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.

Perceptions Shaped by Waves: The Visayan Gods as Demons in Bicolano Eyes

 

Mythology is the symbolic nature of telling things, the interaction between different regions often shaped perceptions and mythologies. One fascinating aspect of this interaction was the contrasting views held by the Bicolano people of Ibalong regarding the Visayan gods, whom they saw as demons. This intriguing perspective can be understood through the historical context of the relationship between the regions.

The Bicol region, historically known as Ibalong, was a land of rich culture and diverse mythology. Its name has been variously interpreted, with meanings ranging from "to bring to the other side" to "where there is a river," reflecting the interconnectedness of its landscapes and communities. On the other hand, the Visayans, collectively referred to as Bisaya, resided in the Kabisay-an islands, encompassing a distinct cultural identity.

The Bicolanos of Ibalong and the Visayans were separated not just by geographical boundaries but also by distinct cultural practices and beliefs. The Visayans, fierce warriors adorned with tattoos, were known for their seafaring prowess. They would embark on raids, attacking peaceful colonies along the coastal areas, including those of Ibalong. These seaborne incursions created a tumultuous relationship between the two regions.

In the eyes of the Bicolano people, some Visayan gods were perceived as demons due to the visceral experiences of raids and conflicts. The tattoos that adorned the Visayan warriors, symbols of their strength and identity, became ominous markers of impending danger for the Bicolanos. The attacks led by the fierce tattooed warriors were not only physical assaults but also spiritual invasions that left an indelible mark on the psyche of the Ibalong community.

Kan-laon

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.

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.

Nagined, Magkaburak, Arapayan

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

As the Visayan gods were invoked during these violent encounters, the Bicolanos associated them with malevolence and chaos. The gods, representing the forces behind the raids and destruction, became synonymous with the demons that brought harm to Ibalong. This perception was further fueled by the challenges posed by cultural differences and territorial disputes.

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

In the intricate dance of historical narratives, the Bicolanos of Ibalong viewed the Visayan gods through the lens of conflict and strife. The tattoos that once signified strength and identity to the Visayans became, in the eyes of the Bicolanos, the markings of malevolent beings who, in the form of gods, brought havoc to their peaceful colonies. This interplay of regional dynamics showcases the complex ways in which perceptions are shaped by historical interactions and cultural clashes.

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.