.

De la Cruz, Beato. Contributions of the Aklan Mind to Philippine Literature. San Juan, Rizal: Kalantiao Press,  1958. 97p.

Deriada, Leoncio. Literature engineering in West Visayas. Forum, Opisyal na Pahayagan ng Universidad ng Pilipinas, March 28, 2006. http://www.up.edu.ph/forum/2000/03/28/litengg.html, retrieved: April 13, 2006.

Manyas, Peping Tansinko. Tagiposuon Nga Hueowaran. Daeang Rizal, Kalibo, Capiz. 1926. 26p. (Photo-copy)

Nabor, Fiorella I. “An Inquiry into the Ancient Inakeanon Writing System,” Silliman Journal, Ist Quarter, 1968, pp. 54-86 ((Photo-copy)

Reyes, Gabriel M. Toning. Mandurriao, Iloilo, 1925. 35p. (Photo-copy)

Tente Undoy. Mga Bilisad-n ni Tente Undoy. San Juan, Rizal, Kalantiaw Publications, Inc. 37p. (Photo-copy)

The Importance of Filipino Culture and Language in Today’s Time

By

Melchor F. Cichon

Speech delivered on August 26, 2004 during the Linggo ng Wika Celebration at the College of Arts and Sciences, U.P. in the Visayas, Miag-ao, Iloilo

Mayad nga hapon kinyo tanan.

That’s the Aklanon expression that means good afternoon to everybody.

When Ms. Rhoda Garzon approached me yesterday to be your guest speaker today, I was taken aback.

Why me? I asked myself.

But then I said to myself this is a challenge and an opportunity for me to express my opinion on the topic: The Importance of Filipino Culture and Language in Today’s Time.

Let me relate to you a simple incidence that happened in Aklan.

It was a fiesta. This one Aklanon family had many visitors including a Tagalog. Since the house is not that big enough, the people in the sala could see what’s going on in the dining room.

This Tagalog visitor saw that the host had put letson, mudcrabs, and lobsters and other foods on the table. After all the foods had been placed on the table, the host announced to the visitors:

“‘Labas eon!”

When the Tagalog visitor heard it, he murmured and walked toward the exit door. He said, “Ngayong kakain na ako, saka naman ako palalabasin. Ang malas ko naman.”

The host noticed him.

“Oops, he said, “saan po kayo pupunta? Kakain pa nga tayo eh, aalis ka na.”

“Akala ko’y pinapalabas na ninyo ako.”

“Hindi. Sa Aklanon, ang ibig sabihin ng ‘Labas o ilabas ay kakain na tayo ng pananghalian. Kaya tayo sa lamesa.”

“Ay mali! Ang sabi ng Tagalog.”

This is one importance of Filipino culture and language in today’s time.

Because of so many dialects and languages in our country, we do not understand each other. Of course we have the Tagalog language, but many of our countrymen cannot still speak and understand Tagalog. 

As mandated by the Philippine Constitution, we are developing a Filipino language wherein our regional languages can be included here, but the process of assimilation from the regional languages to Filipino is very, very slow. I do not know how many years can the word “bakod” penetrate a Filipino dictionary. “Bakod” is an Aklanon term that refers to the five centavo coin.

The process of assimilation of regional dialects or languages to Filipino will take decades or perhaps a century.

There are many factors to be considered here.

One. The resistance to change. For example, the Cebuanos do not want to be colonized by the Tagalogs. In fact, the Cebuanos would sing our national anthem in the Cebuano version. The Aklanon themselves do not want to be called Ilonggos or Tagalog. They want to be called Aklanons.

Second. There are very few writers writing in their own dialects or languages. How many Aklanon writers for example consistently write in Aklanon? You can just count them in your fingers. This is also true among the Antiquenos. Ask the Tausogs of Basilan if they write poems or short stories in Tausog. Most probably, they would say no.

Third. The editors of the newspapers and magazines published in Manila are hesitant in publishing poems in the regional languages. I remember, the editor of the Philippine Panorama used to publish my Aklanon poems along with other regional writers, but this was discontinued because as Mr. Cirilo Bautista has told me, there were not enough readers on the regional languages  But somehow that was a breakthrough.

I am glad that there are electronic magazines that publish poems in regional languages. I am referring to Our Own Voice, and Dyapi. The former is based in the United States, while the latter is based in Pangasinan. Some of my Aklanon poems have been published here.

Another electronic medium is the cellphone. Regional words are being transferred to different parts of the country and abroad through this medium.

I have some reservations here.

With the trend of using cellphone spelling, I am afraid some of our regional words might be spelled differently in future dictionaries.

Fourth. There are not enough writers who write in Filipino incorporating words from their dialects. In fact we hear some laughter when someone delivers a Filipino speech that injects a dialect or two. This becomes a blocking wall in the development of our truly national language, Filipino. I highly appreciate Dr. Leoncio P. Deriada’s move in encouraging us contemporary Western Visayas writers to include words in Aklanon, Kinaray-a and Hiligaynon in our Filipino works. So if you happen to read our Filipino poems and short stories you can spot some words from Western Visayas. That is our simple way of enriching our Filipino language.

Fifth. There are not enough dictionaries in regional language to refer to. In Aklan for example, there is only one Aklanon-English dictionary. And this was published in 1969. I still have to see an English-Aklanon dictionary. Or an Aklanon-Tagalog dictionary for that matter. The newly published multi-lingual dictionary of Mr. Roman de la Cruz is not even available here in our university library.

Sixth. There is no book on regional languages. In Aklan, for example no one has ever published a book on Aklanon synonyms, and antonyms. There is also no Aklanon thesaurus. This is also true in the Kinaray-a and in Hiligaynon languages. This is of course a challenge to all of us.

Let me switch to a related topic.

This is what I have noticed.

When all Aklanons or Cebuanos meet in one place away from their home provinces they immediately become close to each other. Without knowing it, they develop a binding.

So I said what if we Filipinos will not call ourselves as Aklanon, Cebuanos, or Ilonggos, instead we will just call ourselves Filipinos, will there will be peace in the country?  Will our country become progressive?

Some will say, yes, others will say no. But still others will say, I don’t know.

The Japanese is one people that is said to have a very strong sense of nationalism. We understand that the Japanese are all working for the development of their country.

I do not have a study to prove the significance of language in their national development, but I suppose that their language has somehow bound them to what they are now—a first world country after their defeat in World War II..

We are very much aware that many Japanese scientists cannot speak English as fluently as many Filipinos do. Many of their youngsters cannot speak good English as many of us do. But that does mean that we are more intelligent than they are. Fluency in English does not measure one’s intelligence. It is in the understanding and in the application of the concepts that measures ones intelligence. In many aspects, the Japanese are more advanced than we are. In electronics Japan is perhaps 50 years ahead of us. In journal titles included in the ISI Current Contents, they have more when compared to us. So far only one Philippine journal title is included in the ISI Current Contents, the Philippine Agricultural Scientists.

The Japanese like the Koreans may not be able to speak English very fluently, but that becomes a plus factor to their country because their intellectuals do not leave their country, and so they are able to utilize their skills and knowledge.

On the other hand, we Filipinos are very good in English to the point that some if not many of us criticize other Filipinos because they cannot follow how Americans speak. But where are our so-called intellectuals? They are in America, in Japan, in Europe. What is the significance of this phenomenon?

We ourselves have experienced without having been treated by our doctors and nurses, except when we go to private hospitals. And since many of our countrymen cannot afford their professional services, many of our countrymen die without seeing a doctor just like what happened to that old woman who died in our campus without really seeing a doctor.

Regionalism is a concept which many of our people would like to happen. Some people say that if we are regionalized, we can better serve our people because our products will be better managed.

But regionalism divides our country. So instead of getting unified character, we produced a divided Filipino.

Regionalism produces regional pride. Some regions have developed a feeling of superiority, which becomes a channel of hatred. As observed, some Tagalogs have that feeling of superiority when they go to the Visayas regions. As a result, the Visayans try to protect themselves by becoming arrogant. This is also the same feelings of the Muslims towards the Christians and vice versa.

But if we Filipinos do not have this concept of regionalism, we will have that feeling of equality.

Along with this negative impacts of regionalism, there is one character Filipinos have that I believed has produced disunity among us. I am referring to that bahala na Filipino value.

Once we have earned some amount of money, we usually spend them at once. We become a one-day millionaire and a one-year-agwanta. We are not like the Chinese that are frugal.

It reminds me of the ant mentality.

If we adopt the ant’s mentality, I am sure that we Filipinos will not suffer the way are now. As we observed, the ants work together and save some food for the rainy day. As human beings, we will not only save for a rainy day, we can save for the floody day.

So what shall we do to perpetuate a good legacy?

Education is the answer. The kind of education that promote unity instead of regionalism. Education that promote love instead of hatred. Education that promotes frugality and nationalism. Education that eliminates discrimination among our people.

But education is nothing if we do not use language.

But what kind of language that should be adopted by our government policy makers to better serve our people? Shall we use English as a medium of instruction, or shall we use Filipino?

Our neighboring countries like Malaysia and Indonesia, they have been using Bahasa in their classrooms. Their textbooks are in Bahasa too.

Although I do not have a study to back me up, I believe that by using their national language as a medium of instruction their students have become more productive and more nationalistic.

Shall we follow them? I believe we should do the same. The question however is, are we ready for it? Do we have the necessary resources like translators, logistics, time and teachers who can efficiently impart their skills and knowledge to their students through Filipino as a medium of instruction?

Going back to our topic, what is the importance of Filipino culture and language in today’s time.

I will not make a categorical answer, but may I ask you this question:

What makes Shakespeare  famous and immortal?

If your answer is the same as mine, I will give you a copy of my book of poems.

Good day.