Caballero-Padernal, E.

The Panay Bukidnon Sugidanon

The Panay Bukidnon Sugidanon (Epic) and Prototype Glossaries

for Epic Excerpts
Elsie Caballero-Padernal
Intapi-an Elementary School, Garangan, Calinog, Iloilo

ABSTRACT
In this paper, I aim to explain the sugidanon (epics) and present prototype glossaries for epic excerpts. As an heir to the
epic chanting tradition coming from a family line of manugsugidanon (epic chanters), I seek to answer several
questions raised regarding epic chanting and how it can be learned and mastered. Based from personal experience as
an Indigenous Peoples (IP) teacher, I explain in detail several lines in the sugidanon accompanied by a glossary of
terms in sinauna nga Kinaray-a (archaic Kinaray-a) to Hiligaynon, Filipino, and English. Finally, I reveal why I had
made a commitment to learning and teaching the epics which is a very challenging job.
Keywords Panay Bukidnon, sugidanon, epic, glossary

The Panay Bukidnon indigenous group specifically residing in the hinterlands of Panay at the
boundary of Tapaz (Capiz) and Calinog (Iloilo), have spoken an archaic Kinaray-a dialect used in
chanting the sugidanon (epics). The sugidanon are long narratives reflecting the existing customary
laws, beliefs, practices, and values of the Panay Bukidnon ancestors. The words in the epics are rather
difficult to understand for those who hear it for the first time. But for some who are really interested
to learn, there is nothing difficult or impossible. Thus, there is a need to include these epics in the
curriculum starting from K-12 up to college.
As a culture bearer and teacher in the Indigenous Peoples (IP) community, I consider it my
responsibility to let people know about the beautiful surviving literary traditions of the Panay Bukidnon
ancestors, providing evidence that they are a highly literate and artistic people.1
PURPOSE
This paper, therefore, intends to make the learning of
the epics easier for beginners. It has always been a
hard task for beginners to learn the epics because of
the archaic words which are new to them. The interest
and lifestyles of the millennial are quite different now. Garangan
Adding a touch of chanting from the epics would make
their life richer and fuller, knowing that they are also
inheritors of a great tradition as grand as other epics
in other parts of the world. Appropriate instructional
Map 1. Panay Island (with
materials are needed to introduce them to the epics arrow pointing to the location of
such as orientation materials, which include the epic Garangan, at the boundary of
Tapaz (Capiz) and Calinog
characters, their setting, and worldviews. These are (Iloilo). Retrieved from http://
needed to arouse interest and make learning easier and w w w.be n cht ra ns p ort . c om /
touristspots.php
faster.
This is the main reason why a Glossary for Panay Bukidnon Epic Excerpts is being prepared with
meanings starting from archaic Kinaray-a, Hiligaynon, Filipino, and English. Specifically, this paper
aims to: 1) explain the meaning and characteristic features of sugidanon; 2) construct orientation
materials on the epic background, characters, and settings; 3) present prototype or model glossaries for
the epics; and 4) suggest an approach for learning the epics.

1
Literacy cannot be measured only in terms of formal schooling inside the classroom. There are some successful people in business who
finished Grade 2 education but were able to send four children to college and finished successfully. Some Ati have not finished primary
grade but are engaged in business like selling traditional medicine (See Dr. Malou Doronilla, Learning from Life).

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Philipine Journal of Social Sciences and Humanities: Danyag Vol. 22 No. 1 & 2

METHOD
Primarily, the methods used our observation of the chanter while teaching at the School for Living
Traditions (SLT), 2 interviewing of the elders and other chanters, and listening also to the chanter’s
answers to questions during interviews. The constant exposure to chanting activities has led to thefamiliarity
with the words and tunes. Thus, by understanding the meaning of sugidanon in its archaic form, it would
be easier to translate in Kinaray-a, Hiligaynon, Filipino, and later in English. The technique involves
time, effort, and patience but for someone interested, the listing of words to make a Glossary for Panay
Bukidnon epic lines can be very engaging.
How did I learn these long epic stories and eventually learn to chant them? I was born to a family
of chanters. Our grandmother Inay Sosa (Ongoran; also spelled as Anggoran) also known as Preciosa
Cataluña, was lulled to sleep by her grandmother’s epic chants when she was still a child. In my case
and my cousins’, I gradually learned by hearing the story; some were emphasized by re-chanting which
we would listen to before going to sleep. I treasure those moments today, and this helped in shaping
my interest to learn. When the SLT was built in 2001, I assisted my father, Amang Baoy, in teaching
the epics in Barangay Garangan. Epic chanting was the main subject in the first three years in which
familiarity in the epic toning was introduced. I was already a young public school teacher then.

UNDERSTANDING THE SUGIDANON

Definition of Sugidanon (Epic)
The Panay Bukidnon sugidanon is reputed by some scholars as probably the longest published
epic because it has ten parts in 13 volumes. There are also famous long epics such as the Darangen
of Mindanao, and the Ullalim of Kalinga. The Iliad and Odyssey of Greece and Aeneid of Rome are
examples from Europe. There are probably many other known, perhaps undiscovered and unrecorded
epics in Asia. Oral literature like the epic needs to be learned and, if possible, mastered for it can link
people in a common identity and build a nation.
The sugidanon of Panay in Central Philippines are long chanted stories which have been unrecorded
for many decades. This contains the beliefs, character traits, lifeways, and practices of the Central Panay
Indigenous Peoples (IPs).
The Panay Bukidnon Epics
The 10 Panay Epics are organized by Alicia P. Magos according to these following titles (Magos,
1999):
1. Tikum or Tikong Kadlum (A Black, Tamed, Enchanted Hunting Dog of Datu Paiburong)
2. Amburukay (Enchanted Hermit Woman)
3. Derikaryong Pada (Gold Medallion)
4. Balanakon (A Young Epic Warrior)
5. Kalampay (Enchanted Crab)
6. Pahagunong (Deity of the Upper World)
7. Sinagnayan (The Breath of Life Kept in the Golden Lion’s Heart)
8. Humadapnon (The Noble Man in a Magical Cave)
9. Pagbalukat ka Biday (Retrieving the Golden Boat)
10. Hungaw (The Marriage Arrangement of Humadapnon and Mali)
11. Ginlawan (A Customary Law)

2
School for Living Tradition (SLT) or Balay Turun-an is the flagship project of the National Commission for Culture and the Arts (NCCA),
which gives funding for culture-related researches and activities. It is in the SLT where indigenous and traditional learning takes place.

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Caballero-Padernal, E. The Panay Bukidnon Sugidanon

12. Nagbuhis (Ceremonial Rite or Offering)

13. Alayaw (A Sweet-Scented Flower)

The Setting of Epic Scenes

In the Panay Bukidnon epics, the seas and rivers were the pathways of the people. The sakayan
(boat) was their means of transportation. The gibwangan 3 (mouth of the river) was their home or
place of abode. Their were seven gibwangan: 1) Gibungan ka Pinggan Suba ka Pinyungan, the abode
of Dampig Piliw; 2) Gibungan ka Silangan Suba nga Pangalkagan, the abode of Sinagnayan; 3)
Gibungan ka Burokya I-subang Gila-Gila, the abode of Paglambuhan; 4) Gibungan ka Bunlay Subang
Banaybanay, owned by Patugasnon, father of Balanakon; 5) Gibungan ka Pan-ay Subang Alay-Alay,
territory of Burulakaw, father of Humadapnon; 6) Gibungan ka Banggaan Subang Balunbunan, abode
of Sarandihon; and 7) Gibungan ka Handug (Halawod) Subang Taub-Taob, abode of Pabu-aya, the
father of Labaw Donggon.
The Important Characters of the Epics
The well-known characters in the sugidanon are given below with the descriptive meanings of their
names:
Matan-ayon or Ayon. Her name is given in the sugidanon as Si Huganay si Daw-on si Ayon si
Buyukon si Nguyanguya Tungdan si Tangisan Duungan si Paghilalausan Atubang nay Sab-ugon adang
nay Buruhisan. Her name is a description of her personality and capacity as binukot 4 (kept-maiden).
She is very beautiful. Half of her tresses is gold in color. In times of long drought and prolonged rainy
days, she could perform the buhis (ritual or feast offering for the buruhisan, like the deity Luyong
Kabig, who lives in the sea in the underworld, and Laon Sina, in the upper world. Many noblemen fall
in love with her and persistently woo her.
Mali. She is named as Si Nagmalitong Yawa si Nagmaling Diwata si Ginsalo Gin-agaw Humbay
sa Hinmayunan Nakiling ko Lintian Nakyang ko Dalugdugan Manugpaungan-ungan Binukot nga
Tuyawan Buntog nga Benlisyunan, daughter of Matan-ayon or Ayon. She is known as the most beautiful
and powerful binukot in the whole world. Her whole body is golden. She is the wife of Humadapnon.
Matan-ayon and Mali are the only characters in the sugidanon who have powers to transform
themselves into a male if they are to fight, and into things if they reject sexual advances of a man they
do not like. Matan-ayon transforms into a man known as Makalimpong when she replaces Paubari
during his fight with Pahagunong, a Datu who courts her when Abaw is in the deep sea after being
transformed into a pawikan (sea turtle). Mali transforms herself into a man to retrieve Humadapnon who
is trapped inside the Tarangban (enchanted cave). Matan-ayon also transforms herself into “water”
when Sinagnayan abducts her while Mali transforms herself into a kandol (wild cucumber).
Labaw Dunggon or Abaw. His name is mentioned in the epic in this manner: Si Kulabo Kulambaw
si Umbaw Amantulin Natulinan ka Isog Natulyan ka Bagani, which means he is a brave bagani 5 (folk
hero). He is the main character in many stories of the sugidanon. He is characterized as a tall and big
man with his chest as big as a door of a house. He is the only character who wears a headgear made
of a metal known as moryon, during his battles. He is a sea diver, adventurer, traveler, and treasure
hunter. Compared to the other epic characters, he has many wives, because of his wealth and status.
Humadapnon. His name is Si Humadap sa Kilat si Umpud si Kurukyaw si Baniban Duungan
Angga Pagsambaludan Ginoo pang Harangdon Datu nga Parangkuton. It means quick and smart,
bravest, and most handsome. He is the only male character in the epic whose whole body and hair is
gold. He is considered as the most respected man and leader of all bagani or heroes.
3
The gibwangan plays an important role in pre-colonial and even post-colonial village life of the tumandok or native people. Today it is
the entry point of ships coming from the high seas.
4
Binukot (well-kept and adored maiden), guardian and transmitter of artistic skills like binanog dancing, panubok (hand-embroidery),
epic chanting, weaving bamboo crafts, and making and playing of musical instruments.
5
Bagani means men with prowess and bravery; synonymous with the word dalagangan (seldom used but it is still found and understood
among the older people).

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The World of Epic Characters

Important epic characters have their territories delineated as the ibabawnon (Upper World), the
place of abode of Laon Sina, a great manughusay (most known arbiter) and manugbanhaw (life
restorer). She has the power to raise the dead back to life. Pahulangkub is Laon Sina’s husband. She
ha a younger brother, Sto. Nillo, who takes the miscarried fetuses to the upper world and takes care of
them together with other buruhisan (deities).
Dutan-on or Middle World is the territory of the human beings like Labaw Dunggon, Humadapnon,
other datu or buyong (respected men), binukot, and the witches Paglambuhan, Dampig Piliw, and
Sinagnayan. The Idadalmunun (Underworld) is the place of Luyong Kabig, a manughusay (arbiter) and
manugbanhaw (one who resurrects the dead). Luyong Baybay, Masangladon, and the couple snake
Bagsang and Ubugon, also live in the Underworld. The four characters control the rinda (anchor) of
the universe in the epic and put it in its proper position. Every epic character has a special task to do.
In the epics, the world is described as having no separations or barriers: the upper world, middle
world, and the underworld have connections. Every epic character has access and can go to the different
layers of the universe; they are accepted regardless of their capacity, status and family background.
Enchanters and the family of witches can mingle with other human beings during special gatherings.
The Significance of the Sugidanon to the Panay Bukidnon
Sugidanon is practiced in the life of the tumandok. The chants speak of their early history, culture,
origin, and beliefs, and play an important role in their day-to-day activities. For instance, the belief
about Bagsang, the seven-headed snake that lives in the Underworld guides their farming practices. The
direction of its mouth and tail is closely observed during planting and harvesting time in order to get a
good harvest. The tumandok also believe in the presence of nagasa-ub sa buhis (unseen beings) and the
daraiton (underworld beings) during rituals or feast offerings. The bird Punay, pet of Humadapnon, is
considered a symbol of meekness, peace, and harmony among the family members and the clans.
Nature plays a significant role in the lives of the tumandok. For example, vines are useful as a medicine
for toothaches. Some special vines which thrive in the jungle can relieve one’s thirst while walking or
wandering in the middle of the forest. The moon and constellations or group of stars in the heavens
serve as the IPs’ almanac, calendar, clock and weather monitor. These constellations serve as a guide
in his farming activities and everyday life.
The sugidanon, then, is part of the history and contemporary life of the Panay Bukidnon for it can
be seen and observed in the way they talk, communicate and socialize with others as well as in the way
they entertain visitors with hospitality (e.g. the offering of areca nut, a chewing cud to show hospitality).
Intricate panubok embroidery designs today speak of the closeness of the tumandok with nature like
matangponay (eye of the white dove bird), sudlikama (skin of the python) and bulak ka labog (flower
of the roselle plant).

THE LANGUAGE OF THE SUGIDANON

Archaic, Symbolism, Imagery and Other Figures
The words used in the sugidanon are archaic and difficult to understand because of its ancient
vocabulary, poetic lines, imagery and the figures of speech like simile, metaphor, personification, and
irony. Moreover, many of the words used in other oral literature like ulawhay, ambahan, talda, dilot, and
duruyanon, and the garadayon (chanted lines) of a babaylan (shaman- curer) during the death rituals
are taken from the epics.
Here is a short excerpt of an epic line recited on a cold, silent and peaceful night. While the chanter
lies in a hammock, humming, the family, relatives, and grandchildren surround her, all excited to listen
to the next episode of the epic chant.
Every line she utters is very symbolic and meaningful. She is filled with emotion. The tone goes up
and down; sometimes it prolongs and requires a high pitch in order to reach the exact tune. The words
are deep, touching the heart. The listeners laugh, get mad or cry because the story could either be a
drama, action or comedy.

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 Caballero-Padernal, E. The Panay Bukidnon Sugidanon

Every line of the epic has a corresponding line in Ddnddddnan…….. Ddnddddnan……..

archaic Kinaray-a (see Figure 1). The epic
learners would find the new words difficult to Adi gani gadulog Where did we stop
Dato gainmudungan That is where we begin
learn. It is an advantage if the new learners are
Iwanon ta ron lamang? What shall we do then?
young and come from a family of chanters Si Kulabo Kulambaw Kulabo Kulambaw
where they are exposed to the language of the Si Umbaw Amantulin Umbaw Amantolin
epics. Gatinangis dang datu The datu is weeping
Gahibi pay malangga... The noble man is crying...
Need for Glossaries
Inabuta’t kapusa He was furious
A glossary for sugidanon is needed to serve as Dinangta’t kayangut na He became raving mad.
Agsunura’t haraywon The source of power retreated
a reference for the learners and teachers of Isula’t saragudon The spirit friend drew back
sugidanon at the Balay Turun-an (School for Panutu kaw panumdum Think wisely now
Living Tradition). It is there where the native Ada paribong kalag Open your mind.
teachers of Indigenous Peoples Education (IPEd)
interact with learners in the IP community as well Figure 1. Example of a line in archaic language and its English
as teachers, students, and researchers in translation
Philippine literature.
Examples of Glossaries
Excerpt from the Epic Amburukay. Here, Taghoy, the messenger, wondered why it was very quiet in
the room of Labaw Dunggon. He decided to check what happened.
Hadi gani gadulog Where we all paused
Dato gainmudunga There we ended.
Hanggud datong naburung Now, he was greatly surprised,
Hanggud nga natingala Completely bewildered
Kunina pa si Taghoy This Taghoy
Ada pa si Duhende This messenger dwarf
Hugiwat gininu-ginu Nothing could be heard
Kunina pa dang dangput From inside the room,
Ada pa dang dunikup From inside the sleeping quarters
I Buyong Labaw Dunggon Of Buyong Labaw Dunggon
Sulud lamang sa dumdum A thought entered his mind,
Sulud lang sa uriman A thought occurred to him,
Inmano baling kabtanga What is the matter?
Anong kahisturaha What happened to him?
Basi inabuta’t bubudlon Maybe he is ill,
Dinuktat bubunawon Afflicted by disease
Si Buyong Labaw Dunggon Buyong Labaw Dunggon.
Gakinmudong dang Taghoy Taghoy took a step,
Gatikang dang duhende The dwarf drew nearer.
Hingdon ko dang agtunan And said, I have to see
Si Buyong Labaw Dunggon Buyong Labaw Dunggon.

A glossary would make it easy for the learner as well as the reader to understand the text.
Sugidanon (Archaic) Kinaray-a Hiligaynon Filipino English
bubudlon (n) balatian sakit, balati-an sakit, karamdaman illness
dangput (n) sulod, kwarto hulot, kwarto silid room
gadulog (v) gauntat gauntat huminto, tumigil to stop
gakinmudong (v) gatikang gatikang humahakbang walking
gininu-ginu (adj) malinong malinong tahimik quiet
hanggud (adj) hanggud daku malaki big, huge
kabtanga (n) kahimtangan sitwasyon sitwasyon, kalagayan situation
naburong (adj) natingala natingala, naglibog nagtaka perplexed, wondered
uriman (n) hunahuna hunahuna pag-iisip thought, insight

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Philipine Journal of Social Sciences and Humanities: Danyag Vol. 22 No. 1 & 2

Excerpt from the Epic Derikaryong Pada. This epic tells about Daranuon being ill. There is no cure.
Then, a gold medallion (bugna) with hundred rays appears on her chest. It is a gift from the unseen
spirit or the most powerful one.
Adi gani gadulog Where did we stop,
Dato gainmudungan Where did we end?
Nadagutduta’t magdo She had been sick
Nadukta’tbalatian Illness had befallen
Si Owang Daranuon Owang Daranuon
Hugiwa’t kaaraydan There was no cure
I lawas tubuan For her body, her physique
Nasamisaman du’t bulan After several months
Nahuyapa’t dalanon After many months had passed
Malahanig du lay lawas She became thin
Mala-halupahip lang Very skinny
Nagatinulo’y dulum By nightfall,
Nagatunga’y gab-i By midnight,
Nagtagin-up it marasna She had a vivid dream,
Nagdamgo it masanag She had a clear vision.
Si Owang Daranuon Owang Daranuon
Makumanya kaya’y damgo In her dream it says
Masinghan pa’y tagin-up In her vision she was told
Owa hingdon ikaw pagbugtaw Owa, wake up
Ada kaw pagmukayaw Arise,
Hay hingdon nga binugnaan Because I have given you
Ka derikaryong pada A pendant of gold,
Ka medalyang bulawan A medallion made of gold
I dughan mo kabladan Upon your chest

Sugidanon (Archaic) Kinaray-a Hiligaynon Filipino English

dulum (n) gab-i gab-i gabi night
kaaraydan (n) kaaraydan kaayohan paggaling wellness
kabladan (n) dughan dughan dibdib chest
makumanya (v) mahambal masiling magsalita utter, say
malahanig (adj) kaniwang kaniwang payat thin
marasna (adj) masanag masanag maliwanag bright, clear
nagatinulo (v) naganagub naganagub lumalalim getting late
pada (n) bulawan bulawan (gabi)
ginto gold
pagmukayaw (n) pagbugtaw pagbugtaw paggising to wake up
tagin-up (n) damgo damgo panaginip dream

Excerpt from the Epic Sinagnayan. Labaw Dunggon, in his journey to Sinagnayan’s house, sees
and follows the footprints of his parents. He reaches Moroboro, a place or abode of the dead where
he finds his parents. He talks to them and wants to stay, but his parents tell him that he has to leave the
abode of the dead because he does not belong there.

Masuraroy sa Nibro He walked through the threshhold of Nibro

Sinlong sa Moroboro Following the river Moruburo,
Say Kulabo Kulambaw Kulabo Kulambaw
UmbawAmantulin UmbawAmantulin
Si Sarandihong Kayun-on And Sarandihong Kayun-on
Si Anding Tulihawnon Anding Tulihawnon
Gabuyaboy sa dalan They trailed through the passage,
Gabulyog sa ablungan They walked together along the way,

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Caballero-Padernal, E. The Panay Bukidnon Sugidanon

Sinagnayan (continued)
Masuibang katamnan Traveled into the fields,
Masulod kalanutan And entered the abaca plantation.
Gakinigi yumuyom The souls were scraping the fiber,
Ada pay umalagad The spirits of the dead
Namungpungang langbon In the middle of the house
Nahatungang lilingdon In the center of the dwelling
I Pabayho Of Pabayho, the departed father,
Balay i Pabuaya In the abode of Pabuaya.
Hugiwan ka kanamon You can not stay here,
Indi kaw kalabugay You cannot stay with us,
Hay haraya tinyong banwa Because you are still alive
Habtay tinyong dinun-an. Because you belong to the world of the living.

Here is a glossary for this episode.

Sugidanon (Archaic) Kinaray-a Hiligaynon Filipino English

dinun-an (n) banwa, kalibutan kalibutan bayan, mundo town, world
gabuyaboy (v) nagapanaw nagalakat naglalakad walked, walking
haraya (adj) buhi buhi buhay alive
hugiwan (adv) indi indi hindi not
kalabugay (n) kaimaw kaupod kasama companion
lilingdon (n) balay balay bahay house
masuraroy (v) masulod masulod papasok to enter
namungpungan (adj) natunga natunga nasa gitna in the middle
yumuyom (n) kalag kalag kaluluwa soul, spirit

PART III. LEARNING THE SUGIDANON

Learning the Sugidanon
Anybody who is interested can learn the
sugidanon. There is no age limit. Even though
one does not belong to a family of chanters, but is
really eager, he or she can learn it by using many
references like glossaries and books of sugidanon,
plus the assistance of the chanter. However, the
sugidanon can be learned best at an early age of four
or five especially if the learner lives with the
chanters.
It can also be learned through listening,
familiarizing oneself to its tune, words and the
whole story. It is necessary to understand the
meaning of the archaic words and phrases
particularly the corresponding translations. Once
the lines and chants have registered in his/her mind,
the novice chanter also starts humming and Figure 2. Federico “Tuohan” Caballero, epic chanter,
chanting. It could be challenging, but patience, love, National Living Treasures Awardee. Author’s photo, 2016.
interest and determination are needed to learn the
epics. Thus, exposure to the sugidanon is very important in order to become an expert chanter.

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The sugidanon would never be an epic with interesting lines if they were not narrated or chanted by a
binukot. The binukot were the early chanters who taught these epics to their children who in turn,
transmitted it to the next generation (Dordas, 2013). Thus, transmission follows a genealogical line.
My tatay, his brothers, and his only sister are all epic chanters. The binukot daughter is a gem to
her parents, and she deserves to be loved, treasured, and respected. A unique tradition, raising a binukot
is a practice patterned from the epic. In fact, the binukot are also important characters in the sugidanon
like Nagmalitong Yawa Nagmaling Diwata or (Mali), Matan-ayon or (Ayon), Malubay Hanginon,
Pinailog sa Pinggan, and many others.

Qualities Required of Chanters

There are specific qualities that chanters possess. Skillful
listening is a quality of a good chanter because through frequent
listening one is able to integrate the sounds of chanting. A good
chanter can gain good vocal quality gained through constant practice.
In addition, a good chanter can dramatize the characters. The chanter’s
voice must be of good quality, Daw gaulyog or galatay sa lubid (as if
climbing a rope smoothly). My father, Amang Baoy, says, he would not
miss his departed mother and grandmothers because by chanting epics,
he could hear their voices.
I must say that good chanters usually come from the family blood of
chanters because it is a part of their early childhood socialization.
Lagdungan once said that when she was on her way home riding a
Figure 3. Owaw Ohoy, a binukot.
Author’s photo, 2016.
bus, she could hear our father’s chanting going with the sound of the
running bus and of the rushing wind. As for myself, I could still hear my
father’s voice even after a few days after he had chanted. It flashes back to my memory. That is why it is
not difficult for us to memorize and master the epic. We have internalized it as part of our lives.

Suggestions for New Learners

For the learners who are not exposed to the epic in their early years, the following techniques are
suggested:
1. Know the whole story to get an overall view
2. Memorize the names of the characters
3. Familiarize yourself with the tune of the epic chant
4. Understand the epic words or vocabulary and their meanings
5. Master the synonym of each word
6. Master every line and the sequence of lines
7. Practice constantly for memory recall and mastery

CONCLUSION
This paper was an attempt to explain the sugidanon extensively and to present prototype glossaries
for epic excerpts. It also attempted to answer many questions that have been frequently asked to
explain several lines in the sugidanon, and present examples of glossaries that can make learning
about the epics in the Sinauna nga Kinaray-a (archaic Kinaray-a) easier to understand and appreciate.
As heir to the tradition of epic chanting, and coming from a family line of manugsugidanon (epic
chanters), I take pride in performing these tasks. Despite the drawbacks and constraints, the limitations
of time and tools, I have made the commitment to teach it best. This is work in progress. It will take a
lifetime to learn all about sugidanon, to teach it, and to share it to the whole world.
I consider the publication of this article an opportunity to encourage fellow teachers and IP who
are interested to learn the epic stories so it can be passed on to future generations.

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Caballero-Padernal, E. The Panay Bukidnon Sugidanon

Since IP teachers with chanter grandparents and

parents can learn faster due to early epic exposure, it
would be best if they can be spotted and tapped to
learn the epics and teach students. For those interested
in children’s literature, the literary people or good
storytellers can narrate and later teach shorter but
funny epics like Tikum Kadlum (Epic 1) and
Amburukay (Epic 2) to the grade schoolers as a
starter. Those who have taught these epics to children
in remote areas like in the SLT (School for Living
Tradition) in Agcalaga and Garangan have elicited
fun and laughter. Portions of love stories in
Derikaryong Pada (Epic) and Alayaw (Epic) can be
enjoyed by teenagers in Grades 8 and up. The rest of Figure 4. Lamingan teaching how to play tikumbo.
the stories can appeal to different ages and sexes. Author’s photo, 2016.

For those interested in poetry, literature, 6 dramas, paintings, and other art forms, they can explore
any of the epics as a source for artistic ideas provided proper credit and Free Prior Informed Consent
(FPIC) from the chanters and publishers are made. The epic materials published materials from UP
Diliman, Printing Press and from the UP Visayas research translation work with the chanters showed
that our ancestors in Panay have long epic traditions prior to the entry of Western education and
language which have been incorporated in our curriculum. The glossary of sugidanon, therefore, is a
useful material for teaching and learning a culture-based education which can be introduced and
incorporated in the K to 12 Curriculum.
RECOMMENDATIONS
1. For the sugidanon (epic) to be learned, the teacher and student should apply the suggested
teaching-learning method.

2. The sugidanon should be accompanied by a teaching guide and a glossary of sugidanon words to
ensure better learning of the epics. These materials may be used in the Indigenous Peoples
Education (IPEd) and the K to 12 Curriculum.
3. Panay Bukidnon Indigenous Peoples (IPs) should be taught the value of the sugidanon as part
of their history and culture.
4. Teachers, learners, historians, and researchers are encouraged to read and learn the glossary of
sugidanon to understand the narratives of the epic.
5. Future researchers are encouraged to record and write about other epics of the Philippines.

6. Worskshop for the development of materials for contextualization and indigenization of

instructional materials should be conducted for curriculum implementers.
7. School leaders and administrators should provide the leadership in the development of
instructional materials as well as support teachers undertaking research on the sugidanon.

6
For the serious scholars in the field of history, anthropology, linguistics, and Philippine literature, one can read the ten Panay Epics
researched and translated by Dr. Alicia P. Magos, senior translator, and Anna Razel Limoso-Ramirez, associate researcher.

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Philipine Journal of Social Sciences and Humanities: Danyag Vol. 22 No. 1 & 2

BIBLIOGRAPHY
Arellano, E., et.al. (2012). Mentoring the Mentors Program: Transforming Teachers, School Leaders and School
Achievement. Development Journal of Multidisciplinary Research 1 (1). Bacolod: La Consolacion College.
Dordas, L.J. C. (2016). Selected Panay Bukidnon Oral Literature as Instructional Materials for K to 12
Curriculum (Unpublished MAEd Thesis). West Visayas State University, Calinog, Iloilo Campus.
Linaugo J., Larroder, A. & Larroder, C. (2012). Preliminary Study on Panay Bukidnon’s (of Central Panay
Philippines) Astronomical Views. Development Journal of Multidisciplinary Research 1 (1). Bacolod: La
Consolacion College.
Magos, A. P. (2016a). Preface. In F. Caballero, L. Caballero, & A. P. Magos, Amburukay. Quezon City: University
of the Philippines Press.
. (2016b). Epics as Paintings of Panay Life and World View. In F. Caballero, Pahagunong: Sugidanon
(Epics) of Panay Book 4 (XIVii-XIVViii). Quezon City: University of the Philippines Press.
. (1992). The Enduring Ma-aram Tradition, An Ethnograph of a Kinaray-a Village in Antique.
Quezon City, Philippines: New Day Publishing House.
National Indigenous Peoples Education Policy Framework (DepEd Order No. 62, series 2011) Letter C,
34-35.
Pancha, M. P. (2012). Education for tribal Children: An Engine for Human Development. International Journal
of Research Studies in Education 1 (1), 99-96.

KEY INFORMANTS
Romulo “Amang Baoy” Caballero, 73 years old, Barangay Masaroy, Calinog, Iloilo.
Leopoldo “Paino” Caballero, 75 years old, Barangay Garangan, Calinog, Iloilo.
Erlinda “Waraan” Caballero, 66 years old, Brgy. Masaroy, Calinog, Iloilo.

Postscript

When I was invited to contribute an article to the PJSSH (Danyag), I was very happy to accept the opportunity. It gave me
the chance to share about the culture of the Panay Bukidnon people. I am grateful for the encouragement and assistance of
many people who helped me. I would also like to express my gratitude to the UP Visayas for this rare opportunity to publish
this article on “The Sugidanon (Epic) and Prototype Glossary of Panay Bukidnon Epic Lines.”

May the Lord will continue to bless our plans and endeavors.

ELSIE CABALLERO-PADERNAL

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