Haliya moonlight goddess statues

 

Haliya by John Henry Esteban

                                                 (Agnes Arellano, ‘Haliya Bathing’, 1983)

Featuring a Philippine moon goddess, pregnant and splayed in a childbirth position, ‘Haliya Bathing’ explores the intersection of the feminine and the sacred.

Made of coldcast marble sculpture and crushed marble stones, this sculpture by Agnes Arellano lends itself to a mythical significance that emphasises the artwork’s life-giving form. 

Haliya is a goddess from Bicolano mythology, and folklore known as the masked goddess of moonlight. According to myths and stories she is revered primarily by women and is celebrated for her strength and beauty. Haliya is depicted as a warrior goddess, protecting her brother Bulan, the god of the pale moon. She is often described as having fair, radiant skin, long black hair, and wearing a golden mask to conceal her otherworldly beauty.

In myths, Haliya is the arch-enemy of Bakunawa, an eel-like serpent dragon that tries to devour the moon. She is portrayed as strong and ruthless in combat, contrasting with his brother Bulan's gentle and playful nature. Haliya's battles with Bakunawa symbolize her role as a fierce protector of the moon and a symbol of feminine strength. Rituals and dances named after her, some stories suggest she is the embodiment of the rituals that are performed to celebrate and summon her protective spirit during full moons.

Why are the Statues pregnant ?

Statues of Haliya are often portrayed as pregnant to reflect a lesser-known story from Bicolano mythology that highlights her connection to both mortal life and divine strength. While Haliya is typically depicted as a fierce warrior goddess, the protector of her gentle brother Bulan, there is a softer, more nurturing side to her mythos that explains the pregnancy imagery.

In many myths, Haliya and her brother Bulan and other celestial beings would descend from the heavens to bathe in the waters of Ibalong. This act symbolizes purification and the ability to take on a mortal form. In one particular and lesser known story, Haliya falls in love with a mortal man during one of her visits to Earth. Her love for him is so profound that she temporarily forgets her divine nature and chooses to live as a mortal.

In love and in bliss Haliya becomes pregnant, and as her time to give birth approaches, she returns to the waters where she first descended. Her brother Bulan, watching from the heavens, sends sylphs and fairies to comfort and support her during labor, singing songs that remind her of her strength and beauty. After giving birth to a child that is both human and divine, Haliya ascends back to the heavens.

This story intertwines the themes of love, transformation, and the divine connection to fertility, making the depiction of a pregnant Haliya in statues a representation of her role as a bridge between the celestial and mortal realms, and a symbol of creation and new life.

Duddley Diaz’s white Carrara marble sculpture of the Bicolano moon goddess Haliya. Haliya’s round and polished form The rotund,  and serene figure holds a crescent moon close to her pregnant belly.  An owl head crowns her seated figure. She is depicted as protector and goddess of wisdom. Ninety-kilos heavy, Haliya was transported from the artist’s garden in Italy to the Vargas Museum in 2010 for his retrospective exhibition Messenger of the Gods.(Louise Anne Marcelino)

Duddley Diaz 1995 Haliya the Moon Goddess Marble

Prayer of the day

 Salamat Kagurangnan sa buhay. Lugod mas lalo niamong maging prayoridad ang pagbalangibog kan pagkamoot mo samuya. Amen.

Demonyo ng San Cristobal

 Bundok San Cristobal: Ang Bundok ng Demonyo sa Mitolohiya at kwentong Bayan ng Pilipinas

Ang Bundok San Cristobal ay matatagpuan sa lalawigan ng Laguna, sa rehiyon ng Calabarzon sa Pilipinas. Isang Bundok na katapat ng Dalisay at sagradong parte ng Bundok Banahaw

Bahagi ito ng Mount Banahaw-San Cristobal Protected Landscape, na matatagpuan malapit sa bayan ng Dolores sa lalawigan ng Quezon at sa lungsod ng San Pablo sa Laguna. Ang bundok ay bahagi ng kabundukan ng Banahaw, kung saan ang Bundok Banahaw ang mas kilalang kapwa nito. Madalas tawagin ang Bundok San Cristobal bilang "Bundok ng Demonyo" dahil sa pagkakaugnay nito sa negatibong enerhiya sa lokal na alamat, na kabaligtaran ng espirituwal at mistikal na reputasyon ng Bundok Banahaw.

Demonyong Anito

Ang Bundok San Cristobal, na madalas tawaging Bundok ng Demonyo, ay tumatayo bilang kabaligtaran ng kanyang kalapit na bundok, ang sagradong Bundok Banahaw, na kilala bilang Banal na Bundok. Sa folklore ng Pilipinas, ang Bundok Banahaw ay pinaniniwalaang naglalabas ng positibong enerhiya, isang banal na lugar para sa paglalakbay at pagmumuni-muni. Samantalang, ang Bundok San Cristobal ay itinuturing na madilim na katapat nito, naglalabas ng negatibong enerhiya at nababalot ng mga kuwento ng misteryo at alamat.

Ang Alamat ng Tumao o Demonyong Anito

Isa sa pinakamatagal nang alamat ng Bundok San Cristobal ay ang kuwento ng Tumao (TuMa-Oh). Ang nilalang na ito, ayon sa lokal na alamat, ay gumagala sa madilim na kagubatan at mapanganib na landas ng bundok. Ang paglalarawan sa Tumao ay nagkakaiba-iba: ang ilan ay nagsasabing ito ay isang demonyo, samantalang ang iba naman ay naniniwalang isa itong sinaunang diyos, anito ng kasamaan na naging masama. Ang presensya nito ay sinasabing nagdudulot ng takot, at ang mga nakakatagpo nito ay nagkakaroon ng kamalasan o di kaya'y namamatay.

REMINDER the word Tumao (Demon,Evil Anito) is a homonym for the word Tumao ( Visayan nobles). They do not connect with each other, most Westernized and colonial minded Filipinos often connect them since they fail to grasp the languages and forget that languages have homonyms 

A homonym is a word that is said or spelled the same way as another word but has a different meaning.

Demonyong Anito - Anito

Pinaniniwalaang kumakatawan ang Tumao sa madilim na enerhiya ng bundok, binabantayan ang mga lihim nito at tinitiyak na ang mga naglalakbay nang malalim dito ay hindi na bumabalik sa dati. Sa ilang bersyon ng alamat, sinasabing ang Tumao ay minsang isang mabuting espiritu na isinumpa o nagbago sa paglipas ng panahon, na ngayon ay nagsisilbing babala sa mga nagnanais gambalain ang balanse ng bundok.

Mga Engkanto at Espiritung Nakatira

Bukod sa Tumao, sinasabing ang Bundok San Cristobal ay tirahan ng iba't ibang nilalang na mahiwaga at espiritu. Ang bundok ay sinasabing kaharian ng mga engkanto (mga espiritu ng kalikasan) at lamanlupa (duwende, tiyanak, maligno at mga nilalang na naninirahan sa lupa), bawat isa ay may sariling kuwento ng pakikipag-ugnayan sa mundo ng mga tao. Pinaniniwalaang may kapangyarihan ang mga nilalang na ito na akitin, protektahan, o saktan, depende sa kanilang kalooban at sa respeto na ipinapakita sa kalikasan.

May mga kuwento ang mga manlalakbay at lokal ng mga kakaibang pagkawala, liwanag na hindi maipaliwanag, at mga ingay na nagmumula sa kagubatan. Ang ilan ay nagsasabing ang mga nagbabastos sa bundok o sa mga naninirahan dito ay isinumpa ng kamalasan o naliligaw sa makapal na kagubatan, hindi na makahanap ng daan pauwi.

Ang Bundok na Walang Diwata

Isang Lugar na Iniiwasan ng mga Diwata

Isang natatanging aspeto ng mitolohiya ng Bundok San Cristobal ay ang paniniwalang walang Diwata—mga engkantada, nimpas, at makalangit na nilalang na karaniwan sa ibang bahagi ng mitolohiyang Pilipino—ang naninirahan dito. Hindi tulad ng Bundok Banahaw na itinuturing na banal at protektado, ang San Cristobal ay itinuturing na wala ng mga mabubuting espiritu. Ang kawalan ng mga ito ay higit pang nagpapalakas sa reputasyon ng bundok bilang isang lugar ng negatibong enerhiya, isang pook na iniiwasan maging ng karaniwang mapag-alaga o protektibong diwata.

Sa San Cristobal ang Masamang Demonyo o Anito ng Kasamaan na isang Tumao ang nag hahari, isang itim na nilalang na may sungay, wangis malaking lalaki napaka itim

Anito - Demonyong Anito

Isang Lugar ng Misteryo at Takot

Mga Alamat at Nakakatakot na Kwento

• Nakakalitong Kagubatan: Maraming mga umaakyat ang nag-ulat na sila'y nakaramdam ng kalituhan, na parang nagbabago ang kagubatan sa kanilang paligid, isang kababalaghan na iniuugnay sa mga engkanto o sa mapaminsalang presensya ng Tumao.
• Mga Misteryosong Pagkawala: Maraming kwento ng mga taong nawawala sa bundok, ang kanilang mga kapalaran ay nananatiling hindi nalalaman, na higit pang nagpapalalim sa nakakakilabot na reputasyon ng bundok.
• Pagkakita ng Isang Madilim na Anyo: May mga ulat mula sa mga lokal at turista na nakakita ng isang matangkad, madilim na anyo, matipuno at may anyong-tao, ngunit may mga sungay. Ang nakakakilabot na aparisyong ito ay pinaniniwalaang manipestasyon ng madilim na enerhiya ng bundok o marahil ang mismong Tumao.

Ang reputasyon ng Bundok San Cristobal bilang isang lugar ng madilim na enerhiya ay naging sanhi ng pag-iwas dito ng mga naghahanap ng espirituwal na kalinisan o kapayapaan, dahil pinaniniwalaang ito ay hinahamon ang panloob na mga demonyo sa halip na magbigay ng kapayapaan. Gayunpaman, o marahil dahil dito, may ilang mga adventurer at espirituwal na manlalakbay ang nahuhumaling sa mga landas nito, umaasang harapin ang hindi kilala.

Ang duwalidad ng Bundok San Cristobal at Bundok Banahaw ay sumasalamin sa balanse ng liwanag at dilim, positibo at negatibo, sa mga paniniwala ng mga Pilipino. Sama-sama, kanilang sinisimbolo ang masalimuot na ugnayan ng mga pwersa na humuhubog sa karanasan ng tao, na nag-aanyaya ng pagninilay sa parehong nakikita at di-nakikitang mundo.

Ang Alindog ng Pag-akyat

Hiking Pa More !

Sa kabila ng mga nakakatakot na kwento, ang Bundok San Cristobal ay nananatiling isang tanyag na destinasyon para sa mga umaakyat at mga adventurer. Ang kilig ng paggalugad sa isang lugar na puno ng alamat at ang hamon ng pagtahak sa hindi kilalang daan ay patuloy na humihila ng mga bisita. Para sa marami, ang misteryosong alindog ng bundok at ang posibilidad ng mga supernatural na pakikipagsapalaran ay isang hindi matanggihan na paglalakbay.

Ang Demonyong Anito ng San Cristobal 

Ang alamat ng Bundok San Cristobal ay isang makapangyarihang paalala ng kasaganaan ng mitolohiya at kwentong bayan (folklore) ng Pilipinas, kung saan ang natural na mundo ay malapit na nakaugnay sa sobrenatural. Ang mga kuwento nito ng demonyo, espiritu, at mga nilalang na mahiwaga ay patuloy na kumakatawan at nagbibigay babala, na ginagawang ang Bundok ng Demonyo ay isang lugar ng pangmatagalang misteryo at pagkabighani.

Demonyong Anito, Demonyong Tumao

Ang Bundok San Cristobal ay nagsisilbing isang kwentong babala sa lokal na alamat, sumisimbolo sa pangangailangan ng paggalang sa kalikasan at sa mga hindi nakikitang puwersang pinaniniwalaang naninirahan dito. Ito'y paalala ng manipis na tabing sa pagitan ng pisikal at espiritwal, nag-aalok ng parehong babala at pinagmumulan ng pagka-akit.

Sa huli, habang ang mitolohiya ng Bundok San Cristobal ay inilalarawan ito bilang isang lugar ng madilim na puwersa at mapaminsalang nilalang, ang alindog nito ay nananatili. Ang pinagsamang likas na kagandahan at supernatural na hiwaga ng bundok ay nag-aalok ng natatanging karanasan para sa mga matapang na maglakas-loob na tuklasin ang mga misteryo nito, ginagawang isang lugar ng parehong takot at pagkahumaling.

As featured in Philippine Media 

Lakanpati - Anito

  Tignan naman natin ang mga diyos diyosan ng mga Tagalog. 

Anito ng mga Sinaunang Tagalog

Lakanpati: The Hermaphrodite Deity in Ancient Tagalog

Lakanpati, sometimes referred to as Lankapate  precolonial Tagalog mythology. Sources offer varied interpretations of this deity, painting a complex picture of their role in ancient society. Anitong may dalawang kasarian

art by Jap Mikel

Anito o diyos diyosan na maaring magdadala sa rurok ng kaligayahan at kamunduhan.

Si Lakapati ay isang anito, isang sinaunang anito, sinasamba na may ari ng lalaki at babae,  isang diyos diyosan, para sa iba isang demonyo na nagdadala sa rurok ng tawag ng laman. 

Demonyo o Tagapayo: Ayon kay Padre Juan de Noceda, si Lakanpati ay itinuturing bilang isang “tagapayo ng mga abogado,” na nagmumungkahi na may mataas siyang posisyon sa mga usaping legal o panlipunan. Gayunpaman, may iba pang paniniwala na si Lakanpati ay isang demonyong may masidhing pita sa laman, na nakikipagtalik sa parehong kalalakihan at kababaihan. Siya ang anito na tinatawag upang marating ang rurok ng kaligayahan ng parehong babae o lalaki. 

Dalawang Mukha ng Sinaunang Anito

Ang Demonyong papatid ng uhaw ng mga babae at mga lalaki. Madarang sa apoy ng anitong si Lakapati. Madarang sa apoy ng mga diyos dyosan, madarang hangang sa rurok ng Tagumpay

Diwatang mabait, maganda ang anyo at mapag-aruga na nagpapayabong ng mga pananim at nagpapakain sa mga mama-mayan. patas sa mga alipin, patas sa mga tao

Lakapati - Art by Jap Mikel

Lakanpati. (Also called Lankapate.) He was, according to Fr. Noceda, an idol of the ancient Tagalogs, which they had as their lawyer's counsel. Other authors claim that lakanpati or lakanpale was a hemaphrodite demon that satisfied his carnal appetites in men and women. 

-Mythological dictionary of the Philippines

Anitong May Lawit 

Attributes and Role

• Hermaphroditic Nature: Lakanpati is described as hermaphroditic, meaning the deity embodies both male and female physical characteristics. In mythology, hermaphroditic beings are often symbols of fertility, duality, or completeness, transcending conventional gender boundaries.
• Demon or Counsel: Fr. Juan de Noceda, a missionary and linguist, described Lakanpati as a “lawyer’s counsel,” hinting at a revered role in legal or societal matters. However, other sources interpret Lakanpati as a demon with insatiable carnal appetites, engaging sexually with both men and women.

Lakapati’s Role in Precolonial Society

Lakapati was an intersex deity, blending masculine and feminine traits—a characteristic that symbolized balance and abundance. In a society where gender fluidity and diversity were accepted and respected, Lakapati stood as a divine embodiment of this inclusivity. They were invoked during rituals to ensure successful harvests and to promote fertility in the land.

The deity’s name reflects their elevated status:

• “Lakan”: A noble title akin to Rajah or Datu, signifying rulership and authority.
• “Pati”: Derived from Sanskrit, meaning master or lord, underscoring their dominion over nourishment and growth.

Hermaphroditism Explained

• Biological Definition: In biology, hermaphroditism refers to an organism having both male and female reproductive organs, allowing self-reproduction in some species. Examples include certain plants and invertebrates like earthworms and snails.
• Cultural Interpretation: In mythology and spirituality, hermaphroditic deities often symbolize balance, unity, and the merging of opposites. For Lakanpati, this might reflect an ancient understanding of fertility or life's duality.

Fertility Associations

Lakanpati's dual-gendered nature aligns with common themes in precolonial Filipino deities related to agriculture, harvest, and fertility. In many cultures, hermaphroditic gods or spirits play vital roles in creation myths and agricultural rituals, underscoring their importance to sustaining life.

Isa sa mga Anito ng mga Aswang

In contemporary (modern) stories and horror stories circulating among young people on Snapchat and viber tells that Lakapati is one of the many deity worshiped by Aswangs and people who want to fulfill their earthly desires. Sexual rituals of Aswangs that give praise to the ancient demon. The god or goddess of Casual no strings attached sex and SEB or Sex eyeball between homosexual men  in the Philippines. The patron spirit of  Men hooking up with other men The deity lurking in Malate. 

Historical and Mythological Context

Ancient Tagalog societies had a rich spiritual tradition, often blending animism with personifications of natural forces.Though now a mere myth and relegated not in religion but in stories and tales Lakanpati’s ambiguity—a deity with aspects of both benevolence and malice—fits into this framework, where dualities like light and darkness, creation and destruction, coexist.

Lakanpati remains a fascinating figure that illustrates the complexity of precolonial Filipino beliefs and the nuanced ways ancient societies conceptualized gender, spirituality, and human relationships.

REMINDER

Avoiding Foreign Manipulation: Weaponizing myths to attack storytellers or communities risks distorting their purpose. Myths are meant to unify, educate, or entertain, not to create division or hostility.

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.

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

Filipino Oral mythology,and story telling and disconnection of abroad raised Filipinos

 

Oral mythology and story telling and disconnection of abroad raised Filipinos

The difficulty that Filipinos born and raised abroad face in grasping the living oral mythology of the Philippines arises from several interconnected factors rooted in cultural, generational, and experiential differences. 

An additional barrier for Filipinos born and raised abroad in understanding and appreciating the oral mythology of the Philippines is the language gap. The Philippines is home to over 180 languages, and many myths and legends are deeply embedded in these languages’ unique expressions, idioms, and cultural references. However, many Filipino parents living abroad do not pass these languages on to their children for various reasons, including fears of cultural assimilation challenges or the perception that teaching their children English or the dominant local language will offer them better opportunities.

example. Ask someone born and raised abroad what a lambana is, or a gabunan, or magindara they might not know, because these are some of the many things present in oral mythology but hard to find in written texts.

Filipinos raised abroad often struggle to connect with the rich oral mythology of the Philippines due to cultural, generational, and linguistic gaps. Many Filipino myths are deeply tied to local languages, which aren't always passed down to children abroad, making it difficult for them to fully grasp the stories and their significance.

Oral storytelling in Filipino culture is dynamic and communal, while Filipinos abroad may rely more on written texts, missing the emotional and contextual nuances of oral tales.

Myths are rooted in Filipino geography and daily life, making them harder to relate to for those without direct experience of the culture or environment.

Western education and media often present local and indigenous myths as inferior, causing some Filipinos abroad to view their own mythology as less sophisticated or valid.

Many myths lose their depth when translated, and the language gap can lead to disengagement or frustration for those who cannot access the stories in their original form.

Some foreigners, especially from Western backgrounds, may dismiss or exoticize and even antagonize Filipino myths, seeing them as primitive or just curiosities rather than living traditions. Sometimes they even cherry pick and try to debunk myths they do not like  (ironically everyone knows myths are not literal but symbolic) This attitude often stems from a bias toward written over oral traditions and can lead to a marginalization of native voices.

To counter these challenges, it's crucial to uplift Filipino storytellers, preserve oral traditions, and celebrate the richness of Philippine mythology as a living cultural heritage.

1. Disconnect from Oral Tradition

• Orality vs. Literacy: Filipino culture places a significant emphasis on storytelling as a dynamic and living tradition. Myths and legends are shared and reshaped through retellings, reflecting the fluid and adaptive nature of Filipino culture. In contrast, Filipinos raised abroad often rely on written texts or static sources like books, which preserve myths in fixed forms. This reliance can create a bias, where they may see oral transmission as less reliable or "primitive" compared to what is documented in writing.
• Experience vs. Documentation: Oral mythology is not just about the stories themselves; it’s about how they are told—through emotion, local context, and communal interaction. Filipinos abroad may miss the nuances of these performances, finding them harder to relate to or interpret.
• 

2. Cultural Context and Relevance

• Rooted in Local Life: Myths and legends are deeply tied to Filipino geography, history, and day-to-day life. Tales of creatures like the aswang, kapre, or tikbalang are intertwined with the natural environment and social practices. Filipinos abroad may lack firsthand experience with these settings, making the myths feel abstract or disconnected from their reality.
• Urbanization and Modernity: Some second- or third-generation Filipinos may associate oral myths with rural life or "the past," equating them with outdated superstitions rather than living cultural heritage. This perspective can lead to dismissiveness.

3. Colonial Mindset and Western Influence

• Internalized Bias: Colonial history has ingrained a tendency in some Filipinos to view indigenous traditions, including oral mythology, as inferior to Western forms of knowledge. Filipinos raised abroad, especially in Western countries, may unconsciously adopt this bias, finding local myths "irrational" or unscientific.
• Western Cultural Dominance: Growing up in environments where Western mythology (e.g., Greek, Norse) is often seen as more sophisticated or universal, Filipinos abroad might undervalue Philippine myths by comparison.
• Many Western cultures place a strong emphasis on written documentation as the "official" or most reliable way to preserve knowledge. This perspective often assumes that written records are more credible than oral traditions.

4. Shifts in Storytelling Dynamics

• Filipinos abroad Loss of Intergenerational Storytelling: In many Filipino families abroad, the generational chain of oral storytelling may be broken. Older relatives who might have passed down these stories in an immersive way might not share them as actively, due to language barriers or a lack of perceived relevance. Without the common language these stories can not be passed down to their children and grand children.

5. Cognitive Dissonance

• Conflict Between Worldviews: For some, the symbolic and metaphorical meanings of Philippine myths clash with more literal or rational perspectives they’ve developed abroad. This clash can make the stories feel incoherent or irrelevant.
• Dismissal as Superstition: Myths are often seen as mere superstition by those unfamiliar with their cultural significance. This perception prevents deeper engagement with the stories as cultural and philosophical narratives.

6. Language Disconnect and Its Impacts

• Loss of Nuance: Myths often lose much of their depth and meaning when translated into English or other non-Filipino languages. Specific terms, metaphors, or cultural references tied to Filipino languages can be difficult to convey without the original linguistic context, making the stories feel incomplete or superficial to those who don’t speak the language.
• Barrier to Engagement: For Filipinos abroad, not understanding the language of these myths can make the stories harder to grasp or relate to. This frustration can lead some to disengage entirely or dismiss the stories as irrelevant or nonsensical.
• Antagonism Born from Frustration: For some, this linguistic disconnect creates resentment. When faced with myths they cannot fully understand due to a language barrier, they might dismiss oral mythology as “primitive” or irrational to rationalize their discomfort. This antagonism is often a defense mechanism stemming from feeling excluded or alienated from their cultural heritage.

• 

  Duwende,Lambana, Tigbalang,Okoy

Why foreigners often white foreigners feel entitled and Superior when it comes to Philippine mythology  ? 

A sense of cultural superiority can stem from the assumption that written, systematized knowledge is inherently better. This can lead to dismissing oral traditions as "primitive" or "unreliable."

Limited Exposure: Foreigners may rely on academic texts or translations that only provide a fragment of Philippine mythology, often written by other outsiders or during colonial times. They might not experience the richness of the oral and communal aspects of Filipino culture.

Exoticization: Foreigners sometimes romanticize or exoticize Philippine mythology, treating it as an artifact to be studied rather than a living tradition. This perspective can create a disconnect from how Filipinos actually engage with their myths.

Defamation to Silence Opposition: By discrediting native Filipino  storytellers, outsiders attempt to  delegitimize the authenticity of local narratives. This makes their own interpretations or rewritten versions appear more valid.

Why This Tactic is Used?

• Need for Dominance:
  • Controlling narratives and defaming local voices reflects a desire to assert intellectual, cultural, or moral superiority.
• Ignorance or Arrogance:
  • Some genuinely believe their interpretations are better due to implicit biases or lack of understanding of oral traditions and their significance.
• Profit and Prestige:
• Digital age, more follower more power. White foreigner wants to dominate everything. Clout chasing. The more followers one has the more they can assert and control people and narratives. Stories from other cultures are often exoticized and commodified for profit, with the storyteller conveniently sidelined.

Controlling stories and defaming storytellers to assert dominance is a tactic deeply rooted in colonialism and systemic inequality. While some outsiders may justify their actions through ignorance or profit motives, these behaviors strip Filipinos of their voice and heritage. The living nature of Philippine mythology, thriving in its people, remains its greatest strength. The best way to resist this domination is by uplifting native voices, protecting oral traditions, and ensuring the authenticity of cultural narratives in the face of external pressures.

7. Cultural Alienation Through Language Loss (Not learning the Language)

• Disconnected Identity: Language is a core part of cultural identity. Without a connection to Filipino languages, Filipino-born individuals abroad may feel distanced from their heritage, including its oral traditions. The frustration of this disconnection can further amplify feelings of alienation from the myths and stories.
• Complex Linguistic Diversity: Even within the Philippines, the vast linguistic diversity means that oral myths are often tied to specific regions and dialects. Filipinos abroad, unfamiliar with this diversity, may not realize that there isn’t one “Filipino” mythology but many, each adapted to its linguistic and cultural context.

Anito ng kasamaan

Diwata ng kagubatan

Reconnecting with Oral Mythology

For Filipinos abroad to better appreciate the living oral mythology of the Philippines:

• Immersive Experiences: Spending time in the Philippines, participating in local festivals, and listening to storytellers can bridge the experiential gap.
• Reframing Myths: Understanding myths as reflections of cultural values, moral lessons, and ecological wisdom rather than just "tales" can shift perspectives.
• Encouraging Intergenerational Dialogue: Families can create opportunities for elders to share stories in their traditional oral forms.
• Using Modern Tools: Podcasts, videos, and social media platforms focusing on Filipino myths and stories can present them in engaging ways for younger, tech-savvy generations.

Reconnecting with Oral Mythology through story Tellers

Mahalaga ang papel na ginagampanan ng mga Narrators at Story tellers, napapanatili nila ang agos ng mga kwentong Filipino, hindi lang sa pilipinas gayun din sa ibayo at ibang bansa.

Storytellers and narrators on YouTube play a crucial role in keeping storytelling and myths alive in the modern-day Philippines and beyond.

This digital storytelling renaissance is an example of how technology can bridge generations and geographies, ensuring that Filipino myths and legends remain alive and thriving in the modern world.

In the Philippines, storytellers are much more than narrators; they are vessels through which the life, spirit, and lessons of myths and legends are carried forward. By embodying these stories, they ensure that the richness cultural  of the Philippines story telling remains vibrant and alive, transcending time and connecting generations. In this way, storytellers uphold the belief that stories are not merely told—they live through those who share and hear them.

In a New Digital Age many story tellers are the torch bearers of the stories scattering far and wide, for everyone. Philippine mythology and stories is the most inclusive and fluid Mythology in the Whole world. It is for Filipinos, Filipinix even foreigners. meant to unite NOT divide

Ultimately, oral mythology isn’t primitive—it’s an evolving, resilient cultural expression that conveys timeless truths about identity, community, and the environment. For Filipinos abroad, embracing it requires openness to both its content and its unique forms of transmission.

Oral mythology in the Philippines is alive and thriving to this day. From tribal storytellers in remote communities to modern content creators on platforms like YouTube, these myths continue to evolve and reach new audiences. Many Filipino storytellers now use digital tools to share legends, often speaking in Filipino or regional languages, keeping the tradition vibrant and accessible. This blend of ancient oral tradition with modern technology demonstrates the resilience and adaptability of Filipino culture, proving that these stories are far from primitive—they’re dynamic and enduring.

Isarog to Maynila

 

Storytelling in the Philippines thrives because it serves multiple purposes: education, entertainment, cultural preservation, and community bonding. The tales of aswangs, diwatas,sirenas and other mythical beings resonate deeply with Filipinos because they reflect their connection to their roots, their environment, collective thoughts. Through these stories, the Filipino spirit endures, evolving yet retaining its essence across time.

So so so... Mga ka Yanggaw mag night bus tayo from Isarog papunta ng Manila tapos ito ung maraton sa bus. Imbis makatulog ka ma excite ka sa mga kwento. Puyatan yarn.

Ang pag k kwento at pakikinig sa mga kwento parte na yan ng buhay ng mga Filipino sa Pilipinas. Mahirap ipaliwanag sa mga dayuhan at taga ibang bansa. Respect sa kultura ng pag kw- kwento. Mga story tellers na to nag hahatid ng kaligayahan sa mga Filipino, mula sa mga laborer,mangagawa hangang sa mga pasocialite, mga phone addict gez, maging mga Filipino abroad. Pag sinubukan mo na translate sa English aawayin ka pa ng iba.( ma lo lost in translation and culture difference pa) wag na uy! 

Mga kwentong Filipinong filipino oh

Galing nila mag kwento sana all.

Tara mga ka yanggaw makinig na tayo!  

the demon of kanlaon

 The Demon of Kanlaon: Laon, the Fiery Harbinger of Destruction

Myths, stories, legends,folklore and fairytales...

The Kanlaon Volcano, located on the island of Negros in the Philippines, is not just a geologic wonder but a focal point of myth and folklore for the people of the region. Among the most intriguing tales is the legend of Laon, a malevolent demon of fire and destruction. This entity, often linked to the fiery eruptions of the volcano, is said to slumber deep within Kanlaon’s core, only to awaken in moments of fury, bringing devastation to the land.

Ang Bulkang Kanlaon sa Pilipinas ay mayaman sa heolohiya at mitolohiya, partikular sa alamat tungkol kay Laon, isang mapaminsalang demonyo ng apoy at pagkawasak. Ayon sa kwento, si Laon ay natutulog sa loob ng bulkan at nagigising upang magdulot ng sakuna tuwing may pagputok. May kaugnayan ang karakter ni Laon sa paniniwala ng mga sinaunang Bisaya, kung saan siya ay isang diyosang konektado sa kalikasan at kasaganaan, ngunit kalaunan ay naging simbolo ng pagkasira. Binanggit din ng mga misyonerong Espanyol sina Lalahon o Laon bilang isang diyosang nauugnay sa agrikultura at lakas ng bulkan.

Si Lalahon ang diwata ng Bulkan at apoy, samantala ang Laon sa ibang kwentong bayan ay isang diablo ng apoy sa bulkan, Apoy, lahar at pagkawasak.

Sa mga alamat, ang pagputok ng bulkan ay itinuturing na galit ni Laon, na makikita sa pag-agos ng lava, makakapal na ulap ng abo, at pyroclastic flows. May pagkakahawig ito sa mga alamat ng mga Bicolano na itinuturing si Kanlaon bilang isang masamang diyos ng apoy. Ang pagsabog noong Hunyo 3, 2024, na nagpalikas ng 1,386 pamilya at nagdulot ng malawakang pinsala, ay nagpatibay sa paniniwalang ito. Naibalita ng mga komunidad ang mabahong amoy ng asupre, pag-ulan ng abo, at haze na umabot sa malalayong lugar, na lalong nagpalakas sa ugnayan ni Laon sa pagkawasak.

Ipinapakita ng kwento ni Laon kung paano ginagamit ng mga komunidad ang mito upang maunawaan at matanggap ang mga natural na sakuna. Ang mga alamat na ito ay nagdidiin sa paggalang ng mga Pilipino sa kakayahan ng kalikasan na magbigay-buhay at magdulot ng pagkawasak, dahilan upang manatiling buhay ang alamat ni Laon bilang mahalagang bahagi ng kulturang Pilipino.

Mythological Background

The name Laon has ancient roots, echoing the name of an ancient deity once revered in pre-colonial Philippine mythology. In a curious and eerie parallel, the demon Laon is viewed as an antithesis to the benevolent goddess once associated with nature and fertility. Over time, especially among the superstitious, Laon evolved into a representation of the uncontrollable and destructive aspects of nature, particularly tied to volcanic eruptions.

Lalahon, or Laon or Lauon. A deity of the ancient Visayas. According to Father Delgado, Lalahon was a woman residing in the volcano of Alalaspina (Isla de Negros). They invoked Lalahon for their seedlings and when they didn't want to give them to them, send them the lobster. Father Chirino says that Laon denotes antiquity and was the name of the chief and superior god of the Visayas. Today, the Visayas de Negros peasants say that the demon Lallaon resides in the Malaspina volcano.

- Mythological Dictionary of the Philippines 

"The god Lalahon. It is said that the divinity Lalahon dwells in a volcano in Negros island, whence she hurls fire. The volcano is about five leagues from the town of Arevalo. They invoke Lalahon for their harvest; when she does not choose to grant them good harvests she sends the locusts to destroy and consume the crops."

- Miguel de Loarca in Relación de las Yslas Filipinas (1582).

"Lalahon was the fire-breathing goddess of Mount Canlaon who could be invoked for good crops but who sent out swarms of locusts if angered"

- William Henry Scott  in  Barangay - Sixteenth Century Philippine Culture and Society

The Malevolent Laon

Kanlaon the evil deity of destruction and fire

Ang Diablo ng Bulkan, Kanlaon

Like many old gods, often demonized and viewed as demons in modern times. In local folklore, the eruptions of Kanlaon are not mere geological events but manifestations of Laon’s wrath. The fiery plumes, rivers of lava, and ash clouds are interpreted as the demon's fiery breath, while the earthquakes and pyroclastic flows are attributed to his violent movements beneath the earth. Some Bicolano myths parallel this view, where Kanlaon is regarded as an evil god of fire and destruction, aligning with the widespread association of volcanoes with divine or supernatural retribution in Philippine folklore.

Ang Demonyo ng Kanlaon

Sa mga kwentong Bayan at alamat ng mga Bicolano si Laon o Kanlaon ay ang masamang anito ng kabilang ibayo, tawid dagat (Kabisayaan). Ang anito ng apoy, buklan at pagkawasak. Isang demonyo, isang masamang anito. Isang matikas at makapangyarihang hari ng bulkan, si Kan Laon. Ang hari sa kabundukan, apoy at pagkawasak.

Habang sa mga kwento ng mga Bisaya si Lalahon ay isa sa mga katawang lupa ni Laon, isang magandang diwata ng apoy at ng bulkan.

Kung paniniwalaan ng hinduismo at animismo ang mga sinaunang bathala ay hindi lang iisa ang katauhan. maraming anyo at maraming katawang lupa. may masama, may mabait. tulad ng kalikasan walang iisang tunay na mukha at wangis.

The Demon of Kanlaon Volcano

In the folklore of some locals living near Kanlaon Volcano in the Philippines, it is said that a demon named Laon is sealed within the volcano. This being is depicted as a fiery and malevolent entity, embodying the destructive power of the volcano itself. Laon is described as a demon who breathes fire and brings destruction. Its fiery nature is often linked to the glowing lava and eruptions of Kanlaon Volcano. According to the stories, Laon spreads chaos through fire, destruction, and suffocating sulfuric clouds. The dark smoke and ashfall during eruptions are interpreted as manifestations of the demon’s anger.

The name "Laon" has ancient roots in Visayan mythology, where it was associated with a supreme deity or a powerful figure. Over time, this interpretation may have shifted, influenced by colonial-era Christian teachings that reframed such beings as demons rather than gods.

This folklore reflects how local communities interpret the powerful and unpredictable forces of nature, blending spirituality, mythology, and oral tradition into a story that connects the physical world to the metaphysical.

The Dragon of Kanlaon a childrens fairytale

One of the many contemporary story about Kanlaon Volcano is the dragon of Kanlaon. Its a testament on how stories and mythologies evolve over time. Though Fire breathing dragon is a very western and European concept ( Almost all Asian dragons are perceived as benevolent and neutral associated with water and good fortune.) . It shows how the local lore can mix with the folktales and foreign influence. A True testament in how Philippine mythology changes and evolves over time.  Today the Dragon of Kanlaon is more popular with the English-speaking Filipino abroad community. a perfect blend of Foreign influence and oral lore.  It also shows how Philippine mythology is very inclusive.

possible European and Western influence on the fairytale.

In medieval Christian art and literature, dragons were depicted as enemies of saints and heroes, such as St. George, who famously slayed a dragon. These stories symbolized the triumph of good over evil and reinforced the image of dragons as forces of destruction.

Dragons were also seen as embodiments of paganism or heresy, which were viewed as threats to Christian faith and society.

Dragon as a Christian and Catholic symbol for Evil and fire

In Christian and Catholic traditions, dragons are often symbols of fire and destruction due to their portrayal in biblical and theological contexts as representations of chaos, evil, and opposition to divine order. We could Speculate that the Dragon is actually the evil fire breathing deity of the Volcano.

The Archangel Saint Michael Terrassing the Dragon by V. M. De Girolamo after Guido Reni, 1957

Biblical Association with Satan and Evil

• In the Book of Revelation (12:9), the dragon is explicitly associated with Satan: "And the great dragon was hurled down—that ancient serpent called the devil, or Satan, who leads the whole world astray." This depiction ties dragons to ultimate evil and rebellion against God.
• Dragons symbolize Satan's destructive nature and his role in bringing sin and chaos into the world, often portrayed through fire and destruction.

European Dragons are Fire and Destruction 

 Fire Dragons of the West

The concept of the fire dragons predates Christianity and is found in many ancient Western and European cultures, often associated with chaos, primal forces, and natural disasters. Christianity adapted this imagery, incorporating it into its narratives to convey spiritual struggles against evil.

For example, in ancient Mesopotamian and Greek myths, dragons guarded treasures or wreaked havoc, making them ideal symbols for dangers that needed to be overcome.

Dragons as symbols of fire and destruction in Christian and Catholic thought stem from their biblical association with Satan, their alignment with the imagery of divine judgment through fire, and their adaptation from older mythological traditions as representations of chaos and evil.

The Eruption of 2024

On June 3, 2024, the Kanlaon Volcano erupted dramatically, displacing 1,386 families and sending shockwaves of fear across the region. The eruption, which included a 5,000-meter-high plume of incandescent ash and probable pyroclastic density currents, was described as both awe-inspiring and terrifying. Many locals, steeped in the lore of Laon, could not help but see this as the demon’s latest awakening.

Communities near the volcano reported sulfurous odors and ashfall, while volcanic haze spread as far as the Bicol Region, reinforcing the mythical connections between Laon and widespread destruction. Adding to the devastation, heavy rains following the eruption triggered lahar flows in nearby towns, such as La Castellana, burying homes and farmland in volcanic debris.

Laon as a Demon for fire and destruction

Folklore Meets Reality

Kagaya sa mga kwentong bayan naghatid ng pinsala at takot ang mga usok,asupre at ulang abo galing sa bulkang Kanlaon. Nakakatakot, nagbabadya ng apoy at pagkawasak, ang apoy ng Laon.  Kung tatanungin ang pangkaraniwang tao sasabihin nilang isang diyos diyosan ang demonyo ng bulkan. Ang pag samba sa diyos-diyosan  ng apoy at delubyo ay naghahatid ng panganib. Ang demonyo ng bulkan na naghahatid ng kapahamakan sa Negros.

Delubyo at Sakuna, pagkawasak at takot

 Typhoon Ferdie (Philippines )
Kanlaon Volcano eruptive unrest
Earth Quakes
Ashfall
Flashflood
Landslide

The enduring tale of Laon reflects the intricate way myth intertwines with reality in the Philippines. For centuries, the people living near Kanlaon have both revered and feared its power. Stories of Laon serve as a cultural coping mechanism, explaining the unpredictable and catastrophic nature of volcanic eruptions. These legends also underscore the deep respect Filipinos have for nature, recognizing both its life-giving and life-destroying forces.

If animism is to be believed  The worship of the demon Laon makes it stronger, more fire and more destruction

As the ash settles from the 2024 eruption, the tale of Laon will undoubtedly continue to evolve, merging historical events with myth, keeping the fiery demon of Kanlaon alive in the hearts and minds of the local people. The enduring power of this folklore ensures that Laon remains not just a figure of terror but also a symbol of the Philippines' enduring relationship with its natural and spiritual world.

Reminder Myths, stories and Symbolic. Mythological iterations of ancient stories which people have been telling each other for centuries, they're not true or real in a literal sense, they are a mere conduit and glimpses on how people tried to explain natural phenomena's etc.. 

REMINDER

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.