Nora Aunor: The Superstar, National Artist, and Bicol’s Pride

 

 Nora Aunor: The Superstar, National Artist, and Bicol’s Pride

Nora Aunor, fondly known as the "Superstar" of Philippine showbiz, is an iconic figure whose influence spans generations. Born Nora Cabaltera Villamayor on May 21, 1953, in Iriga City, Camarines Sur, she rose from humble beginnings to become one of the most celebrated and respected artists in the Philippines.

Her journey is a true rags-to-riches story. From selling water at the train station in her hometown to winning a national singing contest, her golden voice became her ticket to stardom. 

Her story is one of destiny and determination. As a young girl, she sold water and peanuts at the train station in Iriga, helping her family survive. Her breakthrough came when she won the Tawag ng Tanghalan singing contest in the 1960s, capturing hearts with her powerful and emotive voice. But her talent didn’t stop there, she transitioned into acting, where she would make the biggest impact.

But Nora Aunor didn't stop at singing she ventured into acting and soon proved herself to be one of the country’s finest dramatic actresses.

The 1970s to early 1980s marked the golden age of Nora Aunor’s career. She dominated not only the music charts but also the silver screen and television. She was everywhere concert halls, movie theaters, award shows and became the most bankable star of her time. Fans, known as "Noranians," followed her religiously. Her love team with Tirso Cruz III (Guy and Pip) was a national obsession, but it was her dramatic depth that cemented her as a once-in-a-generation talent.

Over the decades, she starred in critically acclaimed films such as Himala, Tatlong Taong Walang Diyos, Bona, and Thy Womb. Her portrayals—often of complex, struggling, but deeply human women earned her countless awards, both local and international. Her performance in Himala remains one of the most iconic in Philippine cinema, with her line “Walang himala!” becoming a part of pop culture history.

Most Celebrated Films

Nora Aunor’s filmography includes some of the greatest masterpieces in Philippine cinema, where she portrayed characters with unmatched realism and intensity. Some of her most acclaimed works include:

• Himala (1982) – A haunting story of faith, deception, and hysteria in a small town. Her performance as Elsa earned international acclaim, and the film is often considered the greatest Filipino film of all time.

• Tatlong Taong Walang Diyos (1976) – A wartime drama where she played a woman caught in the chaos of the Japanese occupation. This remains one of her most powerful roles.

• Bona (1980) – A gritty, neorealist tale of obsession and martyrdom that was far ahead of its time.

• The Flor Contemplacion Story (1995) – A gut-wrenching biopic that brought her international awards and reignited national conversations on OFWs.

• Thy Womb (2012) – A late-career masterpiece where she portrayed a childless Badjao midwife with depth and quiet power, earning praise from international film festivals.

• Minsa’y Isang Gamu-Gamo (1976), Ina Ka ng Anak Mo (1979), Bakit Bughaw ang Langit? (1981), and Ang Totoong Buhay ni Pacita M. (1991) are also among her finest works, each one showcasing her versatility and emotional range.

In 2022, Nora Aunor was finally named National Artist for Film and Broadcast Arts, one of the highest cultural honors in the Philippines. It was a long-awaited recognition of her invaluable contributions to the arts and the nation’s cultural heritage.

National Recognition

After years of delivering world-class performances, Nora Aunor was conferred the title of National Artist for Film and Broadcast Arts in 2022. It was a moment of triumph, not just for her, but for every Filipino who saw themselves in her journey from humble beginnings to legendary success.

Bicol’s Brightest Star

Nora Aunor stands as a beacon of pride for Bicolanos. Her roots in Iriga City are a constant reminder that greatness can rise from any corner of the country. She is not just a star on screen but a symbol of perseverance, talent, and authenticity.

More than an actress, Nora Aunor is a cultural icon, a national treasure, and truly, the face of Philippine cinema. Her legacy will live on, not just in film reels, but in the hearts of a nation she helped shape with her art.

As a proud Bicolana, Nora is a source of immense pride for the region. She continues to inspire not just aspiring artists from Bicol, but all Filipinos, proving that talent, resilience, and heart can overcome even the most difficult odds.

More than a superstar, Nora Aunor is a national treasure a living legend whose artistry and legacy will continue to shine brightly for generations to come.

full Moon over Ibalong

 

 Full Moon above Bicol. wow!

Full Moon tonight! Dayaw na Dayaw ang bulan!

Bulan

"Sa katahimikan ng gabi, ikaw ay liwanag,
Mukha mong busilak, sa  mga ulap ay hinahanap.
Hinahabol ng dagat, may lihim na pagsinta,
Ngunit ikaw ay hanging malaya,hindi makamtan,

Hindi mahahawakan."

Oh Bulan

"Sa gab-i nin kasiring, saro kang sirang liwanag,
An saimong kagayon, minasuya nin alapaap.
Ginigibo nin dagat, an puso niyang naghahabol,
Alagad kaipuhan, baga kang layang dai mahahawakan."

Bulan
"In the silence of night, you are the light,
Your pure face drifts softly among the clouds.
The sea longs for you, chasing with quiet desire,
But you are the light, and never to be held tight"

In Bicolano mythology (from the Bicol region in the Philippines), the moon god is Bulan. Bulan is one of the many moon gods in Philippine mythology and even in old folk religion. Bulan is spirit of the moon and the god (or deity) of the moon in Bicolano mythology.

Bulan of Philippine mythology

"Sa mga kwentong pasa-pasa asin kwentong-bayan, si Bulan bilang espiritu asin diyos kan bulan, kilala siya bilang napagayon na lalaki, may hararom na kaamong lawas asin puting-puting balat. Maski an mga aswang na Magindara nagin maamo pansamantala, maski an mga pakpakan na pating nalimutang maglupad sa irarum kan saiyang liwanag."

Sa mga kwetong pasa pasa Kilala sa pagiging napakagandang lalaki pagkakaroon ng napaka among mukha at napaka puting balat, maging ang mga aswang na magindara ay pansamantalang naging maamo, maging ang mga pating na pakpakan ay nalimutang lumipad pansamantala.

Bulan of Bicol mythology

Bulan as depicted on Philippine TV ( Raya sirena) as the Moon god and deity of Mermaids

He’s often described as young, beautiful, and radiant, sometimes depicted as an (feminine male) effeminate or androgynous  (napakagandang lalake, sobrang ganda parang babae na) figure, which makes him especially unique among Philippine mythological deities. Associated with calm, gentleness, and beauty, in contrast to more aggressive or fiery deities like sun gods or war spirits.

Bulan and Haliya

Haliya and Bulan in Bulan Music video by Ken of SB19

Ken aka Felip of SB19 as Bulan in music video Bulan 

Bulan is also linked to Haliya, the moon goddess known for her strength and independence, sometimes portrayed as Bulan’s sibling and in other stories Haliya is his daughter and in some just his defender.

Bulan as depicted in  "Dayaw sa Bilog na buwan " in Balud theatre of Bicol

Bulan is best known in Bicol as the deity chased by the Bakunawa. He represents the soft, emotional, mysterious qualities of the moon, youth, and beauty, often contrasted with the boldness of sun or war gods. Much of Bicol mythology, like other indigenous Philippine systems, was eroded or syncretized due to colonization, which is why stories about Bulan are fragmented and regional. But oral traditions and modern scholars help keep those stories alive.

Bulan bathala ng buwan

Reminder

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

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

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

Don’t Stalk or Harass Storytellers Online.

This should be obvious butt some folks need the reminder. Disagreeing is fine, but attacking, doxxing, or bullying creators? Big no-no. You’re not “correcting history,” you’re just being creepy. Respect the people keeping these stories alive.

Foreigners Please don’t use Filipino myths to farm views, start drama, or pit Filipinos against each other. These stories are meant to unite, not divide. If your content is causing more fights than fascination, it might be time to step back and rethink the approach.

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.

Why Some Foreigners Find It Hard to Understand Philippine Mythology

 

Why Some Foreigners Find It Hard to Understand Philippine Mythology

1. It’s Not Linear or “Standardized”
   In many Western cultures, myths tend to follow a clear pattern—beginning, middle, end. Stories are often written down in fixed forms.
   But in Philippine mythology, the same creature or tale can change from one region to another. The Aswang can be a vampire, a witch, or a shapeshifter depending on who tells the story. That can feel confusing or inconsistent to outsiders who expect one “official” version.

2. It’s Deeply Tied to Culture and Language ( Aral aral din mag Tagalog o Filipino pag may time)
   These myths are told in Filipino or local dialects, and the meanings are often linked to cultural beliefs, values, or superstitions that aren't easily translated. Foreigners may miss important context, symbolism, or the emotions behind the stories.

3. It’s Oral and Flexible
   Philippine mythology wasn’t meant to be “fixed” in books. It lives through storytelling that changes over time and adapts to each storyteller. For people used to rigid systems, this feels unfamiliar even chaotic.

4. Myth and Reality Often Overlap
   In the Philippines, mythology blends with everyday life—some people still believe in these creatures or rituals. To outsiders, it might seem strange or too “superstitious,” especially if they don't understand the spiritual or emotional importance of the stories.

Why Some Foreigners Get Frustrated or Even Aggressive toward Filipino Storytellers

1. Cultural Misunderstanding
   When someone doesn’t fully understand a culture, they may feel confused or overwhelmed. Instead of asking questions respectfully, some foreigners react with frustration or mockery. They may try to challenge or argue with Filipino storytellers rather than learning from them.

2. Expecting “One Right Version”
   Many foreigners are used to mythologies being written down and standardized—like Greek or Norse myths. So when they hear different versions of a Filipino legend, they may accuse the storyteller of being “wrong.” They don’t realize that oral tradition thrives on variation. In Philippine mythology, many versions can be true.

3. Clout-Chasing and Division
   Sadly, some foreigners try to insert themselves into Filipino mythology discussions just to get attention. They clout-chase by acting like experts or stirring controversy, often without deep understanding or respect for the culture. Some even go as far as pitting Filipinos against each other—debating whose version is “correct,” criticizing local creators, or spreading drama to get more clicks, followers, or views.
   This behavior is not only absurd. it’s harmful. It turns a beautiful, shared heritage into a popularity contest.

4. Colonial Mindset and Ego
   There are still people who carry colonial attitudes, treating Filipino stories as “less valid” just because they’re not Western. When Filipinos speak with confidence about their culture, these individuals may feel threatened. Instead of being humble and curious, they try to dominate the conversation or discredit the storytellers.

5. Bias and Colonial Mindset (Again yes ulit ulit nalang)
   Sadly, some people still carry a mindset that non-Western cultures are “less serious” or “less real.” They may look down on local beliefs or storytellers as “uneducated” or “making things up,” which is both unfair and disrespectful.

Dear Foreigners Who Wanna Learn Philippine Mythology

Philippine Mythology Is Not Netflix Season 1.

There’s no “official” storyline. No cinematic universe where everyone agrees. One town says the Manananggal flies at night. Another says she sells kakanin during fiestas. Both are correct. Don’t look for consistency—embrace the chaos. It’s part of the charm.

Don’t Bring That Western Fixed-Mindset Here.
This isn’t Greek or Norse mythology with one version and a cast list. Ours is alive, constantly changing, and told differently across our 7,641 islands. It’s not broken—it’s beautifully flexible. No need to fix it, just feel it.

 Learn a Bit of the Language Or Three. (hindi yung kami pa ung mag a adjust)

Want to go deeper? Learn some Tagalog, Bisaya, Ilocano, or any of our many local languages. Mythology isn’t just in the story—it’s in the words, the accents, the flavor. You don’t need to be fluent, just willing. Locals will appreciate the effort more than perfect grammar.

Don’t Stalk or Harass Storytellers Online.

This should be obvious butt some folks need the reminder. Disagreeing is fine, but attacking, doxxing, or bullying creators? Big no-no. You’re not “correcting history,” you’re just being creepy. Respect the people keeping these stories alive.

Clout Is Not a Personality.
Please don’t use Filipino myths to farm views, start drama, or pit Filipinos against each other. These stories are meant to unite, not divide. If your content is causing more fights than fascination, it might be time to step back and rethink the approach.

Mythology Is for Everyone but It Starts With Respect.
Philippine mythology welcomes all curious hearts. It’s a bridge between generations, islands, and even countries. But like any culture, it asks you to come with humility, respect, and a willingness to listen. The goal isn’t to own it, but to learn from it and maybe fall in love along the way.

Reminder

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

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

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

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

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

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

REMINDER

Mga kwentong Pilipino at pagkukwento ay para sa lahat...

Philippine Mythology is for everyone—Filipinos, Filipinxs, and even foreigners! These stories are meant to be shared, enjoyed, and passed down through generations. They’re not set in stone and can have many different versions You don’t have to be an expert to enjoy them. These stories evolve with time, and everyone is welcome to listen, share, and get lost in their world. Mythology connects us all, no matter where we come from!

(Re)classifying Bikol Languages - by Jerimah Cordial

 

(Re)classifying Bikol Languages

Critiques on the Three Language Classifications of Bikol

·by J. Cordial orginally posted Feb 23, 2025

Inthe home of the oragons lies a fascinating family with a complex structure.

Bikol Languages refer to a group of languages spoken primarily by more than 4.43 million speakers in the Bicol peninsula (figures date back from the 1990 census).

Like many Philippine languages, Bikol shares deep linguistic roots with other Austronesian languages, reflected in its cognates and etymological connections. However, Bikol is not a single language but a macrolanguage — an umbrella term encompassing 12 distinct languages and at least 24 different dialects and varieties.

Understanding the relationships between these languages allows us to trace their historical development and linguistic evolution. A systematic classification — much like a family tree — provides a clearer framework for analyzing their connections. But until today, the classification of Bikol languages remains a challenge. “How many languages in Bikol are there, exactly?” The answer depends.

Existing Classifications

Bikol languages has many classifications, the more popular of which is by Lobel (2000). But prior to Lobel, there were two other classifications made.

Let’s characterize each of them:

1. Ethnologue — Bikol has three language groups: (1) Coastal Bikol, (2) Inland Bikol, and (3) Northern Catanduanes.

Ethnologue, a comprehensive database of world languages published by SIL International, assigns each language a unique ISO 639–3 code for standardization. While its classifications are sometimes updated based on linguistic research, field studies, and contributions from linguists, many scholars criticize Ethnologue for being overly rigid or too reliant on ISO codes, which may not fully capture linguistic diversity.

Ethnologue’s classification follows a genealogical and linguistic relationship-based approach, meaning languages are grouped based on linguistic similarities rather than purely geographic factors.

Ethnologue Classification of Bikol Languages (Relationship-Based Approach)

Under this framework, Agta languages (i.e. Isarog Agta, Mount Iraya Agta, and Mount Iriga Agta) are classified as languages of their own. Additionally, Albay Bikol is recognized not as a single language with dialects but as a cluster of four closely related languages

2. McFarland (1974) — Bikol is only one language with four subgroups: (1) Northern Catanduanes, (2) Inland Bikol, (3) Coastal Bikol, and (4) Southern Bikol.

In his study, McFarland identified “eleven relatively well-defined dialect areas” within the Bikol language group. His classification was based on dialect boundaries determined through isogloss bundles — linguistic features that mark distinctions between dialects.

However, McFarland used the term “dialect” (not language) to refer to speech varieties that are not mutually intelligible, meaning some Bikol speakers from different areas may struggle to understand one another.

McFarland (1974) Classification of Bikol Languages (Isogloss-Based Approach)

McFarland’s classification is isogloss-based approach. An isogloss is a boundary that separates areas where people speak differently. When many of these boundaries overlap in the same region, they form an isogloss bundle, which marks a significant language or dialect difference. Notice the numbers in the classification framework that indicates how many number of isoglosses occur in each bundle.

McFarland’s classification was the first to apply the term “dialect areas” to Bikol languages, supporting the concept of a dialect continuum. He observed that some varieties did not fit neatly into a single category, suggesting that Bikol dialects exist along a linguistic spectrum rather than within rigid classifications.

Additionally, McFarland separated Southern Bikol subgroup from Bikol languages due to high number of isogloss and strong Bisayan influences.

3. Lobel (2000) — Bikol has 4 languages: (1) Northern Coastal Bikol, (2) Southern Coastal & Inland Bikol, (3) Northern Catanduanes, and (4) Bisakol.

Lobel’s (2000) classification of Bikol languages is distinct in several ways, particularly in how it groups languages based on linguistic similarities while considering geography and historical migration patterns that have shaped language variation in the region.

In this classification, Lobel is one of the first to formally classify Bisakol (a mix of Bikol and Bisayan elements) as a distinct language. Ethnologue and McFarland (1974) did not include this because they they exhibit Bisayan phonological and lexical influences.

Lobel’s classification also refined McFarland’s framework, introducing a clearer distinction on Northern Coastal Bikol versus Southern Coastal & Inland Bikol, which McFarland did not explicitly separate.

Lobel (2000) Classification of Bikol Languages (Intelligibility-Based)

A major critique of Lobel’s classification is that he treats broad language groupings as separate languages, even though they clearly have multiple unintelligible languages each.

For instance, Lobel classified Buhinon as a dialect within Southern Coastal & Inland Bikol, but it is now recognized as a distinct language of its own.

Unlike McFarland, who focused on isoglosses, Lobel relies primarily on mutual intelligibility to determine language boundaries, maximizing on Swadesh list to measure lexical similarity by comparing basic vocabulary words across languages.

However, this approach can sometimes be subjective — mutual intelligibility varies based on exposure, context, and individual speakers’ familiarity with neighboring varieties, which can risk over-fragmentation of Bikol languages. Two languages may have a high lexical similarity but still be difficult to understand due to differences in pronunciation, grammar, or usage.

Another major issue with Lobel’s classification is his use of exonyms — language names that are externally assigned rather than locally recognized. Terms such as “Bisakol” and “Central Standard” are not commonly used by native speakers, making his framework more externally imposed.

Because of this, Lobel’s classification risks misrepresenting local linguistic identities, as many Bikol speakers do not necessarily recognize or accept these imposed labels.

Summary

A Summary of Bikol Language Classification

“How many languages in Bikol are there, exactly?” can never be determined with inconsistent data. Since these classifications are outdated, there is a need to reclassify Bikol languages. A clearer and updated classification not only aids linguistic research but also supports cultural preservation, education, and policy-making.

Personal Effort to Reclassify

Currently, I am reclassifying the Bikol languages to refine Lobel’s (2000) earlier work. In my framework, Bikol languages will be categorized into four language groups: Northern Coastal Bikol (NCos), Southern Coastal & Inland Bikol (SCI), Northern Catanduanes Bikol (NCat), and Central Sorsogon Bikol (CSor).

Lobel’s (2000) twelve identified “dialects” will be reclassified as distinct languages, except for Partido and Libon, which will remain dialects due to their high mutual intelligibility. Additionally, the Agta languages will be incorporated into this classification: Isarog Agta (NCos), Mount Iraya Agta (NCos), and Mount Iriga Agta (SCI).

Furthermore, Bisayan languages will be separated from Bikol languages in this framework. As a result, Southern Sorsogon (renamed Gubatnon) and Masbateño (renamed Minasbate) will no longer be classified among the Bikol languages. Tigaonon will also be recognized as a separate language.

This classification is based on a redefined concept of intelligibility within a community-centered framework, ensuring that linguistic distinctions align with how speakers themselves identify their languages. This will take a while, but it’s a step.

The Need for Reclassification

Language classification must evolve alongside linguistic and socio-cultural changes. The three classifications of Bikol languages are now outdated and require revision and, while their studies remain valuable, these frameworks no longer fully capture the region’s linguistic realities. We must also consider the policies of the Komisyon sa Wikang Filipino (KWF), which officially recognized Rinconada and Buhinon as languages — contrary to Lobel’s (2000) classification of them as mere dialects.

One of the primary issues with past classifications is their rigidity in defining linguistic boundaries. Their inconsistencies highlight the need for a classification system that better reflects the continuum of Bikol language varieties. Terminology also requires reassessment. The term Bisakol, describing the mix of Bisayan and Bikol, is not recognized by native speakers. Moreover, given its strong Bisayan influence, Bisakol’s classification as a Bikol language should be reconsidered rather than applying artificial categories.

Reclassifying the Bikol languages is essential for a more accurate and inclusive framework that reflects recent linguistic developments and cultural identities. Just like any modern family, we need to consider who still belongs and who has moved out of the house to form a separate family of their own.

Family trees are always updated, and the same should be true for the classifications of our languages.