Paul and Daisy Soros Fellowship - Mike Alvarez

PDSoros-Logo.jpg

The Paul & Daisy Soros Fellowships for New Americans is the premier graduate school Fellowship for immigrants and the children of immigrants. Every year, the organization awards thirty Fellowships to new Americans who are pursuing graduate education in the United States. Each award is worth up to $90,000 (up to $25,000/year stipend; up to $20,000/year tuition support). Awards support up to two years of full-time graduate study in any field, including the visual and performing arts, and at any graduate degree-granting institution in the United States, with the exception of online programs. In addition to funding, Fellows join a community of over 500 New Americans with family origins in over 75 different countries. The Fellowship program looks for applicants who have demonstrated and sustained accomplishments that show creativity, originality and initiative. In addition, the Fellowship looks for evidence that an applicant’s proposed graduate training is likely to enhance future creativity and accomplishment, that accomplishment is likely to persist and grow, and that the individual has a commitment to responsible citizenship in this country.

We reached out to Mike Alvarez, a recipient of the fellowship award from the Philippines, as he shared how he faced challenges in his life and his journey to get where he is today.

2014AlvarezMike Mike Alvarez Paul and Daisy Soros Fellowship Award to support a PhD in Communications

The social stigma of mental illness is Mike's subject of investigation. Having spent time in the mental health system himself, he would like to help increase public understanding of psychiatric disorders.

Mike was ten when his family left their comfortable lifestyle in the Philippines to move to a rough neighborhood in Jersey City. The transition proved bumpy, to say the least. After several months, Mike's father went home, leaving his mother as the family's sole support.

Instilled with a love for learning, Mike excelled at school--but a rift was opening up in his mental world. As an undergraduate at Rutgers University, he suffered from debilitating anxiety that turned into horrifying delusions and a suicide attempt. A stay in hospital was a turning point, steering him toward the study of mental health. Mike's senior thesis on the relationship between creativity and suicide won the Charles Flaherty Award and was subsequently expanded into his Master’s thesis at Goddard College.

Mike is currently enrolled in the Communications PhD program at the University of Massachusetts Amherst, where he is studying the phenomenon of cybersuicide. Recognizing the power of personal narratives, he has also completed a memoir about his own journey through mental illness.


1. Where and what do you see yourself doing in the next 5 years?

I have a lot of things lined up for the next 5 years, actually. Aside from completing my dissertation (on cybersuicide) and PhD in Communication at UMass-Amherst, I will also be writing/revising two books. The first book project, titled The Paradox Of Suicide & Creativity, has recently been picked up by Rowman & Littlefield's Lexington imprint. The second is a memoir recounting my past struggle with mental illness. I would eventually like to be a professor at a research-intensive university, and at the same time, be a public intellectual who links research with practice and activism.

2. What has been your greatest struggle/challenge and how did you overcome it?

One of the greatest struggles in my life had been contending with mental illness. Throughout college, I suffered from debilitating anxiety, depression, and paranoia, which culminated in a suicide attempt and admission to a mental hospital. It was a life-altering experience, one that assaulted my self-image as a competent person, because in a mental hospital you are infantilized. I overcame my symptoms through intensive psychotherapy, by being more open about my experiences with loved ones, and by refusing to see myself as a defective human being. When I use the words "mental illness," I mean it in an experiential rather than biological sense.

3. What has been your greatest motivation throughout your life?

When my family immigrated to the U.S., we traded our comfortable lifestyle in the Philippines for a financially and emotionally difficult one. I do not want my family to have any regrets coming here. I have worked very hard to seek opportunities for myself, so that I will one day be in a position to create opportunities for others in need. I want my family's immigration story to be a successful one in spite of all the hardships.

4. Who were your mentors?

I'm fortunate to have so many mentors, people who have been unwavering in their support and have gone beyond the role of advisor to nurture my abilities. One of them is George Atwood, Professor Emeritus at Rutgers University. He has been a friend and mentor for ten years now, ever since he supervised my senior thesis on suicide and creativity. Whenever I experience setbacks, he would always say to me: "Keep on keeping on." I'm also fortunate to have Professors Jarice Hanson and Martin Norden here at UMass-Amherst, who inspire me to take my work in new and surprising directions.

5. How did you hear about the fellowship?

Dr. Craig Harwood, Director of the Paul and Daisy Soros Fellowship Program, visited UMass-Amherst in Fall 2013 to lead an info session. I attended the session, and realizing that I was eligible, decided that I'd give applying a shot.

6. What made you decide to apply for the fellowship?

Several reasons. On the pragmatic end, the Fellowship would absolve me of departmental teaching obligations, which means more time for research, writing, and networking. The Fellowship stipend would also enable me to attend professional conferences and share my research more widely. On the symbolic end, the Soros Fellowship is a mark of distinction, a validation that the work I am doing is poised to make lasting contributions to society.

7. What was the biggest challenge when it came to deciding to pursue the field you're in?

I think the challenge is that my work is inherently interdisciplinary. Initially, I thought I was going to pursue a PhD in Clinical Psychology, which makes sense since my work revolves around suicide, trauma, and mental illness. I got a B.A. in Psychology from Rutgers, and did graduate coursework in psychology also. But then I realized that looking at these issues through the lens of one discipline wasn't going to satisfy me in the long run. I got an MFA in Creative Writing from Goddard College, and now, I'm doing a PhD in Communication at UMass-Amherst, with a dual focus on Technology & Society and Film Studies. These fields have opened up new avenues of inquiry for me--from studying representations of suicide in film and in popular culture, to examining how new media have shaped suicidal behavior.

8. As you gained more experience, how did your priorities change in life?

Having been mentally ill, I have learned to value time and moments of clarity, to make good use of every waking moment. I also try to make more room in my life for creative endeavors. One cannot live a purely intellectual life (or at least I can't). Even scholarly pursuits can benefit from small doses of creativity.

9. What’s been your favorite part about your journey in your personal life and in your career?

With regards to my career, my favorite part is seeing the hard work I've put in bear fruit, and being invited to speak at causes that are meaningful to me. For example, in March, UMass-Amherst had its first Out of the Darkness Walk for Suicide Prevention, where I spoke about my research on cybersuicide and my past struggle with suicidality. It can be so refreshing (and nerve-wracking!) to connect life inside the ivory tower with life outside--to link research with activism, and the professional with the personal.

With regards to my personal life, I am just thankful to be alive, that my life hadn't ended in college when it could have. If it had, I would have denied myself these amazing opportunities, as well as the chance to relish every joyful moment with friends, family and loved ones.

10. Would you recommend the fellowship to anyone else? Why/why not?

I would absolutely recommend that people apply for a Soros Fellowship. They have nothing to lose in applying. And if fortune smiles upon them, they become part of a supportive network filled with truly inspiring people that motivate you to do better and better work.

To find out more about the Paul and Daisy Soros Fellowship, visit their website at http://www.pdsoros.org/
.

A Dose of Perspective: On Failure and Asking for Help

v_white_depression_500x279 What is it about failure that makes life complicated? Is it the fear of failing? Is it letting others, or yourself, down? Is it feeling like you're wasting time or talent? Is it going 100 mph down a specific career path, only to realize you've been going in the wrong direction? Is it watching individuals whom you love go down paths you do not approve of? Is it feeling like you don't have all the answers? Is it experiencing depression* and not being able to get out of bed everyday? Perhaps it is a combination of several actions. Or perhaps it is just a reminder that we need to keep what we experience in perspective.

The idea of failure, as I see it, is a red flag. It's a reminder for us to understand that there are occurrences merely out of our control. That does not mean we, as individuals, are failures, nor are the actions we take. 

A year ago, in June 2014, I had the opportunity to serve as a panelist at the Annual UniPro Summit in New York City. Once I had a microphone in hand, I discussed how each failure I had experienced until that point were actually lessons in disguise. It was the first time I had been so vulnerable in a public space. I had done so candidly - I had not planned to talk about failure - and in front of an audience of over 100 young Filipino professionals and students from around the country. But I wanted to be honest and open. At that point, my "failures" included the fact that I was no longer pursuing a career in the field that I had studied in college, that I had been on the job hunt and underemployed for eight months, and that I had moved back home to live with my family. In reality, there is absolutely nothing wrong and any of these three facts. But really, were these truths my failures? Or were they just my perceived mishaps, existing only in my mind?

Fast forward one year to a warm May evening. Eleven young leaders and myself were gearing up for our graduation ceremony in Wilkinsburg, PA, a community right outside of Pittsburgh. It was in Wilkinsburg that we kicked off our nine-month leadership development training program through Coro, an incredible non-profit dedicated to growing leaders.

The Coro Fellowship in Public Affairs is no joke. It is rigorous and time-consuming. It pushes you out of your comfort zone and demands that you step outside of the box. From individual project placements with various government, business, non-profit and labor organizations, to whole group projects at the local, city, state and national level, we dove into the working world with passion and drive to tackle challenges in society. We were also faced with personality clashes, socioeconomic divides, race and ethnic differences, and conflicting beliefs. To add some imagery, a euphemism we often used to describe ourselves to others was 'twelve different people trying to drive the bus at once.' It took some time, but we eventually figured out a flow to our chaos. But that doesn't mean I was without my share of perceived personal failures.

And there we were, nine months later, at the conclusion of our program. Each of us had prepared reflections from our time in the program. But most importantly, we were there to share glimpses of systemic challenges and personal growth. The key insight that I shared with the fellows, Coro staff, family, friends, project hosts, community members and Coro supporters that evening was this:

While caring for and giving to others is part of the human nature, it is even more important to care and give to oneself. In order to be an effective leader, one must exercise self-compassion. A specific way one can do this is by asking for help.

When someone tells us to not be afraid to "ask for help," is not meant to be demeaning or the end all to any problem. It's not the solution. It's merely a tool for coping and managing stress. It is a step forward toward pure wellness and self-care. Asking for help does not demonstrate weakness. It demonstrates courage and strength. Looking back, I wonder how many of my failures would have changed to experiences of wonder and empowering interdependence had I done just that. Had I asked for help.

Vulnerability can be a scary thing. Telling people of your most inner turmoils and demons without knowing their response can be intimidating. What if they don't understand you?

What if they do?

A reminder to humanity: When someone opens up to you, listen. Whether or not they are a loved one, a colleague, or even a passerby who you just so happens to stumble upon while they weep: do your best to understand. Do not chastise or blame them. Show sympathy, or empathy if you can. Remind them that they are not alone in the pain they face.

And a reminder to those who are conflicted by failure: Be compassionate to yourself. Show yourself love by taking moments to reflect, show gratitude, or do something you enjoy or brings you peace. If you're not at a place to enact self-care, then ask for help. People may not always have a concrete answer or solution. But there is strength in numbers. You're never alone in the struggle you face. Chances are, you're not the only one who has deviated from your college major, been unemployed, or lived at home with family as a twenty-something or older.


*If you or someone you know is contemplating self harm or suicide, reach out to the National Suicide Prevention Hotline: 1 (800) 273-8255. Additionally, if you or someone you know is living with depression, or displaying symptoms of depression or other mental illnesses, get help. Mental illnesses are medical conditions and should not be overlooked. If you're comfortable, reach out to family, friends, peers and mentors for support. You can also talk to mental health professionals, such as a counselor, therapist, psychologist, psychiatrist or your primary care physician (PCP). If professional medical attention is inaccessible, reach out to community mental health centers. Other mental health resources can be found here.


The original version of this post appeared on Mama Tanap, a blog that focuses on personal health and wellness.

UNIPRO CONGRATULATES 2015-2016 EXECUTIVE BOARD

FOR IMMEDIATE RELEASE Contact:      

Iris Zalun

iris.zalun@unipronow.org

 

UNIPRO CONGRATULATES 2015-2016 EXECUTIVE BOARD

 

New York, NY - August 13, 2015 - On August 13, Pilipino American Unity for Progress, Inc. (UniPro) announced that its Board of Directors has appointed the organization’s new Executive Board for its 2015-2016 fiscal year. Kirklyn Escondo will assume the role of President, Stephanie Chrispin will serve as Vice President, and Alyssa Esteban will serve as Secretary General.

I am incredibly grateful for the opportunity to serve the Pilipino American community in the capacity of UniPro President,” states Kirklyn. “It is an honor and privilege to work with such a passionate Executive Board and staff, and I look forward to building with other community members, leaders, and organizations towards a truly unified and engaged Pilipino America.”

The new Executive Board brings many years of Filipino American community experience to UniPro’s leadership. Kirklyn is a clinical researcher who has been involved in the community since her undergraduate career at New York University. She joined UniPro in 2009 as a member of the organization’s inaugural batch of interns, and since then, has served in the roles of Director of Community Building and Secretary General. Stephanie, who joined UniPro in 2012, works in the philanthropic sector; she is trained in nonprofit management and earned her MPA in Health Policy and Finance from NYU Wagner while serving as UniPro’s Director of Fundraising. Alyssa also joined UniPro in 2012. A graphic designer, she graduated from Rutgers University, New Brunswick, where she was President of Rutgers Association of Philippine Students (RAPS).

UniPro Eboard

(From left to right) Kirklyn Escondo, Stephanie Chrispin, and Alyssa Esteban

UniPro also announced its newest members on the Board of Directors. Co-founder and former Executive Director Bryan Lozano, former President Iris Zalun, and former Vice President Noel Aglubat join incoming Chairperson Steven Raga, Marisa McCloskey, and Maria Cruz Lee on the Board.

Under its new leadership, UniPro aims to continue promoting visibility and equity in the Filipino American community, especially by promoting civic engagement and raising awareness of social justice issues affecting Filipino Americans and other communities of color. The organization also aims to continue celebrating the local artists and storytellers who are sharing and archiving the community's experiences and contributions to the rich fabric of American society. UniPro kickstarted the fiscal year this month by collaborating with My Baryo, My Borough, a community-curated oral history initiative to archive the Filipino American experience in Queens, NY.  

For more information about UniPro, go to http://unipronow.org/. For more about My Baryo, My Borough, go to http://www.mybaryomyborough.com/.

Photo Credits:
Kirklyn's headshot: Chauncey Velasco (chaunceyvelasconyc@gmail.com)
Stephanie's headshot: Natalia Roxas (natalia@filipino.kitchen)
Alyssa's headshot: Rexon Arquiza (rexon.arquiza@gmail.com)

 

About Pilipino American Unity for Progress, Inc. (UniPro)

Pilipino American Unity for Progress (UniPro) is a New York City-based 501(c)(3) nonprofit organization that envisions a unified and engaged Pilipino America. Founded in 2009, UniPro’s mission is to engage Pilipino Americans through collaboration, advocacy and education. It seeks to transform Pilipino students & young professionals into community leaders through its various programs, which incorporate professional development, history, and policy through the lens of the Pilipino experience. The organization allows Pilipino Americans the opportunity to explore their place in the community in the hope of owning their niche. Ultimately, UniPro asks Pilipino Americans to critically answer, “How do you define Progress?”

 

###

UniPro Commends Citizenship Pathway for Families of Fil-Am WWII Veterans

FOR IMMEDIATE RELEASE Contact: Therese Franceazca Balagtas Frances.balagtas@unipronow.org

 

PILIPINO AMERICAN UNITY FOR PROGRESS (UNIPRO) COMMENDS OBAMA ADMINISTRATION’S CITIZENSHIP PATHWAY FOR FAMILIES OF FILIPINO AMERICAN WAR VETERANS

Recommendation allows certain family members of veterans to seek parole

New York, NY, July 20, 2015 - The Obama Administration has announced an expedited pathway to citizenship for families of Filipino American war veterans. Through collaboration between the Department of Homeland Security and the State Department, this program allows family members of Filipino American war veterans to come to the United States under a case-by-case, parole process. This will alleviate the backlogged immigration process often due to caps on visas, which has caused wait times that can exceed more than 20 years.

“It’s refreshing to see our President acknowledging this issue among the many he’s been addressing as part of his legacy of change,” states Iris Zalun, UniPro President. “Despite decades of advocacy that Filipino Americans have invested in our veterans, this is a small step towards the full realization of the benefits and recognition they deserve.”

“While this announcement is long overdue for the Filipino American community, this is a tiny recompense for Filipino Americans who have served this country,” states Ryan Natividad, UniPro Director of Policy, Advocacy, and Research. “Many veterans have been denied benefits, and many have passed on without ever seeing what was ‘promised’ to them. The government needs to be held accountable for its inactions.”

During World War II, more than 260,000 Filipinos enlisted in the United States military. During the war, the Philippines was a Commonwealth of the United States. However, the Rescission Act of 1946, denied the Filipino American war veterans of their benefits. The American Recovery and Reinvestment Act of 2009 contained a provision creating the Filipino Veterans Equity Compensation Fund. While 43,000 claims were filed, only 18,900 were eligible.

In 1942, Congress passed a law naturalizing aliens serving in the United States military. However, after the liberation of the Philippines from Japanese occupation, the naturalization law expired at the end of 1946. The Immigration Act of 1990, after 45 years, restored citizenship to Filipino American veterans.

UniPro continues to advocate for the needs and well-being of all Filipino Americans, including the Filipino American veterans who have sacrificed greatly to fight for this country. We urge President Obama and Congress to provide our aging Filipino Americans veterans the rights and privileges afforded to them and to overhaul this broken immigration system.

About Pilipino American Unity for Progress, Inc. (UniPro) Pilipino American Unity for Progress (UniPro) is a New York City-based 501(c)(3) nonprofit organization that envisions a unified and engaged Pilipino America. Founded in 2009, UniPro’s mission is to engage Pilipino Americans through collaboration, advocacy and education. It seeks to transform Pilipino students & young professionals into community leaders through its various programs, which incorporate professional development, history, and policy through the lens of the Pilipino experience. The organization allows Pilipino Americans the opportunity to explore their place in the community in the hope of owning their niche. Ultimately, UniPro asks Pilipino Americans to critically answer, “How do you define Progress?”

# # #

This article was written by Ryan Natividad.

HUDHUD AND DARANGEN: VOICES FROM PRE-COLONIAL PHILIPPINES

hudhud.jpg

The Philippine Culture in Southeast Asia

Given more than 300 years under colonial rule[1], much of the cultural exponents of the Philippines have largely been branded as “westernized” to the extent of being “un-Asian” in terms of practices, orientation and even the mentality of its people. The dominant understanding of mainstream Philippine history only traces its beginning to the discovery of the Philippines by Spain in the 1500s. The cultural shifts that took place in the succeeding centuries masked what the Philippines was like prior to the 16th century, somehow severing the connection to the old ways of life that were known to early Filipinos (Del Castillo & Medina, 1974). Several festivals in the Philippines – which are already traditions introduced by the Spaniards – even depict how the ‘indios’ (the term they used to call the natives) have been enlightened and civilized through Christianization[2], and that their defeat[3] across the archipelago should be celebrated and immortalized. By in large, these became some of the  reasons why the Philippines at the moment is alienated from its Southeast Asian neighbors that have preserved much of their heritage, both tangible and intangible ones. This, however, does not preclude the fact that the Philippines has some traditions that – with adequate understanding and appreciation – ought to be cherished around the world.

Post-colonial approaches have always been interested in unearthing what the Philippines might have been prior to the being dominated by foreign powers. But, for a country as diverse as the Philippines, coming up with a homogenized description on the ways of life of the people poses some difficulty. This occurrence of multiple cultural traits and lifestyles of the ancient Filipinos, however, should never be frowned upon. Rather, this only suggests how rich the history and culture is, and how there is no singular way in capturing the ways ancient Filipinos saw and approached life. After all, these are also the strings necessary in tying the Philippines back to the larger Southeast Asian cultural paradigm, to which it shares affinities and resemblances with.

This note is a reflection on two ancient Philippine chants: the hudhud and the darangen epic. These two chants hold vast knowledge on the ways of life of ancient Filipinos.  Being the best preserved oral traditions that are not tainted by western influences these chants present themselves as valuable living specimens that possess high authenticity and reliability in providing not only the kind of music and songs that they had, but also a scintilla about the Philippines’ earlier worldviews.  I will also draw insights from my own experiences in witnessing firsthand how these chants are performed and how the locals deem them important to their life-cycles and identities.

 

The hudhud chants hail from the mountainous Cordillera region in northern Philippines, more popularly known for their world-renowned Ifugao rice terraces. Key in understanding the hudhud chants is to see its relation with and its influences on the immediate cultural landscape (Guerrero, 2013). The darangen epic, on the other hand, is a lengthy oral tradition that is artistically sung and acted (sometimes even danced[4]), rather than just being plainly recited. It recounts the history of the Maranao people around Lake Lanao, predating even the Islamization of southern Philippines in the 13th century.

What binds these two ancient folk songs together is that they have both been proclaimed by UNESCO as masterpieces of oral and intangible heritage of humanity, an initiative that strengthens the call for humanity to widen its concept of cultural heritage by bringing in the intangible aspects as being essential components of cultural diversity (UNESCO, 2000). The hudhud and darangen are the only two representative traditions of the Philippines that have been proclaimed as such. I am fortunate enough to have witnessed how these chants are performed in the traditional way.

 

Cultural Landscape: Relationship of the Hudhud and the Rice Terraces

Keeping the spirit alive by passing down indigenous knowledge to the younger generations.

As a continually evolving cultural landscape, the World Heritage-listed rice terraces in Ifugao[5] should be seen and understood in relation to its environment (mountains and forests) and the traditions of its people (rituals, farming practices, beliefs, etc.). It is interesting to note that integral to their life-cycle is a set of ancient songs called hudhud. More than a ritual song, the hudhud plays a key role in shaping and preserving the ways of life of the Ifugao people for more than 2,000 years.

The National Commission for Culture and the Arts of the Philippines documented these intangible treasures as, “recited and chanted … only during four occasions: the harvesting and weeding of rice, funeral wakes and bone washing rituals…. The hudhud [is] comprised of over 200 stories with about 40 episodes each. The language… almost impossible to transcribe, is full of repetitions, synonyms, figurative terms and metaphors. Performed in a leader/chorus style, the lead chanter – often an elderly woman – recites an introductory line to set the tone, and then this is taken up by a chorus of women to the end of the phrase…. It may take days to complete a story, depending on the situation. The hudhud is a celebration of Ifugao heroes, heroines, wealth and culture” (NCCA).

When I went to Ifugao several years ago, during the harvesting month, the mixture of the picturesque rice terraces and the performance of the hudhud by women reaping rice stalks was awe-inspiring — women singing while in the paddies is not an everyday scene. In my conversations with the locals, I realized how the songs are really revered and have never been altered from how their ancestors sang them many centuries ago.

The featured image above depicts Ifugao women gathering together in a hudhud ritual. (Photo lifted from B. Capati’s presentation)

Pryer-Pereira provided insights as to how such an old and lengthy song is successfully committed to the memories of the people. She explained that “the chanters of the hudhud rely heavily on culturally constituted environmental stimuli to help them remember the chant. Objects such as rice harvesting tools, familiar bodily movements, and the songs of other chanters help to distribute the burden of chant memorization. It is only when these individual memories work together that the whole text can be recalled” (2007). It was also revealed to me by the locals that there are particular chants from the hudhud that are specifically sang for pest protection, and in guiding them in seed selection.

As I paid closer attention to the practice, I noticed that most of those who were singing are adult women. In the Philippines, the preservers and guardians of culture are, unquestionably, always the women. This, however, brings to the fore another concern: “[t]he few people who know all the poems are very old, and young people are not interested in this tradition” (UNESCO, 2008).  Efforts are currently being undertaken by the government and various organizations to bring hudhud closer to the younger generation. One initiative undertaken was the institutionalization of Hudhud Schools of Living Traditions in the Ifugao (Talavera, nd).

 

Songs that Breathe the History of the Maranao: the Darangen Epic

The darangen, which literally means to “narrate in songs”, is one of the oldest and longest epic poems in the Philippines.  It consists of many cycles of episodes relating to different heroes, foremost among them Bantugan, whose name means, “one who makes history.” Through his heroic tales, the epic proves that early forms of government, culture, art, music, metal work and warrior arts were already in existence before the arrival of colonizers (Philippine Star, 2005).  In fact, the epic happens to be the local rendition of early Filipinos of the Hindu Ramayana, dating much older than the introduction of Islam in the south (Ty, 2010) – an undeniable proof that the far past is not unacquainted with the concept of cultural globalization (Tan, 2009).

UNESCO further detailed that the epic comprises “17 cycles and a total of 72,000 lines, [and that] the darangen celebrates episodes from Maranao history and the tribulations of mythical heroes. In addition to offering compelling narrative content, the epic explores the underlying themes of life and death, courtship, politics, love and aesthetics through symbol, metaphor, irony and satire. The Darangen also encodes customary law, standards of social and ethical behavior, notions of aesthetic beauty, and social values specific to the Maranao. To this day, elders refer to this time-honored text in the administration of customary law” (UNESCO, 2005). The NCCA also revealed that the recorded and transcribed part of the darangen is composed of cycles in iambic tetrameter or catalectic trochaic tetrameter. Though each cycle is independent from each other, the cycles are connected to one another in a logical, cohesive progression.

Two Maranao singers recite some parts of the darangen epic. It is a powerful vocal performance.

Having witnessed how some parts of the darangen were performed by the Maranao themselves in Marawi, I can still clearly recall how the performers displayed good grasp of the lines, together with their abilities to engage the audience during the hours-long performance. The excerpt that I have seen lasted for roughly two hours, and I was told that that was only a small chapter of the epic. Henrieta Elle, a retired professor of music and dance at the Mindanao State University in Marawi, also explained to me that it would usually take almost a week to complete the cycles of the darangen and that the performance is often accompanied by heroic musical scores that use stylized brass gongs called kulintang, drums called tambor, and a kudyapi (a native  guitar-like instrument). Performers are also expected to wear their finest woven textiles called ina-ol andmalong.

hudhud2

Given the vastness and depth of the darangen, several aspects of it are still waiting to be unlocked and understood by scholars and practitioners. Nevertheless, current threats to the darangen stem from the fact that it is in an archaic language that is not used as an everyday medium of communication in the locality. Like the fate of the hudhud in the north, the darangen also faces an alarmingly decreasing appreciation from the younger folks. Nowadays, parts of the darangen are just performed during weddings and other special occasions. It has also been observed that there is a thinning number of people who know how to play the kulintang and kudyapi. At present, there are no living kudyapi masters anymore in Lanao del Sur.

Assessments 

The culture and history of the Filipino people is indeed older than what was earlier established. The richness of the old Filipino culture is carefully preserved in the oldest forms of literary works there are to find – ancient songs. The challenge nowadays is to make sense of them amidst being in the modern age.

From the north, we see how highland chants have directly dictated the ways of life and the modes of survival of the people in  harshly mountainous, uneven terrains. The hudhud compliments the rice terraces in being enduring portraits of the ways of life of the Ifugao for over two millennium. Down south, cultural diversity and religious syncretism is recognized and established through the darangen epic. This epic breathes the history of the Maranao people, providing listeners a rich amount of knowledge about their norms, beliefs, and customs as it is rendered in a melodious performance of singing and dancing. Having both these oral literatures proclaimed as masterpieces of oral and intangible heritage of humanity only strengthens their importance and relevance not only to the Filipino people but to all around the world.

References

Bersola, C. (2011). The Hudhud of the Ifugao: enchanting chanting. The Philippine Star. Retrieved: http://www.philstar.com/good-news/644254/hudhud-ifugao-enchanting-chanting

Del Castillo, T., and B. Medina (1974). Philippine literature: from ancient times to present. Caloocan: Philippine Graphic Arts.

Guerrero, B. (2013). Philippine world heritage sites: history of its people and their culture. 10th Cagayan Valley Regional Tourism Conference Proceedings. Np.

NCCA (nd). Intangible heritage: masterpieces of oral ang intangible heritage of humanity. Retrieved:http://www.ncca.gov.ph/about-culture-and-arts/culture-profile/culture-profile-intangible-heritage.php

Peralta, J. (2003). Ifugao Hudhud: local to global dimension of the sacred. Manila: NCCA.

Philippine Star (2005). UNESCO proclaims darangen epic as masterpiece of intangible heritage. Philippine Star.

Pryer-Pereira, T. (2007). Telling tales: memory, culture, and the hudhud chants.  Swathmore University. Retrieved:http://www.swarthmore.edu/SocSci/Linguistics/Papers/2007/pyer-pereira_tiana.pdf

Talavera, R. (nd). The role of schools for living Traditions (SLT) in safeguarding the intangible cultural heritage in the Philippines: the case of the chants of the Ifugao.Manila: NCCA.

Tan, M. (2009). A Maranao epic. Philippine Daily Inquirer.

Ty, R. (2010). Muslims’ syncretism of the Hindu ramayana in the predominantly christian PhilippinesRetrieved:http://www.academia.edu/1671423/Muslims_Syncretism_of_the_Hindu_Ramayana_in_the_Predominantly_Christian_Philippines

UNESCO (2000). UNESCO to protect masterpieces of oral and intangible heritage of humanity. Retrieved:http://www.unesco.org/bpi/eng/unescopress/2000/00-48e.shtml

UNESCO (2005). Darangen epic of the Maranao people of Lake Lanao. Retrieved:http://www.unesco.org/culture/intangible-heritage/32apa_uk.htm

UNESCO (2008). Hudhud chants of the Ifugao. Retrieved:http://www.unesco.org/culture/ich/RL/00015

[1]    Three centuries of Spanish colonial rule, three decades of American control, and short periods of British and Japanese occupations.

[2]    Sinulog festival in Cebu, Ati-atihan festival in Aklan, Daro Sinulog in Dumaguete, and to some extent even the Guling-guling festival in Paoay, Ilocos Norte.

[3]    Moro-moro is a play that recounts the battles of the Spaniards against the Muslim antagonists, where the colonizers and Christianity always win.

[4]    Most of the dances of the Maranao people are based on the Darangen. The finest of these dances is theKasingkil.

[5]    Inscibed to the UNESCO World Heritage List as “Rice Terraces of the Philippine Cordilleras” , the first set of properties in the list to be designated as a cultural landscape upon inscription in 1995.

 

 Post by Bernard Joseph Esposo Guerrero


74762_10151172406852613_687399416_nBernard Joseph Esposo Guerrero is a self-confessed cultural junky. Based in the Philippines, he has delivered several talks on tourism, destination promotion and management, and the importance of cultural conservation. As a heritage advocate and consultant, he has assisted and appeared in some features by the Euronews, NGC-Asia, Solar TV, ABS-CBN Regional News Network, as well as being cited by the Philippine Star and the PIA. He enjoys ticking off as many UNESCO World Heritage Sites as possible. So far, Gunung Mulu National Park in Sarawak, the Preah Vihear Temple in Cambodia, and the Philippines' Apo Reef and Ifugao Rice Terraces are the best places he has seen in SE Asia.


Discover other similar posts on Bernard's blog