Mythologies of the Tala-andig Tribes

The Talaandig tribes, also known as Bukidnon, are an indigenous tribe with a rich history and vibrant culture in the Philippines. They are believed to be descendants of the original proto-Philippine stock and have their own language called Binukid. The Talaandig Peoples have a deep-rooted connection to their traditions, which have been passed down through generations. Despite facing challenges such as colonization and land grabbing, they have remained resilient in preserving their customs and beliefs. The Talaandig Peoples, believed to be descendants of the original proto-Philippine stock, have their own language known as Binukid. This indigenous tribe in the Philippines has a rich history and culture that are intertwined with their unique language. Binukid is more than just a means of communication for the Talaandig; it is a vital part of their identity. Binukid is a Malayo-Polynesian language and is predominantly spoken in the Bukidnon province of Mindanao, where the Talaandig community resides. The language reflects the deep connection the Talaandig have with their natural surroundings, as it incorporates vocabulary related to the environment, agriculture, and traditional practices. The Talaandig consider Binukid to be a gift from their ancestors, passed down through generations as a means of preserving their culture and heritage. It serves as a bridge to their past, connecting them to their roots and enabling them to communicate their traditions, values, and worldview.

The scenic province of Bukidnon in the northern Mindanao region is home to various indigenous groups. Alongside the Bukidnon, Higaonon, and Manobo, the Talaandig people are part of the Lumad, who comprise 24% of the total population of the province. Through the years, they have continued to work to preserve their culture amidst the threat of modernization. The tribe continues to thrive to this day despite the recent changes in the area surrounding their tribal home. Known as the dwellers of slopes and steeps, the Talaandig tribe is one of the 18 major ethnolinguistic groupings classified as Lumad. Estimated to be more than 100,000 in population, the Talaandig tribe live in the sacred mountains of Kitanglad and Kalatungan, particularly in the municipalities of Lantapan and Talakag. The Talaandigs are fluent speakers of Inukit or Binukid, the tribe’s native dialect. At present, Talaandig culture is being handed down to future generations by the School for Living Tradition established by the Talaandig Cultural Center. The Talaandig are grouped by clans but is headed by a single Datu. As the head of the tribe, the Datu oversees the whole community. Traditionally, a Datu is selected through his courage, accomplishments, and knowledge of the oral history and customs of the people. A ritual called panagulambung to inaugurate the leadership is performed along with the presence and approval of other elders in the tribe. The Datu’s main function is to mediate in conflicts to settle feuds for the peace and order in the community. Moreover, a Datu is responsible in leading the tribe during emergency situations.

“The Talaandigs are one of the indigenous groups in the province of Bukidnon, Mindanao Philippines who has continued to preserve and promote its indigenous customs, beliefs and practices despite the strong influx of modernization and change. The Talaandig population is roughly estimated to be at about 100,000 people or more. The members of the group are found in barangays and municipalities surrounding the mountain of Kitanglad, the historic domain of the Talaandig people.” “In the midst of growing threat on our indigenous cultures brought about by the fast changes of a globalized world, Datu Migketay Victorino Saway started a School for Living Tradition. It is a space within the Cultural Center of the Talaandig community in Songko, Lantapan Bukidnon where children can play their own musical instruments specifically the big Talaandig tambol, sing their own songs, listen to the Talaandig stories and learn the Talaandig games and dances from Inay a Talaandig cultural master. In this haven for children, anyone is free to explore and experiment with sound and space. It is here where children build their foundation on the Talaandig story and self identity.

The Talaandigs are one of the indigenous groups in the province of Bukidnon, who has continued to preserve and promote its indigenous customs, beliefs and practices despite the strong influx modernization and change. This groups is found in barangays and municipalities surrounding the mountain of Kitanglad specifically in the towns of Lantapan and Talakag. The belief on the existence of the highest God called Magbabaya and the spirits who guard and protect nature is minfested in the social, economic and political aspects of the life of the Talandig. Thus, when the Talaandig establishes a farm, he performs the Talabugta and Ibabasuk rituals, after harvest, he performs the Pamamahandi for the thanksgiving, for the recognition of the superior leadership, he performs the Panagulambung, when he goes hunting, the Punaliket and palayag, and for a higher form of socio-economic and political activity, the Talaandig performs the Kaliga ceremony. The belief of the Talaandig on the existence of gods and spirits is also reflected in the protection of the house. These include Dadagunan hu Suguy who guards the laws of the house: Anilaw ha Sumagda who guards the door, Sinyuda Kahibunan who keeps the hall, Diwata ha Mailib who records the activity of peole inside the house and Diwata Pinatanlay who guards the house at the ridge of the roof. According to Tajonera marriage is the most significant basis of Talaandig kinship. Before arranging marriage, the consanguinity and affinity relationships of contracting parties are determined as basis for settling the appropriate customary laws and procedures. During marriage, counseling is established as guideline to preserve relationship. This is carried out in the observance of the Bayluwa custom where each of the couple is instructed to tell problems related to their relationships as husband and wife only to their parent-in-laws. This custom provides smooth relationship with-in-laws who have the parental authority to discipline their own children. In Talaandig kinship terms, a father is called Amay; a mother, Inay; a brother, suled; a sister, atubay. Uncle is called Aba or Abang. An aunt is called Ida or Idang. Apu is a general term grandparent. Parent-in-laws are called Ugang. A son-in-law is called Maamong while a daughter in law is called Lagambay.

Talaandig elders sat on the sidelines and watched as their young performed a tribal dance and played instruments at the foot of the majestic Mount Kitanglad in Lantapan town in Bukidnon. The gathering was on the occasion of Talaandig Day in Bukidnon on Friday, October 14, to celebrate the rich history, culture, and tradition of one of Bukidnon province’s several tribes. They gathered at the School of Indigenous Living Traditions in the village of Songco, which opened on Friday to impart the tribal group’s tradition, culture, and history to young Talaandigs. The Talaandig people are one of 110 groups of indigenous peoples in the country, and one of Bukidnon’s seven tribes who live around the Kitanglad Mountain Range. The mountain range, a government-protected area, has one of the highest mountains in the country – Mount Dulang-Dulang, or simply Mount Kitanglad – which stands at more than 9,600 feet. The Talaandig elders are faced with the challenge of preserving and promoting their customs, beliefs, and practices.

The tribe’s art is everywhere in the Talaandig village in Songco. It is in their music, paintings, inside their houses and even on their doors. Children learn to beat the drums as soon as their hands can reach thecowhide canvases and Talaandig grandmothers see to it that this tradition is passed on by teaching the children how to dance to the beat of the drums. The beat is contagious and any visitor to the Talaandig village inLantapan town at the foot of Mt. Kitanglad can see – and feel — that everything in the mountain air is about lumad art. “Our art is the history of our people. It is our life,” Talaandig leader Vic Saway says. Saway said every Talaandig child is taught how to beat the drums, playthe guitar or flute. Elders are not spared. They learn to paint on canvases using earth-soil based paints. Vic’s aunt, 76-year-old Adelfa “Nanay Ipa” Saway, for example, has just started painting. Adelfa painted 18 works of art, three of which have been bought for P3,000 by patrons from Manila. “I started painting the figures I saw in my dream because I really do not know how to paint,” Adelfa told MindaNews. Three of Adelfa’s paintings are now in the Hall of Peace where other paintings are displayed. Saway, Adelfa and the rest of the Talaandig artists opened the exhibit showing 1001 paintings done by their artists. “The paintings cover stories of creation. They are representations of how our artists view our myths,” Saway said. The paintings are one of the attractions of the four-day Talaandig Festival last week that marked their celebration of 489 years of their tribe’s survival. A tribal wedding capped the four-day festival.

The Duyan people, also known as the Talaandig, are one of the indigenous groups in the Philippines, specifically in the northern part of Mindanao. Their culture and beliefs are rooted in their indigenous heritage and are characterized by a strong connection to their ancestral lands, traditional practices, and spiritual beliefs. Here are some aspects of Duyan/Talaandig culture and beliefs:

Ancestral Land and Agriculture: The Duyan people have a deep connection to their ancestral lands, which are often used for agriculture. They practice traditional farming methods and cultivate crops like rice, corn, and vegetables. Their livelihood is closely tied to the land.
Oral Tradition: Like many indigenous groups, the Duyan have an oral tradition where they pass down their history, stories, and knowledge from generation to generation through storytelling, songs, and chants. These oral traditions help preserve their cultural heritage.
Spirituality and Animism: The Duyan/Talaandig people have animistic beliefs, which means they believe that spirits inhabit various natural elements such as mountains, rivers, and trees. They often perform rituals and ceremonies to honour and appease these spirits. Shamanistic practices are also part of their spiritual beliefs.
Music and Dance: Traditional music and dance are essential parts of Duyan culture. They use musical instruments like the bamboo mouth harp, bamboo flutes, and drums during their rituals and celebrations. The “lantoy,” a traditional bamboo flute, is particularly significant in their musical heritage.
Art and Crafts: The Duyan/Talaandig people are known for their artistic skills. They create intricate handwoven textiles, beadwork, and other crafts. These items often have cultural and spiritual significance and are used in rituals and ceremonies.
Community and Social Structure: Duyan communities are often organized into clans or extended families. They have traditional systems of governance and leadership. Elders and community leaders play important roles in decision-making and conflict resolution.
Cultural Festivals: The Duyan/Talaandig people celebrate various festivals throughout the year. These festivals often involve music, dance, traditional clothing, and rituals. One well-known festival is the Kaamulan Festival, which showcases the culture of several indigenous groups in Bukidnon, including the Talaandig.
Challenges: Like many indigenous communities, the Duyan/Talaandig people face challenges such as land encroachment, loss of cultural heritage, and limited access to education and healthcare. Efforts are being made to preserve their culture and protect their rights.

The Talaandig are one of the seven Indigenous Peoples in the province of Bukidnon, Mindanao Philippines. The population of the Talaandig people is roughly estimated to 100,000 individuals. The Talaandig population, however, is probably more than the estimated number because several of its members opted to be called Bukidnon, a name designated by lowland dwellers to its members at the time of Spanish colonization. According to two elders, namely Apu Luciano Sihagan and Apu Angel Colero (both now deceased), the term Bukidnon was designated to the members of the Talaandig who were ‘civilized’ accordingly by the Spaniards. Some members of the Talaandig people also called themselves Higaonon, a term derived from the term ‘gaun’ meaning offshore. In the past, the term ‘talaandig’ was critically referred to as ‘wild people’, ‘ignorant’,’savage’ and ‘uncivilized’ because they resisted colonization by running to the mountains.

The Talaandig religious fervor lies on a Being, Magbabaya, who wills everything like the Moros’ Allah and our God. Their history is in the Gugud, an ancient prose narrative relating their beginnings and that "of the universe, man, spirit beings, beliefs, socio-economic and political institutions fashioned in the course of man’s development. Specifically, Gugud recounts the primordial events which the Bukidnons view as their sacred origin. In this hut’s barehall, an altar table was covered with a white table cloth signifying goodness. A smaller red cloth was laid over it, as well as another white cloth. A plate was on top with 40 small betel nuts or nganga, the food of the spirits, formed in a circle which stood for the peoples of the world. In the middle were three betel nuts grouped together, one in the center, one facing east, one west. These stood for the three spirits, guardians of all that it is good. Bagani (the brave), Alimaong (the fierce) and Bagalad (the defender), are all spirits of justice. In front of the plate were 15 coins in semi-circle and laid face up – gifts to the spirits for peace. These coins, the Talaandigs prayed, were so "our bodies would not be blown by the wind but held firm on the earth with the coins’ weight." In front of the plate was a miniature bolo. By the handle were 19 pieces of ginger cut into small pieces. According to Dr. Unabia and Datu Vic’s translation of the Gugud, the ginger’s pungent taste which permeates the chicken, is meant to weaken all bad spirits, particularly the spirit of nuisance called Manektek Dawang-Dawan Maladpalad that causes disturbances in humans. On the right side of the altar was another red cloth and on top of it, a white fabric. This white cloth would be cut in little pieces to give to the guests to cherish and bring them enlightenment and truth. It was time to begin the ritual of reconciliation with Magbabaya. The Saway couple sat on a chair on the left side of the altar facing the congregation, predominated by women, children and a few men, who sat on banigs woven by the women. The Saways individually held white chickens. On the right side of the altar on the floor sat Waway Saway, the drummer and flutist, who has performed in Belgium, America and The Netherlands. So far away from this mountainous place of Bukidnon! Waway with his four musicians would tap on four different sizes of drums made from felled trees around their village to accompany the dancing. But right now, he held a brown chicken with four other men. I counted three whites and four browns in all. The more colors, the better as they symbolized the gracious holy spirits. The seven chickens stood for the earth, water, wood, sun, fire, the spirits and the power of speech. The chickens were offered in exchange for our earthly bodies’ good health. The chickens’ death would bring us life.

Mingled with the joyfulness, feasting, fellowship, dancing and revelry of the Talaandig Day celebrations held in the heart of the Talaandig Ancestral Domain in Lantapan, Bukidnon this week there was also a measure of mourning. A doleful shadow overhung the gathering of Talaandig tribespeople and their supporters, and the dances of the tribe’s children and grandmothers touched a melancholy chord as well as a joyful one in the hearts of the PeaceBuilders Team. Though the tribespeople greeted their guests graciously and cheerfully during these days of celebration, and though they took delight in presenting their traditional songs and dances and in reaffirming their identity as a people, the overarching reality of the Talaandigs’ existence is still one of siege and struggle. The Talaandigs’ claim of Ancestral Domain rights to their historical home range is still tied up in government bureaucracy. Without a government issued Certificate of Ancestral Domain Title protecting their territorial hectares, the Talaandigs are seeing their home soil deforested and degraded by international agricultural corporations. This struggle for official recognition of traditional tribal homeland is the experience of many in the indigenous community, says Prof. Sharon Bulaclac, a faculty member at Mindanao State University and a consultant for PeaceBuilders, Inc. who attended Talaandig Day with the PeaceBuilders Team. According to Prof. Bulaclac, government administrators at both the local and national levels often have ties to corporations whose profits would suffer as a consequence of official recognition of tribal domain claims. The Indigenous Peoples’ Rights Act of 1997 is ostensibly in place to protect tribal rights to tribes’ ancestral lands. Nonetheless, says Prof. Bulaclac, “even though the law is there, sometimes they will pretend that the law is invisible.” The datus (chiefs) of the Panalan Higaonon tribe, who also attended Talaandig Day, made the same assertion as Prof. Bulaclac. They told me that though IPRA is on the books, it is not enforced, and they feel that Mindanao’s Lumad peoples lack recognition and are disrespected. Also hindering tribes from receiving the rights and protections offered by IPRA is the absence of documents proving their forefathers’ occupancy of the tracts of land which the tribes wish to claim as Ancestral Domain. Prof. Bulaclac explained to me some of the historical and cultural reasons for this scarcity of documentation. From the 16th Century, the Spanish administrators of the Philippine islands invoked the Regalian Doctrine to assert that all the territory in the islands belonged to the Spanish Crown. Tribal rights to their traditional territories were never recognized. When the Americans took control of the islands, they implemented land titling. But those tribes who had managed to avoid extensive intermingling with the Spanish had never adopted a Western conception of the ownership of land, and they did not see the need to have their territory delineated and titled as the Americans demanded. In the colonial backwater of Mindanao, it had been possible to avoid contact with the Spanish to a much greater extent than it had been in the territories closer to the administrative center at Manila, and the indigenous peoples of Mindanao had preserved many of their cultural practices and attitudes during the Spanish era. The Americans classified the nonIslamized indigenous Mindanaoans as “wild tribes,” and began granting large tracts of the super-fertile Mindanaoan soil to agricultural corporations and to Filipino Christian “homesteaders” from islands farther north.

Bamboo Musical Instrument (BMI) maker and performer Datu Rodelio “waway” Saway is not called “Tatay” for nothing – he is a Master to his apprentice for keeping the Talaandig musical heritage intact by mentoring young members of their tribe. The Datu of the Talaandig tribe is a teacher at the Talaandig School of Living Traditions and a well-known performing artist. The Talaandig tribe’s home is at the picturesque foothills of the Kitanglad Mountain Ranges in Bukidnon. Inspired by nature, they are able to create music reminiscent of the rustling of leaves and the chirping of birds. Budding community artists would always go to Tatay Waway not only to learn how to play and craft their indigenous musical instruments but also to learn about spirituality and nature. “We use our traditional instruments to pray and connect with the Divine. Playing them is like opening a portal to the spiritual world,” explained Saway who has traveled the world showcasing the Talaandig’s own brand of music. But Datu Saway’s mission has encountered some difficulties in making the bamboo musical instrument. “Despite the availability of tools that makes the production of bamboo musical instruments easier, there are still issues affecting the durability of the instruments. There are times when our BMIs crack when brought to temperate countries. Some get infested by bukbok (powder-post beetle),” said Datu Saway in a Department of Science and Technology (DOST) release sent to Good News Pilipinas.

The chirping of the birds, the sound of bumblebees, and the brisk motions of the hawk, monkey and frog were some of the sounds that Rodelio “Waway” Linsahay Saway mimicked with pride during his recent visit to Cebu to present the rich musical and artistic heritage of the Talaandig tribe. Saway comes from the mountain ranges of Sungko, Lantapan in Bukidnon where the Talaandig tribe is located. Saway is an ambassador for cultural preservation and promotion of his community. “As one of bearers of our culture, I educate the young Talaandigs about our traditional music, arts, and dances for them to appreciate our roots. Through these, we are able to preserve our practices, our traditional instruments and stories of our folk heroes,” he said. The dances and music of the Talaandig tribe are distinctly inspired by nature. The Talaandigs play various instruments, including the kubing (which sounds like a hornbill), tambulalatuk (which sounds like a woodpecker), pulala (a flute), and kokak (which sounds like a frog), among others.

The Talaandig Artists will reveal the different colors of soil from their ancestral lands through paintings. The art pieces show different images of the tribe of its past and present environment. Revealing the colors of the soil will enhance appreciation of the mother Earth especially when it can be found in the different forms and images painted by the artist. In these masterpieces, their people’s imaginations, visions, spirituality, reality and cosmology are portrayed. Viewing the art pieces will open up a consciousness that indeed the earth has many colors and it gains understanding that land spaces are not only for agriculture, mining and buildings but also it is a vehicle of transforming beautiful mind of the Talaandig people. Waway as he is popularly known is from the Talaandig community of Tulugan – Songco, Lantapan, Bukidnon. He speaks the Talaandig native dialect, Inukit or Binukid and is conversant in Tagalog and English. He is regarded as the mentor of all, having explored soil painting as a tool to unite the tribe back to its roots. Although known best for his soil paintings, he also uses pen and ink.

Manobo simply means “people” or “person”; alternate names include Manuvu and Minuvu. The term may have originated from “Mansuba,” a combination of man (people) and suba (river). Manobos are concentrated in Agusan, Bukidnon, Cotabato, Davao, Misamis Oriental, and Surigao Del Sur. The Manobo usually build their villages near small bodies of water or forest clearings, although they also opt for hillsides, rivers, valleys, and plateaus. The communities are small, consisting of only 4-12 houses. They practice slash-and-burn agriculture. The Talaandig reside in the south central and western regions of Bukidnon.

Located in North Cotabato, the Tala-andig group themselves by clan which is headed by a Datu. Men provide food for their families through subsistence farming. Women help in food-gathering to augment their meager harvest. A "datu " heads the tribe and together with a council they form the timuay (governing body" which is the highest class in their society. The other four are the walian or "shaman" (Spiritual leaders), the warrior, and the commoner. They still practice rituals like the Samaya-an Festival, a thanksgiving celebration. They speak three-quarters Binukid and are found along the Eastern Bukidnon and Agusan del Sur boundary, specifically on the Pantaron-Sumapay-Kubatungan and Minala mountain ranges. Men spend most of their time in the forest hunting, trapping and gathering firewood. Women stay close to home taking care of the children and other household chores, digging root crops and weaving. They have three kinds of houses, a) a multilayered house where they do their cooking, b) tree houses as lookouts, and c) a shack near their cultivated fields where they stay during planting and harvesting season. Their diet consists mainly of tubers and root crops and whatever their hunts yield. Marriages are arranged with the girl's parents. Education is informal through demonstration by the elders. They are taught their proper roles in their society. A transfer of values and customs occurs from one generation to the next. Each settlement is ruled by a council of elders. These people are known for their art. They tattoo their bodies in red, black and purple. Their handicrafts are characterized with geometric patterns. Chanting their everyday experience is their most popular form of entertainment.