Arapan, Nagined and Makbarubak: The Dichotomy of Bicolano Demons and Visayan Gods

Naguined, Arapayan and Magkaburak

The ever confusing interwoven tales of Philippine mythology is as rich and abundant and confusing as its archipelago,but also captivating. The cultural diversity among regions manifests in the varied pantheon of deities and supernatural beings. Arapan(Arapayan), Nagined, and Makbarubak stand as unique figures in this mythological landscape, embodying a fascinating dichotomy between Bicolano demons and Visayan gods.

Naguined, Arapayan and Magkaburak

Arapan(also called Arapayan), Nagined(Naguined) and Makbarubak(Magkaburak) 

To the people of Bicol, these entities arrived as foreign war gods, demons carried from the sea by mysterious tattooed figures. Arapan(Arapayan in Visayan), Nagined, and Makbarubak, often described as brothers with skin bronzed by the sun and sea, possessed bodies adorned with intricate tattoos. Perfect in manhood, strength, and maturity, their voices resonated as one when they spoke. However, the truth about their nature eventually surfaced - a revelation that they were a three-headed monster, sowers of chaos and harm. In Bicolano belief, they were invoked when one sought to inflict pain and destruction, with a perception that the malevolent god Asuang had embraced them as allies.

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.

A noteworthy narrative recounts Naguined and his brothers visiting the chambers of a Dayang, a noble woman. In a moment of passion and knowledge-sharing, the Dayang conceived a child, Nagmalitong Yawa Sinagmaling Diwata. This event was seen as a divine interaction, leading the Dayang and her husband Datu to offer praises to the gods.

The dichotomy between the Bicolano and Visayan perspectives on Arapan, Nagined, and Makbarubak exemplifies the nuanced nature of Philippine mythology. These entities traverse cultural boundaries, embodying both malevolence and benevolence, war and wisdom. Their stories echo the diversity and complexity inherent in the beliefs that shape the Filipino cultural and mythological landscape.

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.

Bikolano demons

 

The Bicolano perspective on the some Visayan  gods as demons offers a profound insight into the ways in which historical interactions and cultural clashes can shape perceptions. In the complex tapestry of Pre-colonial Philippine Mythology, the relationship between different regions played a pivotal role in influencing mythologies and belief systems. The contrasting views held by the Bicolanos of Ibalong regarding the Visayan gods serve as a testament to the intricacies of regional dynamics and the impact of lived experiences on mythological interpretations.

The geographical separation between Ibalong and the Kabisay-an islands, inhabited by the Visayans, was not merely a physical divide but also marked the boundaries of distinct cultural identities. The Visayans, known for their seafaring prowess and fierce warriors adorned with tattoos, engaged in seaborne raids that created a tumultuous relationship with the Bicolanos. These raids, characterized by attacks on peaceful colonies along coastal areas, left a lasting imprint on the psyche of the Ibalong community.

Kanlaon in Bicolano Mythology:

In the mythos of the Bicolano people, Kanlao(Kanlaon is a god from Visayas)n is an ominous figure associated with volcanic eruptions, wildfires, and earthquakes. Nestled within the fiery depths of Kanlaon Volcano, this malevolent deity commands the destructive forces of locusts and fire. The very elements that sustain life can, in the hands of Kanlaon, become instruments of chaos and devastation. As the harbinger of calamity, Kanlaon stands in stark contrast to the benevolent supreme deity Gugurang.Gugurang in retaliation would send his lightning and thunder enforcers along with a cardre of bird-men creatures and other flying beast to attack Mt. Kanlaon

The enmity between Kanlaon and Gugurang adds layers to the narrative, portraying a cosmic struggle between opposing forces. Gugurang, the supreme deity in Bicolano mythology, assumes the role of a protector and creator. The clashes between Gugurang and Kanlaon symbolize the perpetual battle between creation and destruction, order and chaos.

The tattoos, once symbols of strength and identity for the Visayan warriors, took on a different meaning for the Bicolanos. Instead of being seen as expressions of individuality, they became ominous markers of impending danger. The physical and spiritual invasions perpetrated by the Visayan raiders fueled the perception that the gods invoked during these violent encounters were malevolent beings associated with chaos and destruction. The gods, in the eyes of the Bicolanos, transformed into demons responsible for bringing harm to their peaceful colonies.

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 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.

Cultural differences and territorial disputes further exacerbated the strained relationship between Ibalong and the Visayans. The gods, once revered in their own cultural contexts, became symbols of adversity and malevolence when viewed through the lens of conflict. The intertwining of historical narratives and cultural clashes shaped the Bicolano perception of the Visayan gods, highlighting the intricate ways in which regional dynamics influenced mythological interpretations.

This narrative underscores the importance of considering historical context and lived experiences when exploring the rich tapestry of Philippine mythology. It serves as a reminder that mythologies are not static entities but dynamic narratives shaped by the ebb and flow of historical events and cultural interactions. The Bicolano perspective on the Visayan gods as demons offers a glimpse into the complexities of pre-colonial Philippine society, where regional dynamics played a crucial role in shaping the diverse mythologies that continue to define the cultural landscape of the archipelago.

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.