Assessing the current status of the Kapampangan “pre-Hispanic” script

Michael Raymon M. Pangilinan

[email protected]

The term “pre-Hispanic” in referring to the indigenous non-Roman script that is used to represent the
Kapampangan language is a bit problematic. Although it is in fact a script that was in use prior to the Spanish
conquest of Luzon in 1571, it also connotes the idea of something that ceased to exist at the onset of Spanish
colonialisation. The indigenous script is still in use today, ironically among a growing number of Kapampangan
youth. Though considered an “antique” by the time of Marcilla (1895), it was also said to have been revived around
this time and brought over to the 20th century by no other than Aurelio Tolentino, a Kapampangan writer of the
Wawa tradition and a celebrated ultranationalist who was known to be one of the first thirteen members of Andres
Bonifacio’s anti-Spanish revolutionary society, the Katipunan. Tolentino has had a profound influence on a number
of Kapampangan nationalists, mystics and intellectuals. Among them was Zoilo Hilario, founder of the Akademyang
Kapampangan, who used the indigenous script as a basis for his campaign to change the Spanish style
Kapampangan orthography. In the 1990s, a group of Kapampangan advocates once again began to revive and
popularise the Kapampangan script. This paper will present the indigenous non-Roman Kapampangan script as it is
being used today, including an instruction on how to read and write them, a comparison to other existing indigenous
scripts, a brief history and assessment.

I. Introduction

One of the earliest specimen of indigenous Kapampangan writing in Spanish colonial records is
the signature of Don Dionisio Capulong (Fig.1), ruler of Candaba (Pampanga Province) and son
of Lakandúlâ, the famous ruler of Tondo (
), Luzon’s old imperial capital. It was perhaps
written some time between 1594, when he finally decided to collaborate with the Spanish
colonial authorities after his return from exile in Mexico, up to the time of his death in 1607
(Santiago 2001). The Spaniards conquered the Luzon Empire1 (, 1617) in 1571 and from it
created the province of Pampanga in the same year (San Agustin 1698; Henson, 1965). The
original specimen is preserved in the archives of the University of Sto. Tomás (Scott, 1984).
More specimens of early indigenous Kapampangan writing were discovered by historical
researcher Dr. Luciano Santiago in a 17th century manuscript signed by members of the
Kapampangan nobility who acted as witnesses for the beatification of a Franciscan nun in 1621
(Santiago, 2002).

Fig 1. Signature of Don Dionisio Capulong, son of Lakandúlâ, ruler of Candába. In

Santamaria’s El “Baybayin” en el archive de Sto. Tomás, 1603-1645 (as cited in Scott, 1984).

compiled the  (A study of the Eastern and Western Oceans) in 1617, as a record of the Ming Empire’s
1

(1368-1644) foreign relations. It records that Luzon ( 

) was a kingdom or empire () ruled by kings ( ) and not
chieftains.

1
A primer on how to read and write the Kapampangan script is by far limited to a very few
authors. The earliest of which appears in Benavente’s Vocabulario de Lengua Pampanga which
was published in 1699. He devoted half of the first chapter of his book in introducing and
explaining each of the characters used in Kapampangan writing. One curious note is his mention
of the use of the Tagalog character to represent the H sound which does not exist in the
Kapampangan language except in loan words (Benavente, 1699). However, Benavente did not
include it in his general list of characters used in Kapampangan writing (Fig.2).

Figure 2. 1699 Kapampangan script by Alvaro de Benavente (From Marcilla, 1895).

A few months before his death in 1963, Kapampangan writer Zoilo Hilario of the Akademyang
Kapampangan, compiled a typed-written book of his work entitled Bayung Sunis (Hilario, 1962).
In his chapter on orthography, Hilario also devotes a section on how to read and write the
Kapampangan script. For the scholars of Philippine palaeography who wonder why the
Kapampangan script have no characters to represent the W and Y sounds, Hilario explains that
the character for the vowel U ( ) is the same character used to represent the W sound, while the
character for the vowel I ( ) is the same character used to represent the Y sound (Fig.3).

Figure 3. From Zoilo Hilario’s Bayung Sunis (Hilario, 1962 & Lacson, 1984).

Just as Zoilo Hilario explained in his Bayung Sunis, the character for I ( ) is the same one used
for Y. The character for YA ( ) in Kapampangan writing is usually written as a combination of
the characters I ( ) and A ( ) (Pangilinan, 2002). Curiously enough, renowned Kapampangan
historian Mariano A. Henson, also known to be well-versed in the indigenous script, is the only
Kapampangan known to use a distinct single character, , to represent YA (Fig. 4). He
included this in his general list of Kapampangan characters in the final edition of his book
Pampanga and Its Towns (Henson, 1965). Henson was also the first to present a list of the
Kapampangan consonant characters with their default vowel sound A (Fig.4).

2
 Figure 4. Mariano A. Henson’s list with the character YA (Henson, 1965).

In 1995, the Akademyang Kapampangan published the primer Pamagkulit king Kekatamung
Matuang Kasulatan written by Michael Pangilinan (as Siuálâ ding Meángûbié) in 1989
(Pangilinan, 1995). In this primer, the vowels E (as monophthongised diphthong AI) and O (as
monophthongised dipthong AU) and clearly represented, including the changing and removal of
the default vowel sounds of the consonant characters and the direction with which to write them.
Table 1 is a modified version of the general list of characters and their morphs presented in the
1995 primer (Pangilinan, 2002 & 2008).

Table 1. Súlat Kapampángan (Pangilinan, 2008).

II. Names and Misnomers

2.1. CULIT / KULIT and KULITAN

Benavente (1699), Bergaño (1860) and Hilario (1962) used the term CULIT in defining the
characters used by Kapampángans to represent their language. Hilario (1962) wrote it as KULIT
according to his indigenised anti-Hispanic orthography, replacing the traditional C with K. The
whole writing system is therefore called KULITAN (Pangilinan, 2002; Edwin Camaya, pers.
comm., 1989-1998; Marco Nepomuceno, pers. comm., 1997-2004).

3
2.2. PAMAGKULIT
Pamagkulit king Kekatamung Matuang Kasulatan, a primer on the Kapampangan script written
by Siuálâ ding Meángûbié in 1989 and published by the Akademyang Kapampangan in 1995,
was uploaded on the internet in 1996 by Kapampangan language advocate Armando Regala for
the benefit of Kapampangan expatriates (Regala, 1996). Ironically, it was the term PAMAGKULIT
‘primer’ (from pámag- [pref.], ‘how to’ and kulit [n.], ‘the indigenous characters used to
represent the Kapampangan language’) that was popularised on the internet in reference to the
Kapampangan script. Currently on Google search, there are about 20 websites, blogs and forums
that uses the term PAMAGKULIT when referring to the indigenous Kapampangan script.

Figure 5. Pamagkulit king Kekatamung Matuang Kasulatan (Pangilinan, 1995).

2.3. ALIBATANG KAPAMPANGAN

For a long time, Philippine text books have collectively labelled the various indigenous scripts
within the archipelago as ALIBATA. This was a term popularised in the early 20th by a member
of the old National Language Institute (Morrow, 2002). It was derived from the first three letters
of the Arabic alphabet ١ ALIF, ‫ ب‬BA and ‫ ت‬TA on the assumption that the Philippine scripts were
of Arabic origin. This assumption had its origin in the early Spanish colonial era. Antonio de
Morga for instance, a high ranking colonial official, wrote in his Sucesos de las Islas Filipinas
that the natives “escríbese muy bien en todos las islas, con unos caracteres casi como Arábigos”
and “á la usanza arábiga” (Morga, 1609). Spanish friar Francisco Colín was more emphatic in
his assumptions when he wrote in 1663, “it is quite evident that they are all taken from the Moro
Malays and originated from the Arabs” (as cited by Blair & Robertson, 1903-09; see also Wade,
1993). The Kapampangans who for generations were educated with the use of these textbooks
still use the term ALIBATANG KAPAMPÁNGAN in referring to their own indigenous script.

2.3. SÚLAT BAYÁNÎ

In several interviews months before his death, former HUKBALAHAP (The Peoples Anti-Japanese
Liberation Army) commander Paul Aquino mentioned the use of the indigenous Tagalog and
Kapampangan script during World War II by some members within the movement because it
eluded Japanese interpreters (pers.comm., April-June, 1994). The practice became unpopular
when nationalist groups working for the Japanese also began using them in their propaganda.
The script was then called SÚLAT BAYÁNÎ ‘heroes’ script’ (from bayánî [n.], ‘warrior’, ‘hero’;
[adj.] ‘brave’) in honour of the late 19th century anti-Spanish revolutionary leader Andres
Bonifacio and his secret society, the KATIPUNAN, who were known to have revived and used the
native scripts in the late 19th century as a protest against Western colonialism.

4
2.4. KAPAMPANGAN BAYBAYIN
KAPAMPANGAN BAYBAYIN was the name popularised on the internet by the online forum
Alibata ~ Ancient Baybayin Scripts Network (http://groups.yahoo.com/group/Alibata). Three
separate expanded discussions under the same title, KAPAMPANGAN BAYBAYIN, were initiated
by three different authors in November 2002: Message No. 724 dated 8 November, Message No.
753 dated 9 November and Message No. 763 dated 9 November (Sundita et al, 2002). The
discussion was probably triggered by the launching of a new and comprehensive website on
Philippine scripts at that time created by Paul Morrow (2002), Baybayin ~ The Ancient Script of
the Philippines. Morrow used the Tagalog word BAYBAYIN in reference to Philippine indigenous
scripts in general.

2.5. SÚLAT KAPAMPÁNGAN

For the ordinary Kapampangan, the indigenous Kapampangan script is simply called SÚLAT
KAPAMPÁNGAN ‘Kapampangan writing’ (from súlat [n.] ‘script’, [v.] ‘to write’). The adjective
MATUA ‘old’ (when describing people and living objects) is added when it is mentioned in
contrast to the currently used Latin alphabets. This paper will also use the term SÚLAT
KAPAMPÁNGAN in reference to the indigenous Kapampangan script.

III. Theories on the Origin of SÚLAT KAPAMPÁNGAN

3.1. Purely Local Invention

In his book Descriptive Dictionary of the Indian Islands and Adjacent Countries, John Crawfurd
(1586) stated his view that the Philippine Scripts were of local invention (cited by Wade, 1993).
Notice the suggested pictographic origins of the Kapampangan characters on Table 2.

Table 2. Pictographic origins of SÚLAT KAPAMPÁNGAN (Pangilinan 2002 & 2008).

Character Sound Picture Interpretation

ta TA from TAGÂ ‘fish hook’

na NA from NÁBÛ ‘to drop on purpose, to empty a

container’

la LA from LAGLAG ‘to drop off accidentally, to drop off

through a hole inside a container”
nga NGA is the sound of the water buffalo. The character
represents the top view of a water buffalo (Ranada,
M.S.T., pers.comm., December 15, 1995).
pa PA from PÂ ‘father’, the line/stroke outside the
vessel/dipper represents the male reproductive organ.
ma MA from MÂ ‘mother’, the line/stroke inside the
vessel/dipper represents the female reproductive organ.
ba BA from BÍLUG ‘circle’

5
3.2. The Laguna Copper-Plate Inscription (LCI)
The idea of that SÚLAT KAPAMPÁNGAN was purely a local invention is however put into
question when compared to the Indian-inspired Kawi script of ancient Java that was used in the
10th century Laguna Copper Plate Inscription (LCI), currently the oldest Philippine document,
found in the Luzon province of Laguna. Place names that were traditionally a part of the
Kapampangan homeland, like the ancient imperial capital of Tondo (
) (Loarca, 1583;
Henson, 1965 and Tayag, 1985), are mentioned in the LCI (Postma, 1991). Many of the
characters used in Kapampangan writing, including those believed to be of local invention,
appear quite similar to the Indina-inspired Kawi characters used in the LCI (Table 3).

Figure 6. The Laguna Copper Plate Inscription (LCI) dated 900 AD (Postma 1991).

3.3. Indian-Inspired Local Development

In his 1943 Philippine Indic Studies and Indic Writings of the Mindoro-Palawan Axis, Fletcher
Gardner put forth the idea that the Philippine scripts may have been invented by traveling Indian
priests or scribes on the basis of Brahmi or Karoshti scripts (as cited by Wade, 1993). Brahmi is
believed to be the ancestor of all Indian-inspired writing system (Malaiya, 1997; Lo, 2007).

Table 3. Kapampangan in comparison with other Indic scripts (Pangilinan 2002 & 2008).

Sound Kapampangan Kawi Hangul Siddham Devanagari Brahmi

(Javanese) (Korean) (Sanskrit text used in (Parent Script of all
Japanese Buddhism) Indic Scripts)
GA

KA

TA

DA

MA
(ba)
PA

BA
(ma)

6
SÚLAT KAPAMPÁNGAN may have also been invented by local scholars who studied Buddhism
abroad, perhaps in the Buddhist Empire of Srivijaya (7th-10th AD) in South Sumatra (Muñoz,
2006). Notice the similarity between SÚLAT KAPAMPÁNGAN and other Indian-inspired Asian
scripts (Table 3) and the structure and format of scripts invented by Buddhist monks (Fig. 6).

Figure 7. Súlat Kapampángan and the scripts invented by Buddhist monks (Pangilinan 2008).

3.4. Similarities with Brahmi

Like other Indian-inspired Asian scripts derived from Brahmi, Kapampangan is not a syllabary
like the Japanese kana as many scholars think, but an abugida or alphasyllabary (Daniels, 1996),
where the consonantal characters possess a default vowel sound that can be altered with the use
of diacritical marks (Fig. 5).

Figure 8. Similarities between Súlat Kapampángan & Brahmi (Pangilinan 2002 & 2008).

3.5. Buddhist Era: A missing chapter in Philippine History

In 670 AD, the Buddhist Empire of Srivijaya assumed complete control of the maritime trade
routes between India and China and remained in control for about 640 years (Muñoz, 2006). Its
capital in Suwarnadwipa (Sumatra) became the center of learning in Tantric (Vajrayana)

7
Buddhism in the Far East (, 695). Its impact reached as far as Tibet where masters trace
their lineage to the Srivijayan prince Serlingpa (Dharmarakshita), whose student Atisha
reintroduced Tantric Buddhism to Tibet after its persecution in the 10th century AD (Berzin,
2003). Now Tantric Buddhism exists in Tibet and Japan, thanks to Atisha who studied in
Srivijaya under Serlingpa (Dharmarakshita).

If Srivijaya’s influence was felt all over Southeast Asia and reached as far as China, Japan and
Tibet, its absence in Philippine history is a bit frustrating. Despite the progress made in
Philippine archaeology and the wealth of records that can be found in the archives of
neighboring Asian countries, scholarship in Philippine History has remained Euro-centric and
solely dependant on Spanish colonial records. Thus, in order for anthropologists and linguists to
explain the traces of Indian influences in Philippine languages and culture, they would have to be
their own historian.

V. The Characters in SÚLAT KAPAMPÁNGAN

5.1. The Difference between a Syllabary and an Alphasyllabary

Basically, a syllabary has a distinct character for each syllable or consonant-vowel combination.
In an alphasyllabary, the consonantal symbol remains the same, augmented only by vowel
diacritics (Daniels, 1996). A good example of a syllabary is the Japanese kana (katakana and
hiragana). This difference can be demonstrated in the following chart (Table 4) between the
Japanese syllabary (hiragana) and Kapampangan alphasyllabary. In Kapampangan, the symbol
for the consonant sound K ( ) remains the same in all its vowel combination, while Japanese
hiragana has a distinct symbol for each consonant-vowel combination.

Table 4. Syllabary (Japanese Hiragana) versus Alphasyllabary (Kapampangan).

ka Ki ku ke ko
Japanese (syllabary)

   
Kapampangan (alphasyllabary)

5.2. The Consonantal Characters

SÚLAT KAPAMÁPNGAN recognizes eleven consonantal symbols (Table 5): two velar, GA ( )
and KA ( ); five alveolar (Del Corro, 2008), TA ( ), DA/RA ( ), NA ( ), LA ( ) and SA ( );
three bilabials MA ( ), PA ( ) and BA ( ); and one nasal velar, NGA ( ). The D and R sound
is interchangeable in Kapampangan, hence the singular symbol. Kapampangan writer and
scholar Zoilo Hilario of the Akademyang Kapampangan explained that the vowels U ( ) and I
( ) may also stand for the consonants W and Y respectively (Hilario, 1965; also Fig. 3). In fact,
Spanish friar Benavente wrote that the vowel U ( ) also responds to the same vowel diacritics to
become WI ( ) and WU ( ) (Benavente, 1699).

8
 Table 5. Consonantal Characters in SÚLAT KAPAMPÁNGAN (Pangilinan 2002 & 2008).

5.3. The Vowel Characters

SÚLAT KAPAMPÁNGAN recognizes three basic vowels or SIUÁLÂ, A ( ), I ( ) and U ( ), and
two monopthongised dipthongs (Gonzales, 1972), E ( ) and O ( ). The KAMBAL SIUÁLÂ
‘twin vowels’ (from kambal (n.) ‘twins’, (adj.) ‘twin’ and siuálâ (n.), ‘voice’ or ‘sound’) in
Romanised Kapampangan are written with the diacritic () above the vowel when in medial
position, indicating a lengthened vowel sound. They are written with the diacritic (^) above the
vowel when in the final position, indicating a glottal stop.

Table 5. Vowel Characters in SÚLAT KAPAMPÁNGAN (Pangilinan 2002 & 2008).

VI. Writing Technique

Each of the consonantal characters in SÚLAT KAPAMPÁNGAN possesses the default vowel sound
‘A’. Like other alphasyllabaries, this default vowel sound can be altered by the placement of
diacritics above, below or next to the consonantal character base (Table 6).

9
 Table 6. Changing and terminating the default vowel sound (Pangilinan 1995, 2002 & 2008).

6.1. Changing the default ‘A’ sound to ‘I’

To change the default ‘A’ sound of any of the consonantal characters to ‘I’, simply place a
GARLIT ‘dot’ or ‘stroke’ above it. For example, KA ( ) becomes KI ( ) by placing this ‘mark’
( ) above it.

6.2. Changing the default ‘A’ sound to ‘U’

To change the default ‘A’ sound of any of the consonantal characters to ‘U’, simply place a
GARLIT ‘dot’ or ‘stroke’ below it. For example, KA ( ) becomes KU ( ) by placing this
‘mark’ ( ) below.

6.3. Changing the default ‘A’ sound to ‘E’

Since the Kapampangan sound ‘E’ was created from the monophthongisation of the diphthong
‘AI’, simply place the vowel character I ( ) right next to it to change the default ‘A’ sound of
any of the consonantal characters to ‘E’. For example, KA ( ) becomes KE ( ) by placing the
vowel character I ( ) right after it.

6.4. Changing the default ‘A’ sound to ‘O’

Since the Kapampangan sound ‘O’ was created from the monophthongisation of the diphthong
‘AU’, simply place the vowel character U ( ) right next to it to change the default ‘A’ sound of
any of the consonantal characters to ‘O’. For example, KA ( ) becomes KO ( ) by placing
the vowel character U ( ) right after it.

6.5. Lengthening the default ‘A’ sound

Simply add the vowel character A ( ) right after it. For example, KA ( ) becomes medial KÁ
or final KÂ ( ) by placing the vowel character A ( ) right after it.

10
6.6. Lengthening the ‘I’ sound
Simply place the vowel character I ( ) to a consonantal character whose default sound has
already been altered to ‘I’. For example, to make KI ( ) into KÍ or final KÎ ( ), simply add the
vowel character I ( ) right after it.

6.7. Lengthening the ‘U’ sound

Simply place the vowel character U ( ) to a consonantal character whose default sound has
already been altered to ‘U’. For example, to make KU ( ) into KÚ or final KÛ ( ), simply add
the vowel character U ( ) right after it.

6.8. Terminating the default ‘A’ sound

Figure 9. Terminating the default vowel sound (Pangilinan, 1995).

When writing SÚLAT KAPAMPÁNGAN vertically, simply place the intended consonantal character
right next to the preceding character instead of below it. This will terminate its default vowel
sound. For example:

saka becomes sak banga becomes bang

6.9. Stacking of Consonant Conjuncts

Like Tibetan and Kawi, SÚLAT KAPAMPÁNGAN also forms consonant conjuncts by stacking
compound consonantal characters below each other when writing horizontally, but with a
difference. SÚLAT KAPAMPÁNGAN does not have a “vowel killer”. To remove the default vowel
sound of a consonantal character in SÚLAT KAPAMPÁNGAN when writing horizontally, simply
stack this character under its preceding character. For example:

is composed where is to
of the stacked form
characters below
SINGSING SI NGA NGA SI SING

11
In Kawi (Old Javanese), the script used in the 10th century Laguna Copper Plate Inscription ~ the
oldest Philippine document ever found, the Kapampangan word SINGSING would have been
written as:

written as where is a vowel

killer.
SINGSING SI- -NGSI- -NG

Tibetan also stacks consonant conjuncts similar to Kawi. In the popular Tibetan mantra OM MANI
PADME HUM ‘Hail to the Lotus Jewel’, the word PADME ‘lotus’ is written as:

is written as where
DME is
made up
of
OM MANI PADME HUM PADME PA- -DME DA ME

6.10. Writing Direction

Figure 10. Examples written vertically (Pangilinan, 1995).

Although SÚLAT KAPAMPÁNGAN has been traditionally and commonly preferred to be written
vertically from top to bottom, right to left, it can also be written horizontally, left to right,
perhaps due to Spanish influence.

Figure 11. The first line

of the song Atin Ku
Pung Singsing written
vertically.

Figure 12. The first line of the Kapampangan

song Atin Ku Pung Singsing written
horizontally, left to right.

12
VII. Conclusion

SÚLAT KAPAMPÁNGAN has for a long time been limited to a number of intellectuals, artists,
scholars and advocates. Though many wanted to limit literacy in it to an elite few, attempts have
been made in the late 1980s and early 1990s by Edwin Camaya and Michael Pangilinan to share
and popularize the script to the Kapampangan majority (Lacson, 1993).

In 1992, Edwin Camaya helped establish the Kapampangan student organization MIABEABE at
the University of the Philippines in Los Baños (Edwin Camaya, pers.comm., 1991-1996) where
literacy in SÚLAT KAPAMPÁNGAN was a mandatory membership requirement. In 1997,
Rhaymond Torres helped organize the Kapampangan student organization ASLAG at the Central
Luzon State University in Muñoz, Nueva Ecija (Rhaymond Torres, pers.comm., 1997-1998),
where literacy in SÚLAT KAPAMPÁNGAN was encouraged but not mandatory. In 2001, literacy in
SÚLAT KAPAMPÁNGAN also became a mandatory membership requirement in the Kapampangan
research group SÚLÎ DING PANTAS which was organised by the engineering students of Holy
Angel University in Angeles City (Deang, Aquino, Maniago et al, 2001).

In 1995, the AKADEMYANG KAPAMPANGAN was the first Kapampangan organization to

officially popularize the teaching of SÚLAT KAPAMPÁNGAN by publishing its primer Pamagkulit
king Kekatamung Matuang Kasulatan (Pangilinan, 1995). This was followed-up by the
BATIÁUAN Foundation’s school to school campaign in the years 1997 - 2001. From the years
1999 – 2003, literacy in SÚLAT KAPAMPÁNGAN became one of the requirements to pass the
subject Kapampangan Culture (YKAMP) at Holy Angel University in Angeles City (Fig. 13).

Figure 13. YKAMP Final Exam, Part I & II. Proficiency in SÚLAT KAPAMPÁNGAN.

From 1992 – 2008, the Pampanga Arts Guild also kept alive the teaching of SÚLAT
KAPAMPÁNGAN to its members, and even to outsiders. The latest was the lecture held in
September 2008 (Pangilinan, 2008).

In 2009, the Juan D. Nepomuceno Center for Kapampangan Studies at Holy Angel University in
Angeles City has plans to rewrite Kapampangan classic poems into SÚLAT KAPAMPÁNGAN
(Robby Tantingco & Joel Mallari, pers.comm., April 2009).

13
Currently, SÚLAT KAPAMPÁNGAN can be found in various forms of expressions, from the
scholarly to the most mundane. It is once again gaining popularity especially among a growing
number of Kapampangan youths.

7.1. On Seals and Insignias

Some of the growing number of Kapampangan arts and culture advocacy groups use SÚLAT
KAPAMPÁNGAN in their logos and insignias. Among the most prestigious is the Akademyang
Kapampangan (Fig 14) which began its campaign to indigenize Kapampangan orthography as
early as the 1930s. The now dormant Batiáuan Foundation, was the most vocal and active
Kapampangan culture advocacy group in the 1990s.

Figure 14. Akademyang Kapampangan Figure 15. Batiáuan Foundation

(official logo). (official logo).

Figure 16. Timáuâng Gámat (official logo), Figure 17. Kapangulis (official logo), a student
a Kapampangan art group. art group based in Holy Angel University.

Figure 18. Logo of the Kapampangan band T.H.E.M.

tattooed on their vocalist Lyle Yap by Marlon Maristela.

14
7.2. Signature Specimens
A number of Kapampangans are beginning to sign their names again in the indigenous script.

Figure 19. Joel

Pabustan Malari,
Figure 20. John
researcher & Figure 21. Toti Figure 22. Figure 23.
Manuntag, visual
visual artist. Tanganco, Tito The author’s
artist.
Guitarist, the Tanganco, signature.
T.H.E.M. band. artist.

7.3. On Business Cards

SÚLAT KAPAMPÁNGAN is slowly becoming a fad on some business cards. Fig. 24 is from New
York-based Kapampangan artist Lorina (Teta) Tayag Capitulo.

Figure 24. Business card using SÚLAT KAPAMPÁNGAN.

7.4. In Computer Technology

In 1996, Emerson Navarro Camaya of Tarlac, Tarlac designed the first ever indigenous
Kapampangan Typeface fonts that can be used on the computer (Camaya, 1996). In 2007, Joel
Pabustan Mallari and his team at the Juan D. Nepomuceno Center for Kapampangan Studies at
Holy Angel University in Angeles City, Philippines designed a more stylised calligraphic version
of the script (Mallari & Tanhueco, 2007). Literature in SÚLAT KAPAMPÁNGAN can now be easily
stored and reproduced due to computer technology.

Figure 25. SÚLAT KAPAMPÁNGAN Typeface designed by Emerson Camaya in 1996.

15
 Figure 26. SÚLAT KAPAMPÁNGAN Typeface designed by Mallari & Tanhueco (2007).

7.5. On Public Ads

Some Kapampangan cultural publications, art exhibits and events make use of SÚLAT
KAPAMPÁNGAN in their ads and posters.

Figure 27. A subscription flyer for K- Figure 28. A poster ad for the opening of an art
The Kapampangan Magazine. gallery and artist venue.

7.6. In Personal Correspondences.

Kapampangan culture advocate Edwin Navarro Camaya began using SÚLAT KAPAMPÁNGAN in
his personal correspondences in the late 1980s (Lacson, 1993). He also encouraged others to do
the same, especially the growing number of Kapampangan students at the University of the
Philippines in Los Baños. Fig. 29 is one of the many post card exchanges between the author and
Edwin Camaya.

Figure 29. 1991 post card using SÚLAT KAPAMPÁNGAN.

16
7.7. Notes and Scribbles
Since the reading and writing of SÚLAT KAPAMPÁNGAN is still not yet widespread, those who
can read and write in it find it a convenient medium in publicly posting and passing on privileged
information to concerned parties. On Fig.29, the significance of the time “8:00 a.m.” on a notice
board will remain a mystery except for the parties concerned.

Figure 30. (Left) The

significance of the time
“8:00 a.m.” will remain a
mystery except for the
privileged parties who are
literate in SÚLAT
KAPAMPÁNGAN.

Figure 31. (Right)

Random scribbles by
Kapampangan band
guitarist Toti Tanganco.

7.8. Creed, Statements and Manifesto

The Kapampangan youth have always been vocal about their beliefs and sentiments but a
number of groups and individuals have put this down into writing by using SÚLAT
KAPAMPÁNGAN. Fig. 32 is the preamble of the Holy Angel University-based student group SÚLÎ
DING PANTAS ‘Descendants of Sages’ as it appears in their constitution (Deang, Aquino,
Maniago et al, 2001). Fig. 33 is the personal creed of young artist Kit Tayag which he had
tattooed on himself. Fig. 34 is an autobiographical statement of artist Gil Jonathan Tito Tanganco.

Figure 32. Preamble Figure 33. Kit Tayag’s Figure 34. Artist Tito
from Súlî ding Pantas: personal creed. Tattoo by Tanganco’s autobiographical
Constitution and By- Marlon Maristela. statement.
Laws.

17
7.9. In Visual Arts
Kapampangan visual artists known to incorporate SÚLAT KAPAMPÁNGAN in their works include
Pampanga Arts Guild members Teta (Lorina Tayag Capitulo), Mang Ron (Rolando Tayag),
Siuálâ ding Meángûbié (Michael Pangilinan), Edille Paras and Pacs Pineda; Joel Pabustan
Mallari of Kapangulis; Josefina Dizon Henson of the Akademyang Kapampangan; and
independent artists Kusakos (John Manuntag) of Candaba and Kragi Garcia of Macabebe.
Kapampangan writer and artist Kragi Garcia of Macabebe and Kapampangan researcher and
artist Joel Pabustan Mallari of Bamban are currently known to be the most prolific when it comes
to the use of the Kapampangan script in their creative expressions.

Figure 35. Rolando Tayag’s 1999 watercolor painting of the TALANGKA, the native crab.

Figure 36. Edille Paras’ 2000 Rice Mandala, a living installation art made of earth,
grains and rice plants for Pampanga Arts Guild’s SINGSING, a Kapampangan ritual art
performance at Holy Angel University, Angeles City, Philippines.

18
 Figure 37. Kusakos John Manuntag’s 2007 digital painting of Kapampangan swords.

7.10. Tattoo Art

In 2007, Marlon Maristela, a tattoo artist and Kapampangan culture advocate, decided to
incorporate the use of SÚLAT KAPAMPÁNGAN in his tattoo designs. His idea became an instant
hit among Kapampangan youths. It is this phenomenon that is currently sustaining the interest in
the use and revival of SÚLAT KAPAMPÁNGAN among the youth.

Figure 38. SÚLAT KAPAMPÁNGAN character on Zu Lim’s finger.

Tattooed by Marlon, December 2008.

19
Figure 39. The Kapampangan song ATIN KU PÛNG SINGSING written horizontally in SÚLAT
KAPAMPÁNGAN around Dennis Guiwan’s Ankle. Tattooed by Marlon, April 2009.

Figure 40. The Kapampangan song ATIN KU PÛNG SINGSING in SÚLAT KAPAMPÁNGAN is
tattooed on Jeff Tanganco by Marlon Maristela. Photo courtesy of Vajrasattva Lajon Tanganco.

20
References

Bergaño, Diego. [2nd ed.]. (1860). Vocabulario de la Lengua Pampanga en Romance. Manila:
Imprenta de Ramirez y Giraudier.

Benavente, Alvaro de. (1699). Arte de Lengua Pampanga. [Bilingual ed. 2007: Spanish and
English]. Transl. Edliberto V. Santos. Angeles City, Philippines: Juan D. Nepomuceno Center
for Kapampangan Studies, Holy Angel University.

Berzin, Alexander. (2003). The Life of Atisha. In The Berzin Archives:The Buddhist Archives of
Dr. Alexander Berzin. http://www.berzinarchives.com.

Blair, Emma H. and Robertson, James A. (1903-1909). The Philippine Islands 1493-1898. 55
vols. Cleveland: Arthur H. Clark.

Camaya, Emerson & Camaya, Edwin. (1996). Truetype Fonts. Kapampangan True Type
Fonts. Corel Draw Program.

Colín, Francisco. (1663). Labor evangélica ministerios apostólicos de los obreros de Compañía
de Jesus, fundación y progresos de las Islas Filipinas. In E. Blair and J. Robertson, eds. and
trans. The Philippine Islands, 1493-1898. 16:49. Cleveland: Arthur H. Clark, 1903-1909. (Also
from Wade, 1993).

Crawfurd, John. (1856). A Descriptive Dictionary of the Indian Islands & Adjacent Countries.
London: Bradbury & Evans. Reprinted 1971. London: Oxford University Press. From Wade
(1953: 51)

Daniels, Peter T. & Bright, William. (1996). The World's Writing Systems, Oxford, U.K.: Oxford
University Press. From http://www.arthistoryclub.com/art_history/Abugida.

Deang, M, Aquino, P., Maniago, J., Castillo, J., Enriquez, C., Punongbayan, D., et al. (2001).
Súlî ding Pantas: Constitution and By-Laws. Submitted to the Office of the Student Affairs, Holy
Angel University, Angeles City, Philippines.

Del Corro, Anicia. (2008, December 6). Kapampangan, from the Perspective of Linguistics.
[Lecture Handout]. Lecture 1. Juan D. Nepomuceno Center for Kapampangan Studies, Holy
Angel University, Angeles City, Philippines.

Dharmarakshita (n.d.). In talkingbuddhism.com. Retrieved April 16, 2009, from

http://www.talkingbuddhism.com.

Gonzales, Andrew B. (1972). Pampangan: Outline of a Generative Semantic Descritpion.

Manila: De La Salle University Press.

Henson, Mariano A. (1965). The Province of Pampanga and Its Towns: A.D. 1300-1965. 4th ed.
revised. Angeles City: Mariano A. Henson.

21
Hilario, Zoilo. (1962) Bayung Sunis. Typescript.

Lacson, Ariel. (1993 July 7). Kapampangan still alive and kicking. In Manila Bulletin.

Lacson, Evangelina Hilario. (1984). Kapampangan Writing: A Selected Compendium and

Critique. Ermita, Manila: National Historical Institute.

Lo, Lawrence. (2007). ANCIENTSCRIPTS.COM: A compendium of world-wide writing systems

from prehistory to today. http://www.ancientscripts.com/brahmi.html.

Loarca, Miguel de. (1583). Relacion de las Yslas Filipinas. In E. Blair and J. Robertson, eds. and
trans. The Philippine Islands, 1493-1898. 5:34-187. Cleveland: Arthur H. Clark, 1903-1909.

Malaiya, Yashwant (1997). Korean Script: Controversy about invention.

http://www.cs.colostate.edu/~malaiya/korean.txt

Mallari, Joel Pabustan & Tanhueco, Anne Marie. (2007). Typeface. Baybayin
Kapampangan Classic.

Marcilla, Cipriano M. (1895). Estudio de los Antiguos Alfabetos Filipinos. Malabon: Tipo-
Litografia del Asilo de Huérfanos.

Morga, Antonio de. (1609). Sucesos de las Islas Filipinas, obra publicada en Mejico el año de
1609 nuevamente sacada a luz y anotada por Jose Rizal y precedida de un prologo del Prof.
Fernando Blumentritt, Impresion al offset de la Edicion Anotada por Rizal, Paris 1890. [ed.
1991] Manila, Philippines: National Historical Institute.

Morrow, Paul. (2002). Baybayin ~ The Ancient Script of the Philippines.

http://www.mts.net/~pmorrow/bayeng1.htm

Muñoz, Paul Michel (2006). Early Kingdoms of the Indonesian Archipelago and the Malay
Peninsula. Singapore: Editions Didier Millet.

Pangilinan, Michael R. M. [as Siuálâ ding Meángûbié]. (1995). Pamagkulit King Kekatamung
Matuang Kasulatan. In Ing Susi, 6:1:24-25. Also in Kapampangan Dictionary.
http://www.geocities.com/Athens/Academy/4059/ortho.html &
http://rciasia.tripod.com/pamagkulit.html

Pangilinan, Michael R. M. (2002). Matuâng Súlat Kapampángan. [PowerPoint slides]. A lecture

presented to the students and teachers of Kapampangan Culture (YKAMP) at the end of every
semester from the years 2002-2004, Holy Angel University, Angeles City.

Pangilinan, Michael R. M. (2008). Súlat Kapampángan. [PowerPoint slides]. A lecture presented

to the Pampanga Arts Guild, the Pampanga Tattoo Community and the Maharlika Artists and
Writers Federation, Aftershack Gallery, Balibago, Angeles City, September 10, 17 & 24, 2008.

22
Postma, Antoon. (1991). The Laguna Copper-Plate Inscription (LCI): A Valuable Philippine
Document. In National Museum Papers, vol. 2, no. 1, 1-25.

Regala, Armando. (1996). Kapampangan Dictionary.

http://www.geocities.com/Athens/Academy/4059/diction.html.
Sakade, Florence. (1959). A guide to reading and Writing Japanese. Tokyo: Charles E. Tuttle
Company.

Santamaria, Alberto. (1938). El “Baybayin” en el archive de Sto. Tomás. Unitas 16:441-480.

[From Scott, 1984.]

Santiago, Luciano. (2002). Laying the Foundations: Kapampangan Pioneers in the Philippine
Church 1592-2001. Juan D. Nepomuceno Center for Kapampangan Studies, Holy Angel
University, Angeles City, Philippines.

Scott, William Henry. (1984). Prehispanic Source Materials for the Study of Philippine History.
Quezon City, Philippines: New Day Publishers.

Sundita, Chris, et al. (2002, Nov. 8 & 9). Kapampangan Baybayin [Msg. 724, 753 & 763].
Messages posted to http://groups.yahoo.com/group/Alibata.

Tayag, Katoks (Renato). (1985). The Vanishing Pampango Nation. Recollections & Digressions.
Escolta, Manila: Philnabank Club c/o Philippine National Bank.

Wade, Geoff. (1993). On the Possible Cham Origin of the Philippine Scripts. In Journal of
Southeast Asian Studies 24, 1 (March 1993): 44-87.

. (1617).
 (A study of the Eastern and Western Oceans). Original Chinese texts at
the Kobe University Library Website: http://www.lib.kobe-u.ac.jp/directory/sumita/5A-
161/index.html. Partial translation courtesy of Kitano Hiroaki, August 2006.

. (695). 

 An Account of Buddhism as Practiced in the South Seas, 671-
695 AD). Partial translation courtesy of Angus Ling, September 2003.

To be Presented at the
th
11 International Conference on Austronesian Linguistics
Aussois, France.
June 22-26, 2009

23