PARADOXICAL

Who is the 'Katutubo'?

Did you know that our precolonial ancestors had their own unique way of writing, and no, it was not called alibata, which implies it was derived from Arabic (it was not), but baybayin? And that baybayin had different variations? It was called kulitan in Kapampangan, kurit-an in Ilocano, kuritan in Pangasinan, and so on. The Mangyans had what they called surat Mangyan, which survives to this day in their ambahan -- poetry written on bamboo wood.

Did you know that the Negroid groups called Ati, Ayta, Aeta, Agta, Ata, etc. don't necessarily understand one another? This means their native tongue are distinct languages, not mere dialects (variations within a language). Among the Aetas in Porac, for example, there are even two distinct groups with distinct languages, the Ayta Mag-antsi and the Ayta Mag-indi. The two, I figure, will be unable to understand each other using their own respective languages.

Did you know that a simple thin strip of bamboo wood can be made into a jaw harp called kubing? The sound it produces makes for quite interesting electronica-like music.

To fellow Pangasinenses: I bet you also didn't know that Pangasinan has an indigenous or precolonial guitar-like stringed instrument? It is called kutibeng. I don't think I have seen one before.

Who would have guessed that a native Ilocano hat, called kattukong, is not only made out of a hollowed-out tabungaw (upo), it also doubles as a secret compartment for money bills?

These may come off as trivia to most of us, modern-day Filipinos, but I think these are all essential knowledge, or should be, yet I am not sure if these are adequately covered in basic education.

Good thing there are organizations from the private sector such as Katutubo Exchange Philippines (KXPH) which help make up for what is lacking by spreading the word face to face at the community level.

Founded by Dr. Edwin Antonio in 2013, KXPH's work came to town lately by accident after a mutual friend, teacher Tessie Reyes, informed me that Antonio was in town for summer vacation and would like to visit our municipal museum.

I conveyed the request to higher-ups and it was immediately granted, but since I have heard about Antonio's work online, I broached the idea of him giving us a taste of what he offers.

To cut the story short, he ended up giving a seminar-workshop on indigenous Filipiniana -- for free, and upon short notice too, without any preparations. Fortunately, things fell into place mostly.

Initially a physical therapist by profession, then an educator, Antonio got exposed early on in cultural matters and, let us say, found his calling in this discipline until he ended up fully immersed in it for decades. He has also become an officer of the National Commission for Culture and the Arts, serving in various capacities. Currently the head of the National Committee on Northern Cultural Communities, Antonio is essentially a roving cultural ambassador, bridging cultures across disparate geographies. Thanks to his work, he has been all over the country and across the oceans of the world, touching base with various indigenous communities wherever they live in situ.

***

"What is a 'katutubo'?" Antonio begins his talk. It is a question that is a challenge to answer, I must admit. What exactly, indeed, is "a native"? If I had a few strands of Chinese or Spanish DNA like many Filipinos do, would I qualify as one?

We have to admit that mainstream Filipinos treat the 'katutubo' with disdain or condescension, viewing them as backward and not worthy of much thought--notwithstanding that we Filipinos who are not foreign-born naturalized citizens are essentially 'katutubos' belonging to any of the 180 ethnolinguistic groups in the country.

So the answer is clear: Yes, you and I are 'katutubos.' As a Pangasinense, I definitely am one. Maybe not 100% pure, but passable.

From there, he underlines the value of knowing the indigenous by quoting Carlos P. Romulo about the need to take pride in our own culture.

Antonio--a wide-eyed, tallish guy with the dignified mien or stance of a datu but with a mysteriously calming presence--then launches a discussion of the various facets of native or aboriginal culture and begins with food.

Soon, he is making unexpected connections between the inward swirl of the balikutsa with Paoay Church's buttress decoration, and the inward movement of the hand in the kumintang dance step--relating all of these to the Ilocanos' propensity to be humble or at least their non-showy ways. (The inabel fabric is consistent with this study of character, I can't help but notice, particularly in the understated designs and choice of pastel shades and greyscale hues.)

The next time we seminar-workshop participants know, we are attempting to write our names in baybayin, trying to taste the seaweed called pokpoklo, playing the Ifugao physical game called hin'nukting, and trying on the different ethnic wears, weaves, and ornaments we have never considered wearing before, all gifted to him by the weavers themselves, we are informed.

As a minor cultural worker myself, I can't believe I am seeing with my own eyes, touching, and examining the work of Gawad Manlilikha ng Bayan awardee herself, Magdalena Gamayo of Ilocos, and another fellow awardee, Teofilo Garcia of Abra.

In a huff of discussions, we get acquainted with the t'nalak weave of the T'bolis, the pis syabit of the Tausugs, the hablon of the Ilonggos, the ikats of the Ifugaos and Gaddangs, the inauls of the Maguindanaos, and so on. These are stuff I only get to read about or encounter only in museums, travelogues, and Filipiniana shops, with no idea as to the whys and wherefores except that they are a thing of beauty and how the creation process behind each must be amazing in its intricacy.

The native fabrics, he reveals, are indeed more than wearable items. They tell the beliefs and stories of the community, they are indicative of one's stature in society, etc. For example, how a Tausug lady holds her wraparound indicates her state in life, whether she's single or married or the second or third wife of someone in the upper echelons.

I end up wearing an almost complete attire of the T'boli man. I find it regal in look, so I ask if it's for royalty. Surprisingly, Antonio says it's for commoners. Wow.

Every now and then, he mentions in passing other equally interesting things beside: the binukots of the Panay Bukidnon who are especially groomed as the tribe's epic chanters (I am not sure if I used the word 'tribe' correctly), the mat weavers among the Sama-Badjau, etc. You can't help but appreciate the amount of work and passion dedicated to each craft, the sheer creativity and skill, the wisdom behind the making of each...

This seminar reminds me once again that the indigenous is the core and thus essential part of being Filipino, and this is what makes Filipino culture incredibly rich. It will certainly take several lifetimes for one to really get to know each Philippine ethnolinguistic group up close--because each ethnic group has a lot of unique things, things not found in the other groups. No wonder artist Kidlat Tahimik routinely refers to the katutubo as "indio-genius."

It is also a learning experience for the facilitator, as he keeps on humbly asking questions on things he admits as unfamiliar to him--the mark of an intelligent, truly inquisitive researcher. He finds out, for instance, that Bayambang town has a version of a balikutsa-like candy called ginuyor. And that the town was reportedly founded by an Aeta named Agalet. And so on.

***

On a personal note, I have attended so many seminars of various nature and purpose--especially undocumented (no certificate) ones in the private sector, on top of the innumerable seminars, trainings, workshops, and orientation activities conducted by the LGU. But this is my first time to attend one of this sort. It is thus a great learning moment for me--that is, outside of my rare personal encounters with assorted Cordillerans in the north as a student in Baguio and the Aytas of Porac and Floridablanca, Pampanga once upon a time as a travel magazine writer, that is.

The novelty factor is so high I just have to be the one to cover it in person--while struggling with a bad case of cough.

In a world where homogenization of cultures has gone rampant due to globalization, where there is mass extinction of languages, the death of lone culture bearers with no descendant practitioners in sight... in a world where there is marginalization of communities outside the dominant narrative because we look down on them and miss their giftedness, on top of a lengthening list of endangered cultural heritage, both tangible and intangible... seminars like this are a necessity as part of celebrations such as National Food Month, National Literature Month, International Museum Day, etc.

And yet there seems only a precious few who are pitching in to do the great amount of work needed in this great project of basically restoring our self-respect. Good thing there's at least someone who does it with such level of knowledge and expertise, delivered in a respectful, non-assuming, and non-intimidating way.

(Photos by Ace Gloria; low-res CP shots mine)

posted by Resty Odon  # 7:05 PM