REDISCOVER THE SARIMAW OF BICOL MYTHOLOGY

 The Sarimaw is a fierce and mythical creature in Bicolano folklore. It is often described as a mix between a tiger or lion and a boar, with a powerful and intimidating appearance, including horns or tusks. The Sarimaw is known for its strength and its role as an avenging monster.

Sarimao

the Sarimaw is a key figure in Bicolano mythology with many different versions due to the nature of oral storytelling, regional differences, symbolic flexibility, and changing contexts.

Sarimaw

In Bicolano mythology, the Sarimaw stands as a formidable and fearsome creature central to the heroic epics of the region. The tales of Sarimaw are intertwined with the legendary hero Handiong and his efforts to transform and protect the land of Bikol from various menacing entities.

Description and Nature of the Sarimaw

It depends on which version you've read or heard but The Sarimaw is often depicted as a monstrous beast with a fearsome appearance, combining elements of both a tiger or lion and a boar. This hybrid creature possesses a lion's muscular build and a boar's rough, bristly hide, along with menacing horns that accentuate its terrifying presence. The Sarimaw’s physical form and its characteristics—such as its brutality and ferocity—reflect its role as an avenging monster in the mythology.

Physical Description

The Sarimaw is a composite beast, combining the formidable traits of both lions and boars. This hybrid appearance is integral to its mythological identity:

• Tiger or Lion-like Features: The Sarimaw’s body resembles that of a lion, suggesting strength, majesty, and terror. It likely possesses a muscular, powerful build and a mane, enhancing its fearsome presence.
• Boar-like Traits: The boar characteristics include a rough, bristly hide and tusks or horns that add to its menacing appearance. These features make the Sarimaw not only physically intimidating but also symbolically linked to untamed, wild forces.
• Horns: The horns are a distinctive feature, amplifying the beast’s dangerous nature. They could represent aggression and a predatory edge.
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  Sarimaw

Role in Bicol Mythology

The Sarimaw's role in the Ibalong Epic is that of a malevolent force that wreaks havoc upon the land and its people. These creatures are described as pursuing evildoers, particularly those who harbor hidden guilt and cannot be brought to justice through conventional means. The Sarimaw's pursuit of these individuals underscores its function as an instrument of divine retribution or a force that seeks to punish those who are beyond the reach of ordinary justice.

Role in Mythology

In Bicolano mythology, particularly in the Ibalong Epic, the Sarimaw plays a critical role as an antagonist:

• Avenging Monster: The Sarimaw is characterized as an avenging monster, targeting those who have committed sins or harbor hidden guilt. Its pursuit of evildoers highlights a cosmic or moral order where wrongdoers face inevitable retribution.
• Destructive Force: As a creature of destruction, the Sarimaw symbolizes chaos and disorder. Its actions threaten the harmony and safety of the land, making it a prime target for heroic intervention.

  

  Sarimao

Handiong's Heroic Feats

Handiong, a prominent hero in Bicolano mythology, undertakes a monumental task to rid the region of these menacing creatures, including the Sarimaw. His heroic endeavors are aimed at purging the land of destructive beings and restoring order. According to the legends, Handiong leads the warriors of Ibalong in a decisive battle against the Sarimaw. This confrontation culminates in the exile of the Sarimaw to Mount Kulasi, a location far from human settlements. The exile to Mount Kulasi signifies the removal of this threat from the land, symbolizing both physical and moral cleansing.

Handiong’s Heroic Struggle

Handiong, a legendary hero in Bicolano lore, is central to the Sarimaw’s narrative:

• Battle Against the Sarimaw: Handiong and his warriors are depicted as uniting to confront the Sarimaw. This collective effort reflects the community’s resilience and strength in the face of overwhelming danger.
• Exile to Mount Kulasi: After a fierce battle, Handiong succeeds in driving the Sarimaw away and exiling it to Mount Kulasi. This act of exile represents the restoration of order and safety to the land, symbolizing the triumph of good over evil.

Burial and Sealing of Other Creatures

In addition to dealing with the Sarimaw, Handiong’s quest also involves the burial and sealing of other dangerous entities, such as naga serpents and vicious magindara mermaids, in Hantik. These actions reflect a broader effort to rid the land of supernatural threats and to ensure the safety and well-being of the people.

Symbolism and Legacy

The Sarimaw, with its fearsome appearance and role as an avenging monster, embodies the themes of justice, retribution, and the battle between good and evil. The mythological narrative emphasizes the importance of heroes like Handiong who stand against malevolent forces to restore balance and harmony in their world. Lastly the fabled exile and sealing of these creatures.

Cultural Significance

The Sarimaw is more than just a mythological creature; it holds significant cultural value:

• Mythological Heritage: As a central figure in Bicolano mythology, the Sarimaw contributes to the rich tapestry of regional folklore. It is part of a larger tradition of epic tales that convey moral lessons and cultural values.
• Moral Lessons: The narrative of the Sarimaw serves as a moral tale about justice, accountability, and the consequences of one’s actions. It teaches that wrongdoing will ultimately be confronted and that heroes will rise to protect and restore order.

Reasons for Multiple Versions in Oral Mythology

1. Variability of Oral Tradition:

   • Oral traditions are inherently fluid and adaptable, allowing stories to evolve and change over time. As the Sarimaw is passed down through generations, different storytellers and communities may emphasize different aspects or modify elements to suit their own cultural contexts or moral lessons.
   • This fluidity results in variations in how the Sarimaw is described, its role in the mythological narrative, and the details of its interactions with other characters.

2. Regional Differences:

   • The Bicol region itself is culturally diverse, with various subgroups and communities each contributing their own interpretations and variations of the Sarimaw. These regional differences can lead to distinct portrayals of the creature, reflecting local values, beliefs, and experiences.
   • Different areas within the Bicol region may have unique stories or versions of the Sarimaw that align with their specific cultural and historical contexts.
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   Symbolic Flexibility:

   • The Sarimaw’s role as an avenging monster and its symbolic representation of justice and retribution can be adapted to address different moral or social issues. As such, the creature’s characteristics and actions may be altered to reflect contemporary concerns or to teach particular lessons.
   • This symbolic flexibility allows the Sarimaw to be portrayed in various ways, depending on the message or theme being conveyed in a particular version of the myth.

4. Integration with Other Mythological Elements:

   • The Sarimaw’s interactions with other mythological figures and creatures can also vary, leading to different versions of the story. For example, its encounters with Handiong and other heroes may differ in the details of the battle or the nature of its exile.
   • The integration of the Sarimaw with other elements of Bicolano mythology, such as naga serpents, mermaids, and other monsters, can influence how it is portrayed and the specific version of the myth.

5. Adaptation to Changing Contexts:

   • Over time, oral traditions adapt to reflect changing societal values and historical circumstances. As Bicolano communities encounter new influences and challenges, the stories of the Sarimaw may evolve to address these changes, resulting in different versions that resonate with contemporary audiences.
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Comparative Mythology

In comparing the Sarimaw to other mythological creatures:

• Similarities: The Sarimaw's hybrid nature and avenging role are reminiscent of other mythological beasts found in global folklore, such as the griffin (a lion-eagle hybrid) or various demon-like creatures in other cultures.
• Unique Aspects: Its specific role as a punisher of hidden guilt and its depiction as a mixture of Tiger/lion and boar with horns are distinctive to Bicolano mythology, reflecting unique cultural values and narrative styles.

the Sarimaw is a key figure in Bicolano mythology with many different versions due to the nature of oral storytelling, regional differences, symbolic flexibility, and changing contexts.

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.

Arapan, Nagined and Makbarubak

NAGINED ARAPAYAN AT MAGKABURAK

Naguined, Arapayan and Magkaburak

Arapan, Nagined and Makbarubak

Demons of Bicol mythology

To the people of Bicol they are foreign gods, they are demons brought from the sea by the tattooed ones. Arapan(also called Arapayan), Nagined and Makbarubak(Magkaburak) were brothers with skin golden from sun and the sea, their bodies and faces were covered with elaborate tattoos. They were perfect in manhood, in strength and maturity, and when they speak they speak as if they were one. The people of Bicol discovered their true form which was a three headed monster that causes harm and chaos.They are demons invoked when one wants to do harm.The Bicolano belived that the evil god Asuang embraced them as his ally, they they are invoked when one wants to cause chaos and destruction. 

Art by Sili King of Bicol

Visayan warriors
Karakoa or warship

Naguined, Arapayan and Magkaburak

Bicolano demons but Visayan gods

Nagined for the Visayans is the goddess of war and poisons but for the Bicolano she is a male war god. The Visayans view her as benevolent female goddess of war, while the Bicolanos view Nagined as a male evil god of war and poison

 NAGINED, MAGKABURAK, and ARAPAYAN 

 NAGINED, MAGKABURAK, and ARAPAYAN 

Naguined is the god of war and poison of the Visayans he is known to have two brothers who are also warriors,Arapayan(Arapan) and Magkaburak their skin blackened by countless tattoos and their teeth are said to be blackened, some say they have golden teeth like those of sharks. Naguined is prominently known to be a man but he choose to appear to men in the guise of a beautiful, some orally passed down stories tells of how Naguined chose to appear as a lovely maiden covered in tattoos to the Visayan warriors and thought them how to use poisons and herbs. There is also a story where Naguined and his brothers Arapayan and Magkaburak appear before the chambers of a Dayang (Noble woman) where they lay with her in lust and in knowledge, the Dayang conceived a child (Nagmalitong Yawa Sinagmaling Diwata), she and her husband Datu praised the gods.

Naguinden, Magkaburak, and Arapayan - Bikolano Demons

RABOT THE STRONGEST AND FINAL MOSTER OF IBALONG

Rabot, the ultimate monster of Ibalong, marked the culmination of monstrous entities dwelling in the region. This formidable creature embodied a hybrid nature, being half-human and half-beast. His imposing figure featured a muscular upper body reminiscent of a man, while his lower body resembled that of a water buffalo, and some compared it to a horse, akin to a tikbalang, albeit with a human face. Rabot possessed golden sharp teeth and a malevolent ability to turn unsuspecting victims into stone. His strength and swiftness rivaled the most ferocious beasts of the forest, and his resonant voice echoed like a thunderous roar. Additionally, massive bat wings adorned his frame, casting a shadow that seemed to engulf the moon when he soared through the night sky.

The legend surrounding Rabot traced back to a young commoner who inadvertently became the mother of this monstrous being. Engaged in her routine of collecting limpets by the beach, she encountered three initially monstrous men on a warship. As they approached, the sun unveiled their true, handsome forms radiating with manly allure and adorned in gold. The young woman succumbed to their enchanting presence, leading to an encounter on the beach under the morning sun. The aftermath left her with piles of gold but also with a swelling belly, revealing an unexpected pregnancy. The subsequent birth under the full moon unveiled a monstrously large newborn, prompting the horrified mother to contemplate infanticide. The intervention of the moon god persuaded her to show mercy, leading to the child being placed in a cave near the beach under the care of mermaids.

Named Rabot, the child grew into an immense, hulking figure with the mind of a child, regularly receiving visits from his mother who brought baskets of fruits. Tragedy struck when Rabot's mother perished during a deluge caused by the storm god Onos, leaving Rabot to discover the ruins of Ibalong, including his mother among the dead. Exploiting the situation, the god Asuang deceived Rabot into believing that villagers were responsible for his mother's death, triggering a rampage where he turned people into stone.

Despite the efforts of a thousand men, Rabot proved invincible. It was the ingenious hero Bantong who, patiently waiting for Rabot to fall asleep, delivered a fatal blow with a single stab. Curiously, Handyong, the revered hero, felt a sense of sorrow at Rabot's demise. This event marked the end of an era, symbolizing a shift wherein humans, with their free will, hunting skills, and mastery of magic and ceremonial incantations, surpassed monsters in their capacity for destruction.

Naguinden, Magkaburak, and Arapayan - Bikolano Demons

In Philippine folklore, the Bicol region stands as a repository of mythical tales and supernatural entities. Among these, the enigmatic triumvirate of Naguinden, Magkaburak, and Arapayan emerges as demons of profound significance, their origins intertwined with the sea and the mysterious tattooed figures that brought them ashore. These entities, initially perceived as foreign gods, gradually revealed their true nature, casting a shadow of chaos and malevolence across the Bicolano belief system.

 NAGINED, MAGKABURAK, and ARAPAYAN 

Cultural Differences and Territorial Disputes:

Cultural disparities and territorial disputes further intensified the strained relationship between Ibalong and the Visayans. The gods, once revered in their respective cultural contexts, became symbols of adversity and malevolence when viewed through the lens of historical conflict. The gods of the Visayans, invoked during raids, became associated with chaos and destruction in the eyes of the Bicolanos.

Nagined, Arapayan, Magkaburak

The Arrival of Foreign Gods:

Legend has it that Naguinden, Magkaburak, and Arapayan arrived in Bicol as foreign gods, carried by the sea and delivered by mysterious tattooed figures. Their bronze skin, sculpted by the sun and sea, and intricate tattoos adorned bodies that exuded manhood, strength, and maturity. The unison of their voices, resonating as one when they spoke, added an otherworldly aura to their presence. Initially embraced as divine entities, their eventual revelation as a three-headed monster shattered the illusions of the Bicolano people.

Naguined, Arapayan and Magkaburak

Visayan gods

Naguined, Arapayan and Magkaburak

Contrastingly, in Visayan mythology, Naguined emerges as a god of war and poison. Known to have two warrior brothers, Arapayan and Magkaburak, their blackened skin adorned with countless tattoos and teeth, either blackened or likened to the golden teeth of sharks. Naguined, despite his warlike nature, is a figure who, in Visayan lore, chose to appear as a man and, intriguingly, as a beautiful maiden covered in tattoos. In this guise, he imparted knowledge of poisons and herbs to Visayan warriors, contributing to the martial and healing aspects of their culture.

Sowers of Chaos and Harm

Contrary to the benevolent image initially projected, Naguinden, Magkaburak, and Arapayan emerged as malevolent demons, sowers of chaos and harm. In the complex cosmology of Bicolano folklore, these entities were believed to be allies of the notorious god Asuang. Invoked by those seeking to inflict pain and destruction, the triumvirate embodied the darker forces that lurked in the shadows of the mystical realm.

The Alchemical Artistry

One of the distinctive powers attributed to Naguinden, Magkaburak, and Arapayan lies in their ability to create potent poisons in the form of oil. This alchemical artistry served as a formidable tool in their arsenal, capable of causing afflictions and ailments that defied conventional understanding. The poisons they crafted became metaphors for the unseen and intangible forces that could bring both physical and spiritual devastation.

The Immortal Heart and Golden Horseshoe Crab

Adding another layer to their mystique, the trinity of demons possessed an immortal heart. In a peculiar manifestation, one of these immortal hearts would leave its corporeal form, transforming into a golden bulawan na arapayan (bulawana na arapan)horseshoe crab. This creature, seemingly innocuous, produced a miraculous oil(langis ng arapayan) with unparalleled healing properties. The oil was believed to cure wounds, illnesses, and diseases, offering a paradoxical duality to the demons as both harbingers of harm and healers of afflictions.

Tattooing as a Protective Measure:

Tattoos, known as buri among the Bicolano people, took on a new significance as a form of protection against the foreign war gods of the Visayans. The act of tattooing was not merely a cultural practice but a means of fortifying oneself against the perceived ferocity of the Visayan Mangagayaw or raiders. This adaptation of tattooing as a defensive measure illustrates how cultural practices can evolve in response to external threats and conflicts

Naguinden, Magkaburak, and Arapayan stand as fascinating figures in the intricate mythos of Bicolano folklore. Emerging from the sea as foreign gods, their deceptive guise concealed a malevolence that disrupted the spiritual equilibrium of the region. Their alliance with the notorious god Asuang and their mastery of alchemical arts added layers to their narrative, positioning them as formidable entities that transcended the conventional boundaries of good and evil. In the complex cosmogony of Bicolano belief, these demons continue to evoke a sense of awe and intrigue, their tales serving as cautionary reminders of the mysterious forces that shape the spiritual landscape of the Philippines.

The Dynamic Nature of Mythologies:

This narrative underscores the dynamic nature of mythologies, emphasizing that they are not static entities but dynamic narratives shaped by historical events and cultural interactions. The Bicolano perspective on the Visayan gods as demons provides a glimpse into the complexities of pre-colonial Philippine society, where regional dynamics played a pivotal role in shaping diverse mythologies that continue to define the cultural landscape of the archipelago.

The Bicolano perspective on the Visayan war gods as demons offers a poignant illustration of how historical conflicts and cultural clashes can reshape mythological interpretations. As we delve into the rich tapestry of Philippine mythology, it becomes evident that understanding these narratives requires a nuanced exploration of regional dynamics and lived experiences. This perspective adds depth to our appreciation of the intricate ways in which mythologies are woven into the fabric of cultural identity and historical consciousness in the Philippines.

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.

ASUANG THE DEITY OF EVIL AND CHAOS

ASUANG THE DEITY OF EVIL AND CHAOS

Asuang, a feared deity in old Ibalong , In Bicol mythology and folklore he is the ruler of all land and flying monsters in Ibalong. He is known as the god of evil and the lord of Mount Malinao, as well as the brother of Gugurang, the good god who resides on Mount Mayon. Asuang grew jealous of his brother's power and tricked the guardians of the sacred fire, Linti and Dalogdog, to steal the fire from Gugurang. However, he accidentally set the world ablaze. Gugurang quickly retrieved the fire and called for rain to extinguish the flames, then destroyed Asuang's home with a thunderbolt and sealed him beneath Mount Malinao.

Asuang is described as tall, muscular, and attractive with long dark hair, but under moonlight, his true form is revealed to be monstrous and ugly. Once considered equal to Gugurang, his attempt to steal the sacred fire proved Gugurang's superiority. Despite his dark nature, Asuang is still a friend to Bulan, the moon god, and both are worshiped together by the cross-dressing priests called "Baylan" or "Asog."

Asuang is also the father of Oryol, who was considered the most beautiful and powerful female in Ibalon before Magayon and her sisters arrived. Asuang commanded hordes of monsters, including flesh-eating, blood-drinking, and viscera-eating creatures, which later became known as "aswang," named after the dark god himself.

Asuang deity

ASUANG EVIL DEITY IN BICOL MYTHOLOGY

In Bicol mythology, Asuang, the evil god of Ibalong, ruled over all creatures and monsters, with two daughters—Oryol, half serpent, and Magindara, half eel. He bestowed dark gifts upon mortals, symbolized by blackbirds flying from his mouth, enabling them to transform into night-dwelling creatures known as "aswang." Originating from the underworld Gagambang, these transformed mortals, granted dark gifts like black stones or eggs, roamed the night with supernatural abilities, driven by an insatiable appetite for human flesh, blood, or entrails.

As the sovereign of monsters, Asuang commanded a legion of creatures collectively named "aswang," instilling fear and darkness in Filipino folklore. Described as tall and attractive, his true monstrous form is revealed in the moonlight. Asuang, once equal to Gugurang, the supreme deity, attempted to steal Gugurang's sacred fire but failed. Residing in Mount Malinao, Asuang, deemed a dark and evil god, shares an intriguing friendship with Bulan, the god of the moon, both worshipped by the cross-dressing priests called "Baylan" or "Asog."

Legend has it that Asuang led hordes of monsters, including flesh-eating, viscera-eating, and blood-drinking creatures named after him. Despite embodying darkness, Asuang's association with Bulan highlights a complex balance between good and evil. Aswangs, empowered by Asuang, exhibit strength under the full moon and are believed to be healed by moonlight.

The genesis of an Aswang involves a ritualistic transfer of power, marked by black stones or small birds emerging from Asuang's mouth. These objects carry the essence of the malevolent deity, transforming the host into an Aswang with supernatural abilities and strength, particularly potent in the cover of night.

Aswang black chick – In Bicol mythology were originally pearls and black stones from the deity Asuang that turns into black birds and or black chicks used by the aswang race to pass-on their powers on a descendant

Naglagbong Lake in Tiwi

Naglagbong Lake, located in Tiwi, Albay, is a significant site in Bicolano mythology. This steaming lake is considered a gateway to the Underworld, known as Gagangban. The lake’s geothermal activity and mysterious nature contribute to its sacred status. In the mythological framework, Gagangban is the realm of the dead and spirits, representing a crucial aspect of the cycle of life and death. The custodian deity of Naglagbong Lake is often linked to the protection and guidance of souls traveling to the Underworld. This deity is revered for their role in overseeing the passage between the world of the living and the afterlife and where the original monsters and aswangs come from.

 

Asuang Steals Fire from Gugurang

As told by Philippine Folk Literature by Damiana L. Eugenio.

Long ago when the world was still young the good and evil gods were not yet enemies as they are now. They were friends, each living separately in a mountain (Bolod, Bicol). One report even said that they were brothers. Gugurang, the good god, was living inside Mount Mayon, and Asuang, the evil one, inside Mount Malinao. As gods they had control of the welfare of the people. But Gugurang was more powerful than Asuang who was merely a subordinate; the former was the chief deity of the Bicols.
Now Gugurang was given full control over the people, who learned to look up to him for protection or for advancement. Whenever the people disobeyed his orders or wishes, he would cause the pit of the Mayon Volcano to rumble terribly. The people in time took this as a sign of warning, and accordingly, mended their foul ways. Or if their sins were beyond forgiveness Gugurang would make the volcano erupt to wipe out the sinners.

Gugurang then became the symbol of the good (an mga marhay) ready to punish the bad (an mga maraot). When the people saw fire (calayo) flowing out of the crater of Mayon, they would grow afraid. They would then offer a sacrifice (atang) to him to appease his wrath. The Baliana, priestess, officiated in the ceremony. Always when they committed wrong, there would be loud moaning of the earth followed by an eruption of fire and lava (abo).

Aswang the god of evil and chaos

Now, Asuang had no fire in his abode inside Mount Malinao (to the north of Albay). He wanted to be as powerful as Gugurang, at least. If the people aroused his wrath, he wanted to subdue them by a fire or rumbling in Mount Malinao (this was still whole then). He entreated Gugurang to give him some fire but Gugurang emphatically refused.

"How dare you ask for my fire! " Gugurang thundered. The earth trembled. "Don't you know that when the fire in my seat is carried by hands such as yours the whole world will be set on fire?"

"But I will be very careful," replied Asuang.

"Be careful! I myself with all my power cannot handle it."

"But how can you threaten the people with it?"

"It is not my will that does it. It is someone else's that you or I do not know nor will ever know. But the rainy days are coming and I need fire to make me warm in Mount Malinao."

"Why," answered Gugurang, "you have lived there for many years and this is the first time that you have asked me for it, what will you use the fire for? Look at your people; they can live without it."

"Well, it is time for you to give them fire now."

"Give them fire!" burst Gugurang. The earth shook and the people were more afraid. But soon Gugurang quelled the commotion. Asuang himself was frightened. He never saw him that way before.

"They are not fit to have it yet! They must make themselves worthy."

"Well, am I not worthy?"

"You! you lay god! Look at your ragged mountain and compare it to Mayon which is the most beautiful in the world."

Asuang argued with him for a long time but Gugurang would not budge an inch. Asuang suddenly discovered, which before he had not, that Gugurang was all-powerful. Asuang narrowed his eyes and smiled with sinister import. He decided to oppose him from now on.

"You want to be the omnipotent power," Asuang cried. "But between us two there is not much difference. Why must I live in a humble place like Mount Malinao while you sit here gloating over your power unlimited and unchecked?"

"Stop!" The earth shivered as Gugurang stamped his feet on the ground. Asuang only smiled this time. That made Gugurang angry all the more. He struck out but before his blow could land, Asuang had vanished already. Gugurang was greatly amazed at this—the new power of Asuang in making himself invisible.

Then from a short distance in the room came the voice of the evil one, "If I cannot get fire in good will, I will in bad—I will steal it."

"Try—and before you can do that I will cut your mountain in twain."

"Then let there be war between us," countered Asuang. Thus the good and the evil became enemies from that time on. Motives were many to prove that Asuang was ambitious. It could not be doubted that the power to rule intrigued him. He determined to oppose every move of Gugurang. He gathered around him evil counselors and evil spirits whom he sent to the earth to turn the people to evil ways. After that, there was much immorality, lawlessness and crime. Gugurang in no time found out that it was Asuang who was causing all these things.



He sent pestilence to the barrios and for a moment the people turned to the omnipotent for protection. Gugurang asked them for another atang or sacrifice and warned them to follow his commandments strictly or be exterminated by floods or eruption. Against Asuang himself Gugurang was powerless to do anything. It seemed that in the twinkle of an eye Asuang came to possess hidden powers hitherto denied him.
Gugurang particularly guarded his fire lest his enemy make good his threat of stealing it. He assigned his trusted helpers (catambang) to guard the symbol of his power. He was afraid, besides, that if the fire were to go out of its confines the world would be consumed in a mighty conflagration.

But in spite of the precaution taken, Asuang was able to enter and locate the guarded object, and with many guiles and wiles, he bribed the guards with gold (bolauan). The temptation (sogot) was too sweet to be denied. Hence Asuang obtained possession of Gugurang's fire. Putting it inside a coconut shell he started with it.

Gugurang in his throne suddenly noticed that everything around him turned black, and that there were cries in the bowels of the volcano. But outside, the world was on fire. Every barrio that Asuang passed caught fire. Asuang!" Gugurang cried. And with this he flew into the air pursuing the thief. While terror reigned among the people who were powerless against the conflagration, Gugurang and Asuang raced for supremacy. Gugurang must get the fire back, or else he would be left without any power at all. All the air around grew hot but still they went madly on. Asuang was nearing his seat and if he could get there before Gugurang, it would be lost for the good god would then be under the spell of the devil.

Asuang deity

Asuang braced up for the last stride and just as he was about to descend Mount Malinao, Gugurang caught up with him, snatched the fire in the coconut shell, and vanished with it. Asuang was greatly surprised. He could not make himself invisible, as he would. Gugurang on reaching Mount Mayon returned the fire to its place, and everything was bright again inside. Now before doing anything else he set about stopping the conflagration. He bade the heavens (calangitan) to rain continuously. And there was rain. And the big fire was under control. The people at once offered atangs, because they were convinced it was Gugurang who had caused the fire because of their wickedness.

Then Gugurang punished the guards by chaining them to the precipices. Then for his revenge on Asuang—he ordered Lightning (Linti) and Thunder (Dalogdog) to strike hard against Mount Malinao that was defying him. Asuang attempted to bribe Linti and Dalogdog. What is the use of your serving a master when you don't even receive any reward?" Asuang asked. "Why don't you join me? Here you can have what you want. You can be your master."

Linti, quite taken, asked, "You mean what you said?" Sure," the wily Asuang answered. It is true we are driven like slaves," said the thunder.

At this Gugurang sent his thunderbolt. Boom! Crash! For several minutes the world sank and bobbed and sank again. All the mountains creaked. Then a mighty crashing was made amid the din. Gugurang then ordered the lightning and the thunder to stop. All was over in a few minutes.

Then the people noticed that what was once Mount Malinao was but half now. They thanked the omnipotent for destroying the abode of the devil. (To this day one who sails the Tabaco Bay will still see that Mount Malinao seems to have been cut while Mayon stands majestically unimpaired.)

The people for a time believed that Asuang was killed, but later his influence was doing havoc with the populace. Incidentally, the people got fire, for the enterprising few kept some embers to keep themselves warm during the rain that followed the conflagration.

ASUANG AND GUGURANG

Gugurang and Asuang

In Bicol mythology, Asuang and Gugurang are two powerful deities representing the struggle between good and evil.

Gugurang: The Good Deity

Gugurang is the chief god in Bicol, associated with the mighty Mayon Volcano. Known for controlling the welfare of the people, Gugurang uses the volcano's rumblings as a warning or punishment for disobedience and wrongdoing. The Bicolanos see Gugurang as a symbol of order, punishing those who go against his commandments.

Asuang: The Deity of Evil and Chaos

Asuang, on the other hand, is the dark and evil counterpart. He once sought to steal Gugurang's sacred fire but failed. Asuang is believed to reside in Mount Malinao and is considered a friend of the moon god Bulan, despite his dark nature. Legends tell of Asuang's attempts to wreak havoc and his command over monsters and creatures named after him – the "aswang."

 art by DREI SJ

Asuang and Bulan

Asuang is feared and blamed for all the misfortunes of people, all the blame, and hate. After being defeated by his brother Gugurang, he seeks refuge in his abode along with his beast and other monsters. From his mountain he saw the god Bulan descending from the heavens to the waters, he remembered that Bulan was Gugurang favorite that the supreme deity personally placed him in the heavens. Bulan descending with an entourage of wind nymphs (tawong lipod) in the waters of Bicol, and Asuang and his minion of night beast came to the waters, He had plans of taking the Moon deity to have revenge on Gugurang.  Then he stood in awe at the luminosity and radiance of the moon. He sent his vicious magindara or mermaids to capture Bulan, instead of capturing the moon deity upon seeing his comeliness they became tame and played together like children.  Asuang angered by what had happened personally went to the waters to where Bulan and the mermaids and wind nymphs played. He walked into the water as if it were solid ground followed by his flying beast. Bulan saw Asuang, Asuang expected the boy to be afraid and scream in terror, to Asuang surprise Bulan smiled and asked him to play and swim in the waters with him. Asuang moved by the kindness and warmth welcome of the lunar deity vowed that they will be friends. And that no harm shall come to him whenever he descends to the waters and lands of his domain, that also his beast and monsters shall treat the moon with veneration.

Daughters of Asuang

Asuang had two daughters from two different mortal women. His daughters were gifted with beauty and intellect, and as demigoddesses, they also possess great power. The daughters were said to possess lovely face and figure of women but are monsters from the waist down. The elder of the two was called Oryol, beautiful as she is vicious and half of her body was of a giant serpent. Her voice is so sweet that it can seduce men, women and even animals, anyone who hears her singing will fall prey to her. The younger of the two was called Magindara, she was beautiful as she was kind. Her voice has the ability to call rain, storms and huge tidal waves and it can also do the opposite as to calm the seas and bring fair weather and clear skies.  Oryol despised the humans who destroyed nature and vowed to destroy them until she falls in love with one. On the other hand, Magindara was kind and understanding and knew that humans were flawed but were also capable of good. When their father the god of chaos Asuang asked her daughters to terrorize the humans Oryol agreed, while Magindara refused. Her voice could wipe out entire villages and colonies if she wished but she was too kind to do this, which angered her father. Magindara fearing his father's wrath and disappointment fled to the sea, not long beautiful mermaids with the same face as her emerged from the sea, with colorful scales but these mermaids were not kind, they were vicious and flesh-eating creatures that would lure men to the sea to drown them and eat their flesh.

Asuang (deity)

lord Asuangs legacy the Aswang in Myths, Folktales , folklore

Anito ng mga Aswang

Anito Aswang or the Ancestor of Aswangs. Anito Aswang The god of evil and chaos had many worshippers and devotees in old Ibalong, and to them, he gave dark gifts. He gave them the power to transform and destroy their enemy, empowered by the night. To his most devoted priest and priestess he gave dark stones that came from his mouth, the stones turned into blackbirds that flew inside the mounts of the priest and priestess of Ibalong, they were able to transform into the creatures of the night that could take flight. To the other worshipers, he gave the power to transform into dogs and boars and all those who prowl the night with fangs and claws and long tongues. he gave them power and strength, but the dark gifts came with a prize, all those who received the gifts must feed on entrails, and flesh or blood or humans, and also must never go to salt waters for it is the domain of her daughters the vicious mermaids called Magindara ( thus all the Aswangs are fatally allergic to salt and salt water) and lastly they must respect and venerate the full moon in remembrance to lords Asuang's good friend and lunar deity Bulan.

The Birth of Aswangs: The Mythical Realm of Aswang, Shape-Shifting Creatures in Filipino Folklore

 Aswang stands as a testament to the vivid imagination and cultural intricacies of the Filipino people. Aswang, an umbrella term for various shape-shifting creatures, holds a fearsome reputation as beings that feed on human flesh, blood, and entrails. At the heart of this mythical realm is Asuang, a malevolent deity whose legacy persists through his worshippers – the Aswangs.

The Aswangs in Bicol folklore

Aswangs In Bicol mythology originating from the underworld called Gagambang or transformed mortal humans given dark gifts (black pearl or stone that turns into black chick or birds) by the deity, navigate the night with supernatural abilities, emphasizing their insatiable need for human flesh, blood, or entrails. As the sovereign of monsters, Asuang commands a legion of creatures collectively known as "aswang," that he send to scatter to the Visayas region. symbolizing fear and darkness in Filipino folklore.

The Legacy of the dark god Asuang:

Asuang, the dark deity reigning over the monstrous domain, is the progenitor of the Aswang mythos. Legends speak of Asuang as a powerful entity whose influence extends beyond the ordinary boundaries of the spirit world. His legacy is not confined to mere tales; it lives on through his worshippers, individuals granted dark gifts that transform them into creatures of the night.

Asuang god of evil and chaos

Transformation and Dark Gifts:

The genesis of an Aswang lies in a ritualistic transfer of power from Asuang to a human host. From the mouth of the god Asuang emerge black stones and, sometimes, black small birds. These objects are believed to carry the essence of the malevolent deity, thus transforming the host into a minion of Aswang. This transformation bestows upon the individual supernatural abilities and strength, particularly potent under the cover of night.

Aswangs: Creatures of the Night:

Empowered by the dark gifts, these devotees of Asuang become known as Aswangs. The night becomes their domain, and they navigate the shadows with otherworldly prowess. However, the macabre nature of their power comes with a sinister cost – an insatiable need to feed on entrails, flesh, or blood. This ghastly requirement binds them eternally to the chaotic and malevolent realm of their dark deity.

Asuang god of evil and chaos

Asuang deity in Western Visayas mythology

In Western Visayas mythology specifically in Capiz Mythology two deities are mentioned. Gugurang (Agurang) good deity and the evil deity Asuwang (Asuwang) who battled one another

Agurang: the good spirit who fought against Asuwang

Asuwang: the malevolent spirit who fought against Aguwang

The Sovereign of Monsters:

Asuang, as the sovereign of monsters and beasts, commands a legion of creatures collectively known as "aswang." These creatures share the malevolent deity's penchant for consuming human flesh, viscera, and blood. The monsters, bearing the name of their dark master, amplify the pervasive influence of Asuang over the mythic landscape, turning the very term "aswang" into a symbol of fear and the lurking darkness in the shadows.

Cultural Significance:

The myth of Aswang, deeply embedded in Filipino folklore, transcends mere tales of monsters and malevolent deities. It reflects cultural anxieties, the fear of the unknown, and the consequences of delving into forbidden territories. Aswang is not merely a creature; it is a cultural archetype that embodies the complexities and intricacies of Filipino beliefs, superstitions, and the perpetual struggle between light and darkness.

The mythical realm of Aswang, with its shape-shifting creatures and the malevolent deity Asuang at its core, is a captivating narrative that has endured through generations. Aswangs, with their dark gifts and sinister desires, continue to be a source of fear and fascination in Filipino folklore. As the sovereign of monsters, Asuang's legacy lives on, eternally casting shadows on the mythic landscape and symbolizing the darkness that resides in the collective imagination of the Filipino people.

the mythology surrounding Asuang offers a captivating exploration of the complex dynamics between gods, their interactions, and the profound consequences of their actions on the mortal realm. As the Aswang continues to haunt Philippine folklore, the enduring legacy of Asuang serves as a testament to the enduring power of myth to shape cultural beliefs and narratives, reminding us of the rich complexity inherent in the mythological heritage of the Philippines.

Bicol mythology 

The Filipino folklore surrounding the mythic realm of Aswang is a testament to the rich imagination and cultural nuances of the Filipino people. Aswang serves as an umbrella term for various shape-shifting creatures known for feeding on human flesh, blood, and entrails. At the center of this mythos is Asuang, a malevolent deity in Bicolano mythology, whose legacy lives on through his worshippers – the Aswangs.

Asuang, the dark deity, is the progenitor of the Aswang mythos, and legends describe him as a powerful entity with influence beyond the spirit world. His worshippers undergo a ritualistic transfer of power, marked by the emergence of black stones or pearls from Asuang's mouth. These objects carry the essence of the deity, transforming the host into an Aswang with supernatural abilities, particularly potent at night.

Empowered by dark gifts, Aswangs navigate the night with otherworldly prowess but are bound by a sinister cost – an insatiable need to feed on entrails, flesh, or blood. As sovereign of monsters, Asuang commands a legion of creatures collectively known as "aswang," amplifying his influence over the mythic landscape.

The myth of Aswang goes beyond tales of monsters and deities; it reflects cultural anxieties, fear of the unknown, and the consequences of exploring forbidden territories. Aswang is a cultural archetype that embodies the complexities of Filipino beliefs, superstitions, and the perpetual struggle between light and darkness.

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.

REMINDER

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.