Showing posts with label Mito. Show all posts
Showing posts with label Mito. Show all posts

Monday, March 18, 2024

Understanding Evolution, Symbolism, and Cultural Richness in Bicolano Mythology

The Importance of Bicolano Myths: Why Stories Matter and How They Change








Stories and myths are like special treasures passed down through generations in Bicolano culture. They're not just entertaining tales—they're the heart and soul of who the Bicolano people are. These stories help Bicolanos feel connected to each other and understand where they come from.

Bicolano myths also teach important lessons about life and nature. They explain things like why the sun rises or why thunder rumbles. Through these stories, people find comfort in the mysteries of the world around them.

But these stories aren't set in stone—they change over time, just like people do. As Bicolano society evolves, so do the stories they tell. New experiences, ideas, and ways of thinking shape these tales, keeping them relevant and meaningful for each new generation.


It's also important to remember that Bicolano myths are more than just literal stories. They're full of symbols and hidden meanings that show the deeper truths about life. Looking beyond the surface of these stories helps us see the bigger picture and understand what they're really trying to say.

By appreciating the richness of Bicolano myths and understanding how they change over time, we can learn valuable lessons about our shared heritage and the world we live in. These stories remind us of the beauty and complexity of life, and they connect us to the past while guiding us into the future.


Sunday, October 3, 2021

Kalapitnan - god of bats





Kalapitnan



Kalapitnan Deity of Bats

Kalapitnan is the deity of bats in Bikolano mythology, he is a lesser neautral divine spirit, neither good nor evil. Depicted as a young lean man with large bat wings. People of Ibalong used to venerate bats,  bats were symbols of happiness and joy, venerating them brings prosperity in life.

 Sometimes appearing as a huge humanoid bat or a swarm of bats. In some stories it is said that Kalapitnan used to have pure white feathered wings, but out of childish mischief he stole the divine shell that Languiton gifted to Tubigan. As punishment Languiton flicked him with his finger, in doing so all of Kalapitnan's feathers fell off and in its place bat wings spurted out.

Diwata (Diyos) ng mga Paniki

before Spanish destruction of Culture all over the Philippines, People of Ibalong used to venerate bats,  bats in Ibalong (Animism and Hindu-buddist) were symbols of happiness and joy, venerating them brings prosperity in life. Venerated as deity of prosperity and joy.



The Many Faces of Kalapitnan:


Kalapitnan is a deity known for his ability to take on various forms, each reflecting the essence of bats in different ways. One manifestation portrays him as a lean young man with expansive bat wings, symbolizing agility and nocturnal prowess. Another depiction transforms him into a colossal, monstrous creature reminiscent of a bat, standing bipedal as a testament to his divine power and imposing presence. Kalapitnan's versatility extends to a swarm of bats, highlighting his connection to these creatures and emphasizing the collective nature of their existence.


As the god of bats, Kalapitnan navigates seamlessly between these forms, embodying the diversity and adaptability of his winged subjects. The shapeshifting nature of Kalapitnan introduces an element of unpredictability, mirroring the elusive behavior of bats and reinforcing his status as a deity beyond easy comprehension.


Neutrality in the Divine Struggle:


Unlike the major deities Gugurang and Asuang, who embody opposing forces of good and evil, Kalapitnan assumes a neutral stance in the cosmic struggle. This neutrality distinguishes him as a god who transcends the binary conflicts of the divine realm, allowing him to traverse the boundaries between light and darkness without allegiance.


Kalapitnan's neutrality raises questions about the nature of morality and the intricate balance required for the cosmos to function harmoniously. As a neutral deity, he neither aligns with the benevolence of Gugurang nor the malevolence of Asuang, prompting contemplation on the nuanced and complex nature of divinity within the Ibalong mythos.


The Symbolic Significance of Bats:


Bats, under the purview of Kalapitnan, carry symbolic weight in Ibalong mythology. Like many of the old gods Kalapitnan was assosicated with symbols of happiness and joy, wealth and prosperity bat was considered a guide and guardian remiscent of  Hindu mythology.Traditionally associated with the night, mystery, and the supernatural, bats become emissaries of Kalapitnan's divine influence. The various forms he takes underscore the adaptability and resilience attributed to bats, emphasizing their role as guardians of the night and facilitators of unseen connections between the mortal and divine realms


Bats in Hinduism (India)


Bats are also revered throughout India. In Madurai, worshippers of the Muni god regard Indian Flying Fox Pteropus medius, formerly Pteropus giganteus, as sacred and protect colonies for fear of heavy punishment. However, after offering prayers.


Fatelessness of Sinogo (Bisaya)

One of the stories concerning Kalapitnan takes a very similar story to the story of Sinogo, Visayan tale about the Winged Emmisary of the Visayan sky god stealing a magic shell or conch. 


Kalapitnan in modernday Philippines

Kalapitnan is unknownalmost  unheard off aside from the stories told by grandparents in Bicol not to harm animals, specifically bats or you will get sick or unseen entities might relatiate.


Bats bats bats... Kalapitnan, the god of bats in Ibalong mythology, is a captivating figure embodying the mystique and adaptability of these nocturnal creatures and symbolizing joy and prosperity in Ibalong. His shapeshifting nature and neutrality in the cosmic struggle elevate him to a position of intrigue, prompting reflection on the complexities of divinity and the interconnectedness of the natural world. In the grand tapestry of Ibalong, Kalapitnan stands as a symbol of the enigmatic forces that shape both the seen and unseen aspects of existence, fostering a deeper understanding of the delicate balance maintained by the lesser gods in this rich mythological tradition.


Kalapitnan



REMINDER

The orally transmitted mythology of the Philippines is intended for sharing and understanding, not for appropriation, commercial exploitation, or the promotion of foreigners and foreign products. It is a dynamic narrative tradition that evolves over time, distinct from the standardized mythologies found in Western and European cultures. Unlike these established mythologies, the Philippine government has not mandated standardized versions of stories and legends.

Orally transmitted stories undergo variations and evolve over time, resulting in numerous different versions. There are many different version told by Filipinos,and retold by Filipinos.


Saturday, November 9, 2019

Kwento galing sa Ibalong ( Ang Puso ng Dalaga)

Kwentong Bayan mula sa Bicol

Salin ni Bb. Lilia F. Realubit


Isa sa mga lumang kwento na pasa pasa sapamamagitan ng bukang bibig ang kwentong ito.
Noong unang panahong wala pa ang mundo at isa lamang ang planeta – ang buwan.  Sa planetang ito dalawang lahi ng tao ang nakatira, ang taong puti at ang taong itim.  Ang mga puti ang Panginoon at iyong mga itim ang utusan.  Ang mga puti ay magaganda: maputi ang kulay ng balat at ang buhok ay kulay ginto. Nakatira sila sa lunsod.  Ang mga utusan ay sa kuweba ng kagubatan nakatira.  Sila’y maliliit at maiitim na tao.  Sila ang tagapag-alaga ng maganda at malaking hardin.  May iba-ibang mababangong bulaklak at masasarap na bungangkahoy sa halamanan.




Ang mga taga-buwan ay may kaugalian na bigyan ng salu-salo ang mga dalaga.  Taon-taon, pagdating ng mga dalaga sa edad na labingwalong taon, tinatawag at iniipon sila roon sa hardin.  Ito’y kung kabilugan ng buwan sa Mayo.  Sila ay tumutugtog, kumakanta, sumasayaw hanggang sa umumaga.  Ang buong bayan ay masaya.  Isang araw na hindi inaasahan, lumindol nang malakas sa buwan.  Nabiyak ang planeta at ang hardin ay nawala.  Ang mga utusan ay nakasama sa kalahating nabiyak.  Sa tagal ng panahon, nalaman ng mga matatalinong tao sa buwan na ang iyong kabiyak ng planeta ay lulutang-lutang sa ibang lugar.  Tinawag nila ito ng lupa – na ang ibig sabihin, Kabiyak ng buwan.  Hindi nagtagal, naisip ng mga taga-buwan na dalawin  ang lupa.  Nakita nila na iyong magandang hardin ay naroon sa lupa at mabuti ang kalagayan.  Madali itong puntahan kung iibigin.  Kaya sila’y nagbalak na dumalaw sa lupa sa pagbibilog ng buwan.


Pagdating ng Mayo nagsipunta ang mga dalaga sa lupa.  Itinaon nila sa pista ng Mayo.  Pagkatapos na magawa ang dating kaugalian bumalik sila sa buwan na walang anumang masamang nangyari.  Mula noon sila ay dumadalaw sa lupa taun-taon pagbibilog ng buwan sa gabi.  Hindi nila alam na may mga buhay na tao sa lupa, na kalahati ng kanilang buwan.

Nakikita ng mga tao sa gubat ang pagdalaw ng mga taga-buwan.  Malaking pagtataka para sa kanila iyong mga kasayahan ng taga-buwan.  Sabi ng isang matandang taga-gubat:  Taun-taon pagbilog ng buwan kung Mayo nagsisipunta rito sa lupa ang mga engkanto.  Naisipan ng mga binatang taga-lupa na abangan ang pagbabalik na muli ng mga engkanto.





Dumating ang Mayo.  Handa ang mga taga-lupa sa pagbibilog ng buwan, hapon pa lamang, nagsipunta sila sa gubat at nakita nila sa malawak na kapatagan ang pagbasa ng mga taga-buwan.

Ang mga taga-buwan ay handa rin sa pagpunta sa lupa.  Nang sumikat ang buwan, ito’y parang gintong bola.  Nang malapit nang bumaba sa lupa ang mga taga-buwan, umugong ang hangin.  Parang sila na iyan, sabi ng isang nagbabantay.  Mayamaya, narinig ang tugtog ng musika at mga tining ng kumakanta.  Ayan na, sabi nila.  Pagdating nila sa langit nakita nilang lumilipad sa harap ng hardin ang mga dalaga na kasimputi ng gatas ang mga damit at nakalugay ang buhok na parang gintong sinulid.

Tuloy ang tugtog ng musika habang dahan-dahang naglilibot pababa ang mga dalaga. Isa-isa silang bumaba sa lupa at pinaligiran ang isang puno na nasa gitna ng hardin.  Nang nasa lupa na ang lahat ng dalaga, sila ay sumayaw at kumanta sa paligid ng punong kahoy.  Ang musikang galing sa langit ay hindi humihinto.

Tumigil sila sa pagsasayaw at isa-isang lumapit sa punongkahoy.  Mayroon silang kinuha sa dibdib at ito’y isinabit sa mga sanga ng kahoy.  Pagkatapos nito, itinuloy nila ang sayaw.  Mahuhusay silang kumilos na parang mga puting alapaap na lumilipad sa ibabaw ng sodang alpombra.  Mag-umaga na, huminto sila at pumunta sa sapa na ang tubig ay parang pilak at doon sila naligo.  Samantala ang mga taga-gubat naman ay tumakbo palapit sa kahoy at kinuha ang isinabit doon ng mga dalaga at nagtago silang muli.

Pag-ahon ng mga dalaga sa sapa, sila ay masasaya.  Ngunit nang kukunin na nila iyon mga isinabit nila sa puno hindi na nila ito makita.  Hinanap nila sa paligid pero wala rin.

Ninakaw! Ninakaw! ang kanilang sigaw.  Mamamatay tayo dahil wala ang mga puso natin.  Ang kanilang iyak at ang mga panambitan ay narinig ng mga nagnakaw.  Isauli natin, sinabi noon mga naawa.  Kawawa naman, sabi ng isa.  Kailangan pabayaran natin, pahayag ng iba.  Lumapit ang isang binata sa mga baba at nagtanong.  Ano ang nangyari sa inyo?  Ninakaw ang aming puso na iniwan naming sa punong itong, ang sagot ng isang babae.  Ano? Puso ninyo, iniwan ninyo sa puno? ang tanong ng lalaki.  Oo, dahil kung kami ay naglalakbay sa malayong lugar, inilalabas naming ang puso upang hindi naming makalimutan ang oras.  Mga duwende ang kumuha ng puso ninyo, tugon ng lalaki.  Maawa kayo sa amin.  Tulungan ninyo kami, ang pagmamakaawa ng mga babae.

Hintay kayo. . . hahanapin ko ang mga duwende. . . . babalik ako kaagad, sabi ng lalaki.

Nag-usap-usap ang mga taga-kuweba.  Sabi nila:  Kung ang mga babae ay papayag na tumira sa lupa ng isang taon, ibibigay natin ang mga kinuha natin.  May mga sumang-ayon:  Mabuting kaisipan iyan, ang sabi naman ng iba.

Bumalik ang lalaki sa kinaroroonan ng mga babae.  Naroon sa mga duwende ang mga puso ninyo.  Kaya lang, isasauli daw nila sa inyo kung kayo ay payag na tumira dito sa amin sa loob ng isang taon.  Mabuti pa ang mamatay kaysa tumirang buhay dito, sabi ng isang babae.  Dapat sumang-ayon tayo sa kanilang hinihingi,  tugon ng isa, ito ang ating kapalaran.  Ang isang taon ay katapusan.

Lumabas ang mga lalaki na dala ang mga kinuha nilang mga puso.  Isa-isang ibinalik nila ito sa mga babae, at bawat isang babae naman ay natutwang kinuha ang kanilang puso at ipinasok sa kanilang dibdib.

Masaya ang mga taga-Lupa dahil ang bawat isa sa kanila ay may makakasamang isang dalaga.  Dinala nila ang mga babae sa kuweba ngunit nagreklamo ang mga ito.  Mamamatay kami kapag tumira dito sa kuweba.  Kaya sa mga bahay sila nanirahan, masaya ang buhay nila.  Dumaan ang mga araw.  Mabilis ang takbo ng panahon; dumating at lumipas ang mga buwan.  Hindi maglalaon at darating na ang buwan ng Mayo, sabi ng mga babae sa mga lalaki.  Pagdating ng Mayo, sa pagbibilog ng buwan, dadalawin natin ang punong sinabitan naming ng mga puso naming noong isang taon.  Pumayag ang mga lalaki bilang alaala ng mapalad na taon nila.  Noong gabing iyon nang magbilog ang buwan, nagsama-sama sila sa pagdalaw sa puno. Nang sila’y papalapit na sa punong kahoy nakita ng mga lalaki ang mga gintong bungang nakasabit sa mga sanga. Ano iyan? ang tanong ng mga lalaki.  Iyan ang mga bungang kahoy sa buwan, sagot ng mga babae.

Tinalupan nilosong bunga at pinatikman sa mga lalaki.  Matamis! Masarap! sabi ng mga lalaki.

Habang sinisipsip ng mga lalaki ang tamis ng mangga, isang malakas na ragasa ng hangin ang kanilang narining.  Nang itaas ang kanilang mga mata, wala na ang mga babae.

Dinakot sila ng hangin at nawalan parang usok.  Ang buto ng mangga ang naiwan sa kanila – alaala ng mga dalaga.


Sunday, November 27, 2016

BAKUNAWA




BAKUNAWA
the god of the deep and cause of the eclipse


Bakunawa was a beautiful diwata a goddess in the sea in Bicol mythology, other stories say she was a naga (water spirit or eel-snake mermaid) or Irago, and was the most powerful of them all. Popularly known in Bicol and Philippines as the enemy of Haliya. Bakunawa was a deity worshipped by the Bicolanos but was considered a demon by the Visayans and by the Tagalog people. The Bakunawa is one of the most prominent mythological creatures in the whole archipelago.
In Bicolano mythology  Bakunawa was a naga born in the depths of the sea, she was born with a turtle as her twin (Daruwanak) as time passed Bakunawa became more beautiful and powerful. She and the other Naga guarded the rift in the ocean floor that leads to the underworld. They keep beings from going in or out of the passage. Bakunawa ascended and transformed into a goddess, while her twin Daruwanak became big as an island.  



Diwata Bakunawa





BAKUNAWA 

The Bakunawa, a giant sea serpent eel-like creature from Philippine folklore, is thought to be responsible for natural phenomena like eclipses, earthquakes, rain, and wind. Ancient Filipinos used its movements as a calendar and incorporated it into the rituals of their priestesses, the babaylans. Usually depicted with a coiled tail and a horn on its nose, the Bakunawa was believed to dwell in the sea but also had associations with the sky or the underworld. Over time, through increased trade and cultural exchange with South Asia, it became intertwined with Hindu-Buddhist figures like the Nāga, Rahu, and Ketu. There so many different versions of the Bakunawa story each unique yet familiar, There is no one correct version of the Bakunawa myth.

Art by Antonio J. Manzanedo



The lack of a standardized version of the Bakunawa mythology is because of the diversity and adaptability of Philippine folklore. Different regions and ethnic groups may have their own interpretations of the Bakunawa myth, incorporating local beliefs, customs, and perspectives into the narrative. This diversity is a testament to the rich tapestry of Philippine culture and the influence of various indigenous beliefs and practices.


The variation in the Bakunawa mythology in Philippine culture and the dynamic and evolving nature of oral Philippine mythology itself. Unlike Western mythology, which often has standardized and widely accepted versions of stories, Philippine mythology is fluid and living. This means that the stories and beliefs can vary across regions, communities, and generations.


 Philippine mythology is not fixed or stagnant; it continues to evolve as it is passed down through oral traditions, adapting to the cultural context of different communities. This dynamic nature allows for a multiplicity of narratives and interpretations, contributing to the vibrant and ever-changing landscape of Philippine folklore.

Bakunawa




Bakunawa in Bicol Myths 


The Bacunawa in the sky determines the seasons. If the Bacunawa is facing east it tells tge people that it is the season for planting crops. No one dares to build houses when the Bacunawa is facing west. The Bacunawa tries to swallow the Moon (Bulan), he is the luminous deity keeping the monsters at bay, Many monsters raid the earth when the moon disappears.Thus many people go out on Moonlit nights to perform Halya, making different sounds in order for the Bacunawa release the Moon. 

In Bicolano myths, the Bakunawa was a goddess punished for her arrogance and greed for coveting the moon or  moons. She was punished to lose her beauty and forever remain into a giant eel dragon-like being that guards the gates to the underworld. She coveted the god of the moon Bulan. stories tell that Bulan was so comely that even vicious mermaids would turn docile in his presence. Bakunawa who fell in love with the lunar god but was neglected. She swore to claim Bulan from the sky. thus making Haliya (Bulan´s sister and protector) her enemy.

 
Bulan Bicolano moon god who was coveted by Bakunawa


Bakunawa and Haliya in Bicol mythology

According to Bicolano myths, Bakunawa was punished for her arrogance and greed for desiring the moon or moon or moons (depending on the story). She lost her beauty and transformed into a giant fish seaserpent being guarding the underworld gates. Bakunawa fell in love with Bulan, the god of the moon, but he neglected her. In her pursuit to claim Bulan from the sky, she made an enemy out of Haliya, the moon god's sister and protector.







Bakunawa and the seven moons (northern Bicol )



Long ago there were seven moons in the sky. Each of the moons embodies a lunar deity. One night Bakunawa saw the beauty of the moons. Captivated by their beauty he wanted to possess them so the Bakunawa rose from his domain and flew to devour the moons. Inordinately proud of his feat, he slunk back down to his watery domain. Unfortunately, he soon realized the moon inside him was melting away like candle wax. He wants to take a moon that would last; Bakunawa rose into the sky the next night and swallowed another moon. But this one too melted away. Night after night he took another moon from the sky, and each time it melted away inside him  The creator of all saw what had happened was furious. Rather than kill  Bakunawa, he punished him to remain in the beast for all eternity and commanded him not to devour the last moon." Every now and then Bacunawa tries, yes he tries to eat the last moon, and that is why it turns red. But the people on earth raise a loud clamour of clanging and clashing metal, screaming and wailing, all to startle him into spitting the moon out. Others take the gentler approach, playing music to put him into a deep sleep so that the moon will roll out of his mouth




Bakunawa and the Seven Moons (southern Bicol)

Long ago god created the seven moons to give light and beauty to the night sky, each moon had a deity as an embodiment. (Libulan,Haliya,Subang,Banolor,Banilig,Bulan,Mayari)
One night she saw the seven moon and was captivated by their beauty and longed to possess them. One of the embodiments of the moon descended to the sea to swim with the mermaids, it was Bulan - the adolescent aspect of the moon. Bulan was so comely with his long dark hair and his eyes darker than midnight, and his luminous fair skin that the vicious magindara became tame upon seeing his radiant beauty. the boy moon did not notice Bakunawa, thinking the boy had ignored her beauty to play with the mermaids enraged her. The following night she transformed herself into a dragon so she could devour the moons. Her dragon form was sea serpent with a mouth the size of a lake, a red tongue, whiskers, gills, small wires at its sides, and two sets of wings, one is large and ash-gray while the other is small and is found further down its body.


THE SEVEN MOONS IN REALITY

the seven Moons were decoded by Scientist which tells that of lunar phases,Waxing,First Quarter,Waxxing Gibbous,Full Moon,Wanning Gibbous,Third Quarter, and Wanning Crescent

The new moon, referred to as "subang,"  The moon looks like a crab shell. They used the term ''banilig'' "balirig" to describe this phase.The full moon, or the moon in general is known as '' bulan'' or  "dayaw," was celebrated for its perfect and praiseworthy brilliance from sunset to sunrise. As it began to wane, setting just before dawn, it was called "banolor," symbolizing a transition or exchange, akin to a passing of the torch from one generation to the next.

Bacunawa in Sorsogon folklore

Bacunawa and Bulan

according to folklore long ago there were seven moons in the sky, each one more beautiful than the last, and they brought peace and light to the world. Bacunawa, a giant serpent-dragon living deep in the ocean, fell in love with Bulan, the god of the moon. Her love turned into obsession, and she decided to steal the moons to keep them with her in the sea.

One night, Bacunawa rose from the ocean and began swallowing the moons. Bulan tried to stop her, but she was consumed by her longing. Gugurang, the Supreme God, intervened, using his fiery power to stop Bacunawa from devouring all the moons. Though she managed to swallow three moons, the remaining four were saved.

Banished to the ocean depths, Bacunawa’s hunger remained. Every now and then, she tries to rise and steal the moons again, but people bang their gongs to drive her away, knowing Gugurang is always watching to protect the skies.



Halya to Haliya the arc nemesis of Bacunawa

Haliya the masked goddess of Moonlight


Haliya: The Moonlight Goddess in Philippine Animism

Haliya is the goddess of moonlight in Bicolano and Luzon mythology, known as a masked protector who defends the lunar god Bulan from the serpent Bakunawa. In some stories, she is his daughter or twin.

Haliya is closely linked to the lunar god Bulan, sometimes described as his defender, daughter, or twin, depending on different oral traditions. She is known for protecting Bulan from Bakunawa, the serpent-like creature that seeks to devour the moon.
The Halya ritual, originally a full moon celebration, evolved into a sacred practice to summon Haliya’s protection. During the Halia ritual, people would gather and make loud noises to scare away Bakunawa and ward off evil spirits. Over time, Haliya became a symbol of strength, resilience, and divine protection in Philippine animism.


Haliya the masked goddess of Moonlight

The ancient ritual of Halya, once a simple celebration of the full moon, gradually transformed over time into a mythical summoning of the goddess of the Moon, known as Haliya. As stories and myths evolve through generations, the Halya ritual took on deeper spiritual significance, incorporating elements of divine intervention and protection. As the ritual evolved, so too did the mythology surrounding it. Over time, the people began to personify the protective forces of the moon, giving rise to the concept of Haliya, the goddess of the Moon. Haliya became a symbol of strength and defense, defending the male lunar deity Bulan from the threat of the Bacunawa



"Halia" was a ritual performed during the full moon. Tribespeople would exit their homes, gather in the streets, and create a cacophony of noise to deter the serpent Bakunawa from devouring the moon. The ceremony also aimed to dispel malevolent spirits.




Summoning the Masked Moon goddess in myths to battle the Bacunawa

The ancient ritual of Halya, once a simple celebration of the full moon, gradually transformed over time into a mythical summoning of the goddess of the Moon, known as Haliya. As stories and myths evolve through generations, the Halya ritual took on deeper spiritual significance, incorporating elements of divine intervention and protection. Haliya is the personifacation of Halya ritual and the fabled masked goddess of the Moonlight 

Bulan and Haliya 



Originally, the festival of Halya was marked by extravagant festivities, characterized by the thunderous noise of drums, tambourines, and hollowed-out logs. The purpose of the celebration was to honor the full moon and ward off the threat of the Baconaná (Bakunawa), a feared creature believed to devour the moon, plunging the world into darkness. The disappearance of the moon during eclipses reinforced this belief, as the people interpreted it as evidence of the Baconaná's influence.

As the ritual evolved, so too did the mythology surrounding it. Over time, the people began to personify the protective forces of the moon, giving rise to the concept of Haliya, the goddess of the Moon. Haliya became a symbol of strength and defense, defending the male lunar deity Bulan from the threat of the Bacunawa

 participants in the Halya ritual not only celebrated the beauty of the full moon but also invoked the protective powers of Haliya to safeguard their world from darkness and disaster. The ritual took on a deeper spiritual significance, as participants believed they were actively engaging with divine forces to ensure the prosperity and well-being of their community.

The culmination of the ritual was marked by feasting and revelry, as participants indulged in tuba and enjoyed the bounty of the land. However, underlying the festivities was a sense of reverence and awe for the mythical beings they invoked and the cosmic forces they sought to appease.

Thus, the ancient ritual of Halya transformed into a mythical summoning of Haliya, the goddess of the Moon, as the people's beliefs and traditions evolved over time.




Laho the moon eater  in Tagalog mythology

Laho is a mythical serpent, similar to the Bakunawa in the Bisayas and in Bikol, known as a Naga God that is believed to cause solar and lunar eclipses by devouring the sun and moon. To ward off Laho and free the celestial bodies, people would create loud sounds by playing music, banging pots, and using gongs.

An account from 1731 by Tomas Ortiz mentions an eclipse in Pagsanjan, Laguna province, where the locals played the kulingtang, a musical instrument, to scare away the serpent deity. The belief in Laho is thought to have been introduced to the Tagalog through the Hindu god Rahu, who, like Laho, is a serpent deity causing eclipses by consuming the sun or moon as revenge towards Vishnu.






Bakunawa in Tagalog  Myths


Similar to all stories in the archipelago the Tagalog people believed in the seven moons created by Bathala (Supreme deity) and the Bakunawa captivated by the moons tried to devour them, when the gigantic fish-serpent was about to devour the last moon Bathala intervened and punished the Bakunawa banishing it back to the depths of the ocean

Bakunawa in NCR myths

In these seven moons, a colossal sea serpent named Bakunawa becomes enchanted by their beauty and attempts to devour them. However, each moon he swallows melts away, angering the creator Bathala. As punishment, Bakunawa is condemned to remain a beast and forbidden from devouring the last moon. Legend has it that he occasionally tries to eat the final moon, turning it red, but people on Earth unite to startle him or lull him to sleep with music to prevent this calamity. The story is a timeless tale of celestial wonders, forbidden desires, and the harmonious efforts of humanity





Bakunawa in modern day stories popular in  Southern luzon

Once upon a time, in a world with seven enchanting moons, each ruled by a celestial deity, there lived a colossal sea serpent named Bakunawa. This serpent resided in the depths of the ocean, hidden away from the wonders of the night sky.

One fateful night, Bakunawa gazed upon the moons, captivated by their celestial beauty. Overwhelmed by desire, he yearned to possess these radiant orbs. Rising from his watery abode, Bakunawa soared into the sky, determined to devour the moons and make them his own. With great pride, he returned to the ocean depths, believing he had accomplished a mighty feat.

To his dismay, Bakunawa soon discovered that the moons within him were fading away like melting candle wax. Undeterred, he yearned for a moon that would endure. Night after night, he ascended to the heavens, swallowing one moon after another. However, each time, the moon melted away inside him, leaving him with empty longing.

Bathala, the supreme creator of all, witnessed Bakunawa's reckless actions and was filled with fury. Instead of ending the serpent's life, Bathala decreed a punishment that would last for eternity. Bakunawa was condemned to remain a beast and forbidden from devouring the last remaining moon.

Legend has it that Bakunawa, bound by Bathala's command, occasionally succumbs to the temptation of swallowing the final moon. This forbidden act turns the moon a fiery red. In response, the people on Earth unite in a cacophony of clanging metal, screams, and wails to startle the serpent into spitting out the moon. Others opt for a gentler approach, lulling Bakunawa into a deep sleep with soothing music, hoping the moon will roll out of his mouth peacefully. And so, the celestial dance between the heavens and the earth continues, a timeless tale of moons, serpents, and the harmonious efforts of humanity.




Bakunawa in Visayan Myths

In Visayan myths, the bacunawa is a monstrous eel dragon-like serpent from the sea that causes eclipse and misfortune.  Bakunawa who coveted the moons is also a symbol of fortitude and strength and of strong will. For Bakunawa defied everything to posses the moons.


words for the seven and more phases of the Moon in Visayas 

Here's the moon's phases in Old Waray/Bisaya from 1617, according to Padre Matheo Sanchez and summarized by historian William Henry Scott:

  • Day after new moon: The moon is just starting to appear. They called this "subang" or "kilat-kilat," which means it looks like a little lightning flash.

  • 1-2 nights after subang: The moon is getting bigger. They used words like "gimata" or "ungut," comparing it to a baby opening its eyes or closing its mouth.

  • 3 nights after subang: The moon is higher in the sky. They called this "hitaas na ang subang."

  • 4-5 nights after subang: The moon looks like a crab shell. They used the term ''banilig'' or"balirig" to describe this phase.

  • 1st quarter half-moon: The moon is directly overhead. They called it "udtu na ang bulan."

  • Waxing: The moon is getting bigger. They used the word "lakad" to describe this phase.

  • Between half and full: The moon looks lopsided, like a crab shell. They might say it's "na" or "maalimangu na."

  • Full moon: The moon is completely round and bright. They used terms like "takdul," "paghipunu," "ugsar/ugsad," or "dayaw" to describe it.

  • Waning, 1-2 nights after full moon: The moon starts to get smaller again. They called this phase "banolor/banulur/banulud."

  • 5-6 nights after full moon: The moon continues to shrink. This phase is called "parik."

  • 3rd quarter half moon: The moon has passed another milestone. They called it "katin."

  • Day 24-25 of the month: The moon is preparing for a new cycle. They called this "lakad na ang magsag-uli."

  • Day 29 of the month: The moon disappears completely. They called this "malasumbang," or the dark of the moon.







Bakunawa in Cebuano mythology

Cebuano mythology features the Bakunawa, a eel-dragon-like creature responsible for eclipses. The supreme god, Kaptan, created seven moons, but the Bakunawa, fascinated by their beauty, would rise from the ocean to swallow them whole. This angered Bathala, leading to a rivalry between the two.

To prevent the Bakunawa from consuming the moons completely, ancient Filipinos engaged in practices such as banging pots and pans or playing music to disturb or hypnotize the dragon. Some stories involve attempts by courageous villagers to slay the Bakunawa while it was entranced. Despite its reputation as a "moon eater," the Bakunawa was also feared as a "man eater."

Bakunawa in Panay mythology



The Bakunawa and Seven Moons tale is a captivating part of West Visayan mythology, originating from Panay. In ancient times, Bathala, the supreme deity, created seven moons to brighten each night. The joy was short-lived when Bakunawa, a fearsome serpent-like creature, envied the moons' beauty and devoured six of them, leaving only one.

To protect the remaining moon, Bathala planted bamboos on it, resembling "stains" from afar. Desperate at the loss, people guarded the last moon, creating loud noises during Bakunawa's attacks, pleading for its return.

Responding to the outcry, Bakunawa eventually spat out the moon. Overjoyed, people thanked Bathala for preserving it. Belief in Bakunawa endured, with communities practicing loud noises during eclipses, echoing the ancient plea: "Return our Moon."

This myth reflects the cultural importance of celestial events, showing people's efforts to safeguard what they cherish. Damiana Eugenio's version adds to West Visayan mythology's understanding in "Philippine Folk Literature: The Myths."


Bakunawa in Western Visayas


In the Western Visayas region of the Philippines the fundamental principles of  naga, or bakunawa, rotation is almost exactly the same as those found in Upper  Burma, Thailand, and Cambodia. The term bakunawa was first defined in Fr. Alonso  de Mentrida's monumental 1637 dictionary, Bocabulario de la Lengua Bisaia-Hilig
veyna, as: "Bacunaua. y understand that there was a serpent which swallowed
 the moon; the darkness in which the earth is covered during eclipses: and thus . . .
 binacunauahan ang bulan, there is an eclipse" (de Mentrida & Martin 1841-1842: 38).

In 1885 dictionary of the Cebuano language, spoken in the central Visayas,
 defined the bakunawa as simply "an eclipse of the sun and moon. " Significantly, Fr.
 John Kaufmann's 1935 Visayan-English Dictionary gave it as "a fabulous large snake
 or dragon believed to devour the moon at the time of an eclipse; eclipse of the sun or
 moon" (de la Encarnacion 1885: 25; Kaufmann 1935: 81).  nearly verbatim
 similarity of definitions by Kaufmann and de Mentrida, with 300 years separating their
 service as Catholic missionaries in the same mountain areas of southern Panay Island, is
 but one indication of continuity in such beliefs. While the words for naga in Cambodia
 (nak) and Thailand (naag) are closely derived from the original Sanskrit term, the
 Visayan bakunawa is based on the word sawa meaning python (bakun-sawa, "bent
 snake") found in Tagalog, Cebuano, and Malay languages and probably derived from
  Sanskrit (Francisco 1964: 12-13)


Why so many Different versions of Bakunawa?
Why so many versions of Bakunawa and the seven moons?


The existence of multiple versions of the Bakunawa story in the Philippines can be attributed to several factors:

Linguistic Diversity: The Philippines is home to a vast array of languages and dialects, with over 170 languages spoken across the archipelago. Different regions may have their own languages, and as stories are transmitted orally, they adapt to the linguistic nuances of each community. This linguistic diversity contributes to the creation of various versions of the Bakunawa story.

  1. Oral Tradition: Many traditional Filipino myths and legends have been passed down through generations orally. With each retelling, details may be altered or emphasized differently based on the storyteller's interpretation or the audience's preferences. This oral tradition allows for flexibility and variation in the narrative.

Evolution Over Time: Myths are dynamic and can evolve over time as societies change. The Bakunawa story may have undergone modifications to reflect contemporary concerns, values, or understandings of the world.

  1. Regional Diversity: The Philippines is an archipelago with diverse cultures and languages. Different regions and ethnic groups may have their own variations of the Bakunawa story, influenced by local beliefs, customs, and perspectives. As stories are transmitted across communities, they adapt to the cultural context of each region.


  2. Cultural Influences: Over the centuries, the Philippines has been influenced by various cultures, including Malay, Chinese, Spanish, and indigenous cultures. These diverse influences may have led to the incorporation of different elements into the Bakunawa myth, resulting in variations depending on the cultural context.


  3. Individual Storytellers: Storytellers often play a crucial role in shaping and retelling myths. Each storyteller may add their own flair, interpretation, or personal experiences to the narrative, leading to variations in the story's details, themes, or messages.


  4. Adaptations and Reworkings: Scholars, writers, and researchers may adapt or rework traditional myths for different purposes, such as academic studies, literature, or cultural preservation. This can lead to the creation of new versions or interpretations of the Bakunawa story.



Overall, the richness and diversity of the Bakunawa story in the Philippines are a testament to the country's cultural diversity, oral storytelling traditions, and the dynamic nature of folklore as it is transmitted through generations.


 the Philippine government has not mandated standardized or ''copy paste '' versions of stories and legends. Living mythology of the Philippines continuously  to be passed down to this day 


















Reminder

Avoiding Foreign Manipulation: Weaponizing myths and stories and using them as an excuse to attack, harass and even stalk storytellers or communities risks distorting their purpose. Myths are meant to unify, educate, or entertain, not to create division or hostility among Filipinos.




Filipino mythology belongs to everyone—Filipinos, Filipinix, and even foreigners. These stories are meant to unite, inspire hope, and empower. They are for all, ever-evolving yet forever a cultural treasure.

Both oral and written mythology in the Philippines are valid because they serve different but equally important roles in preserving Filipino heritage. What is truly harmful is when foreigners manipulate these discussions for personal gain, attempting to invalidate one aspect of Filipino mythology to cause division. Instead of falling for such tactics, Filipinos should embrace the richness and diversity of their own stories, ensuring that both oral and written traditions continue to thrive.

Orally transmitted stories undergo variations and evolve over time, resulting in numerous different versions. There are many different version told by Filipinos, and retold by Filipinos.

The orally transmitted mythology of the Philippines is intended for sharing and understanding. It is a dynamic narrative tradition that evolves over time, distinct from the standardized mythologies found in Western and European cultures. Unlike these established mythologies, the Philippine government has not mandated standardized versions of stories and legends.

Orally transmitted stories undergo variations and evolve over time, resulting in numerous different versions. There are many different version told by Filipinos, and retold by Filipinos.