BARMM (Bangsamoro Autonomous Region of Muslim Mindanao)

Geography

The ARMM spans two geographical areas: the Mindanao mainland, where Lanao del Sur and
Maguindanao are situated, and the Sulu Archipelago, made up of the island provinces of
Basilan, Sulu and Tawi-Tawi. The region covers a total of 12,288 km².

Famous People

1. Leonor Orosa-Goquingco (July 24, 1917 - July 15, 2005) was a 1976 Filipino national artist
in creative dance. She could play the piano, draw, design scenery and costumes, sculpt, act,
direct, dance and choreograph. Her pen name was Cristina Luna and she was known as
Trailblazer, Mother of Philippine Theater Dance and Dean of Filipino Performing Arts Critics.

2. Muhammad Dipatuan Kudarat (also spelled Qudarat or Corallat) (1581–1671) was a Sultan
of Maguindanao. During his reign, he successfully opposed the Spaniards who attempted to
conquer his land and hindered the Christianization of the island of Mindanao. He was a direct
descendant of Shariff Kabungsuwan, a Muslim missionary who brought Islam to the Philippines.

Famous Places

1. Rio Grande de Mindanao - the longest river in Mindanao and the second largest in the
Philippines. Its 320 kilometer journey starts somewhere near Butuan City as the Pulangi River
then joins with the Kabacan River before emptying into the Moro Gulf through Cotabato City.

2. Sitangkai - an island in Tawi-Tawi, Philippines known as the 'Venice of the East' for its
houses that are built on stilts above water

3. Bulingan Falls - a majestic falls in Basilan, Philippines

Filipino Muslim Literature

Filipino Muslim Literature is an inventory of diverse cultures that displays features and cultures
of the Muslims in the Philippines. These distinctions distinguish one Muslim cultural community
from another. Yet, all these communities are unified by their Islamic faith, which has already
pervaded many aspects of their folk literature since Islam is a way of life. Regardless of cultural
community, all Filipino Muslims belong to one Ummah Muslimah. Yet, it has been distinguished
as Filipino Muslim Literature so as to differentiate it from other Muslim countries that have
different cultures from us.

In general, the folk literature of Muslim cultural communities in Mindanao, the Philippines,
may be in prose or in verse. But the style and form of expression may vary from one Muslim

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cultural community to another, what with the various languages that the people speak. These
oral literary forms may be didactic, hortatory, entertaining, instructive, or informative.

Folk literature in Mindanao Muslim cultural communities as in other Filipino groups follow the
oral tradition in that folktales, myths, legends, epics, poems, riddles and proverbs are handed
down by word of mouth from generation to generation. Moreover, as is true of folk literature
of other people, folk literature in the Muslim cultural communities has a participatory audience.
The audience listens, reacts, and retells what he or she hears to another audience, thereby
ensuring the transmission of the folk literary material to others. Authorship is not individual; it
is collective. Apparently, what the Muslim cultural communities must build and develop
eventually is a body of written literature just like other Filipinos.

The Muslim cultural communities may be classified into thirteen (13) major ethno-linguistic
groups. These are the: Jama Mapuns of Cagayan de Tawi-Tawi; the Iranons of Cotabato; the
Kaagans of Davao del Norte, Davao del Sur and Davao Oriental; the Kalibugans of Zamboanga;
the Maguindanaos of Maguindanao; the Maranaos of Marawi; the Palawanons and Molbogs of
Palawan; the Samas of Tawi-Tawi; the Sangils of Sarangani; the Tausugs of Sulu; the Yakans of
Basilan, and the Bangingis of Tongkil and Zamboanga.

If folktales are purely secular in nature, myths and legends as far as the Muslim cultural
communities are concerned, have religious overtones. The people identify myths and legends
as cut out of the same cloth. Some would even subsume them as folktales. How they are called
differs, however, from one cultural community to the other.

Again, Muslim cultural communities having close interaction, whether social, political or
economic, make use of the terms used in a cultural community, which is fairly dominant in
number. Those who live quite far-off from the major Muslim groups have evolved their own
literary terminology. The Kaagan of Davao and Sangil of Sarangani are obvious examples. They
are rather influenced by other groups, which are geographically accessible. For instance, the
Kaagan call their legends as kapunopuno or kasugod sugod, which sounds Bisaya. Myths to
them are oman-oman or gugudanun. The Sama of Tawi-Tawi adopt the Tausug terminology.
The Jama Mapun call their legends as uduhan, the term having a slight resemblance to the
Tausug’s usulan.

Epics in most Muslim cultural communities are yet to be found, collected, identified, and
consequently documented. Apparently, this sad reality is spawned by the lack of informants or
tellers. It could also be due to the absence of enterprising researchers. In other communities,
epic bearers have died or have moved to another place as a result of the deterioration of peace
and order and other reasons.
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As of the present, three major Muslim groups have identified their epics, through the help of
enterprising researchers. The Maranao have their Bantugan; the Maguindanao, Indarapatra at
Solayman; and the Tausug, Parang Sabil hi Abdulla iban hi Isara.

Some literary personages, in the case of the Tausug epic, have refuted that Parang Sabil hi
Abdulla iban hi Isara is an epic; to them, it is just a mere ballad. But we must bear in mind here
that in some communities, ballads and epics could mean the same thing. Aliyanapiya could be a
possible Tausug epic, too, but its text has yet to be found. The Parang Sabil hi Abdulla iban hi
Isara could very well qualify as a Tausug epic because it is also sung and in verse.

Ballads may be classified as folk songs, because they tell stories as they are sung. They, likewise,
belong to the narrative genre. Ballads of other nations are oftentimes lyrical. Just like other folk
literary genres, ballads are handed down by word of mouth. Ballads in the Muslim cultural
communities rhyme. They are always solo and sung with gabbang, kulintang or biyula as simple
accompaniment. In the Muslim cultural communities, ballads, more often than not, suggest a
story. When we speak of ballads in the various Muslim cultural communities, we refer to the
traditional ones, which are handed down from one generation to the next by word of mouth.

Ballads are called in Tausug as kissa. The Jama Mapun and the Sama adopt the Tausug term.
The Kaagan call it the darangan or bayok. The Maguindanao and Iranon call their ballads as
dayunday and sometimes bayok, too. The Palawanon call their ballads as toltol, the same name
they would use for folktales. For poems, the Maranao call them bayok, and so do the Iranon.
The Maguindanao call poems as bayokan. Tarasul is the Tausug term for poems, and the Jama
Mapun and Sama use the same term to signify a body of compositions called poetry. The
Kaagan call their poems as dawut by which the same name the epics go.

Considering the various musical forms that they render, the Yakan could be considered as the
music lovers among the Muslim cultural communities. The following are various Yakan songs:
the katakata, which is a lackadaisical melody that reflects the pain and suffering of somebody
who has lost a loved one; the lunsey, a top tune of sort that resembles the Tagalog harana; the
sail, which relates a story and may be sung during weddings and burials, the subject matter
suited to the nature of the affair; the nahana, which relates an ancestral story; the kissa, which
is about royal families; and the jamiluddin, which is a person’s name in Tausug, is a song to the
Yakan, usually sung in a game called magdarapanyu’. The katakata for the Tausug is an oral
narrative, which is told to an audience. But to the Yakan, as indicated above, it is a song.

Proverbs and riddles abound in the Muslim cultural communities. When asked how these are
called in their communities, informants would be able to give answers without staring blankly
at the sky. Proverbs and riddles in the Muslim cultural communities as are in other cultural
groups are the simplest genres of folk literature. Both forms of oral literature strike a kind of

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intellectual exercise on the part of the audience. They are highly figurative in the use of
language, and they possess an intense quality that stimulates the mind.

The Kaagan of Davao, despite their distance from their fellow Muslims in Lanao, Maguindanao
and Cotabato, use almost the same term for riddles. They call them antokanon. Note that the
Maguindanao call their riddles as antoka. The Maranao have three different names for riddles:
kapamagantoka, antoka, pasoalan, or limpangan. The Iranon call their riddles as kapagantoka,
which is quite close to kapamagantoka of the Maranao. All these cultural communities live in
mainland Mindanao.

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BARMM (Bangsamoro Autonomous Region of Muslim Mindanao)

Geography

The ARMM spans two geographical areas: the Mindanao mainland, where Lanao del Sur and
Maguindanao are situated, and the Sulu Archipelago, made up of the island provinces of
Basilan, Sulu and Tawi-Tawi. The region covers a total of 12,288 km².

Literature of BARMM

Tarasul - poems of Tausug. Tarasul are both entertaining and pedagogical. Although part of oral
tradition, they are also written down. Topics of the tarasul are various-nature, cooking, love,
among others.

Examples of Tarasul:
1. In ulan iban suga
Kagunahan ha dunya
Apu' Banuwa
In jambangan tulunga.
The rain and sun
Are essential on earth,
Oh, Apu' Banuwa ["grandfather chief" or angel Michael]
Help the garden.

2. Tarasul ini iban daman

Ganti' pamintangan
Ha pasal ina' subay kalasahan
Di ha dunya ganti' patuhanan.
This tarasul and daman
Serves as a lesson
Concerning the obligation to love one's mother
Since she is God's representative on earth.

3. Mabugtang agun in baran ku

Pasal sin raybal ku.
Hangkan no aku di' no magkadtu
Sabab landu' susa in atay ku.
My whole being seems paralyzed
[Thinking] of my rival.
The reason I no longer pay [her] a visit

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Is that my heart is grieving much.
Katakata – one of the four Tausug narratives: the salsila (ethno-historical narratives), the
kaawn kissa (creation stories), the usulan kissa (origin stories), and the katakata (marchen).
Märchen - folktale characterized by elements of magic or the supernatural, such as the
endowment of a mortal character with magical powers or special knowledge; variations expose
the hero to supernatural beings or objects. The German term Märchen, used universally by
folklorists, also embraces tall tales and humorous anecdotes; although it is often translated as
“fairy tale,” the fairy is not a requisite motif.

Katakata are stories which are not historical and which are recited basically for entertainment.
There are generally three types of katakata, one which resembles the legend, the marchen, and
the trickster tale.

An example of the first type is:

"In Duwa bud" (The Two Mountains)

A man and a woman who have died become two mountains, which today are believed to be
enchanted. Resting between the sea of Sulu and Zamboanga, the two mountains must not be
referred to by travellers.

An example of the second type is the Tausug version of "Tom Thumb" folktales and is
called"Hangdangaw" (literally, "a span high").

Despite his size, Hangdangaw is a voracious eater and grows with exceptional strength. He
leaves his parents and -meets four powerful men who become his friends: Mamuk Bunga,
Tumibik Batu, Sumagpih Ipil, and Rumatag Bud. One day, Hangdangaw catches s big fish but
discovers that he needs fire to cook it. He sends the four to get fire, but they are captured and
imprisoned by a human-eating giant. Hangdangaw rescues them, and they finally get to eat the
fish. After the meal, Hangdangaw throws away the fish bone, which, unfortunately lands on the
maharajah's well. Hangdangaw helps the maharajah by throwing the fish bone a second time; it
lands on the water hole of a panglima (headman). This is repeated two more times in the wells
of the imam and the crown prince. As a reward, the daughters of the maharajah, panglima,
imam, and crown prince are married off to Hangdangaw's four friends. From the crown prince's
well, the fish bone lands on the sultan's. Hangdangaw intervenes again and ends up marrying
the sultan's sister.

More popular among the Tausug are the trickster tales which involve Pusong and Abunnawas
and which belong to the "clever lad" genre. In these tales, Pusong and Abunnawas always get
away with the tricks they play on the sultan. The popularity of these tales and the irreverence
they show towards the sultan betray the egalitarian attitude of the Tausug.

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Other katakata deal with agassi (giants) like the "Baguinda Iban Hinda Apu" (Baguinda and
Grand-father Agassi). There are also stories where handsome anak datu (royal princes) or
beautiful putli (royal prin-cesses) are turned into ugly creatures only to be return-ed to their
true selves after undergoing various trials. "Putli Pugut" and "Manik Buwangsi" are good
examples of this type of katakata.

Animal tales such as that of pilanduk, a kind of mouse deer, are also types of the katakata.
Pilan-duk has evolved into a human trickster as wily as Pusong and Abunnawas (Tuban 1977:93-
94). Other examples of animal tales include the stories of "The Rabbit and the Lion," "The
Tukling and the Crow," and "There was a King"

Tudtul - Maguindanao tudtul (folktales) are short stories involving simple events. Two
examples are presented.

The "Lagya Kudarat" tells the adventures of the two children of Lagya (rajah) Mampalai of Lum
who are blown away after Mampalai laments the lack of viable partners for his children. These
two children are Lagya Kudarat and Puteli (princess) Sittie Kumala. Puteli Kumala is blown to a
forest where she meets a kabayan (in all Maguindanao stories, this character is associated with
an old unmarried woman). The kabayan adopts her, as she earlier did the prince named
Sumedsen sa Alungan. Although Kumala and Sumedsen live in the same house, they never
speak to each other. Later, because of peeping toms, Kumala leaves and Sumedsen goes with
her. They find their way to Lum, where a happy reunion takes place. Sumedsen eventually
marries Kumala. Meanwhile, Lagya Kudarat is blown to Kabulawanan. There he meets another
kabayan who allows him to live with her. One day while hunting, Kudarat hears the game of
sipa (rattan ball kicked with the ankle) being played. He proceeds to the direction of the game
and is invited to play. Not knowing how to play, he accidentally causes the sipa to fall in front
of the princess who is sitting beside the window. She throws him her ring and handkerchief.
The marriage between the princess and Kudarat is then arranged. After the wedding, Kudarat
feels homesick; his wife then suggests that they go back to Lum. There is a happy reunion. A
week later, Kudarat and his wife returns to Kabulawanan to live with his in-laws.

"Pat-I-Mata" narrates the story of two brothers -- Pat-I-Mata and Datu sa Pulu. The former
rules Kabalukan while the latter reigns over Reina Regente. Pat-I-Mata is so-called because he
has four eyes; when his two eyes sleep, his other two are awake. He is also known for his
cruelty to women, marrying them when they are beautiful and returning them after they have
gone ugly. Because of this, the people of Kabalukan can no longer tolerate Pat-I-Mata's cruelty.
They approach his brother and ask for his help. The Datu sa Pulu tries to advise his brother but
to no avail. He then decides to kill Pat-I-Mata. So he builds a cage. Seeing the cage, Pat-I-Mata
asks what it is for. The Datu replies that it is constructed to protect them from an incoming
storm. Being greedy, Pat-I-Mata asks for the cage saying that the Datu can make his own

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anytime. The Datu pretends to hesitate but later accommodates his brother's wishes. When
Pat-I-Mata and his followers enter the cage, the Datu orders the door shut. Realizing that he is
tricked, he says before being thrown into the river: "Never mind, my brother. We would always
be enemies -- and we will never be reconciled till eternity. I would die but I pray that whenever
you go riding on a boat in the river, my spirit will capsize it".

EPICS

Bidasari – an epic of Mindanao based on a Malayan epic. It resembles the tales of Snow White,
Cinderella, and Sleeping Beauty all combined

Bantugan is an epic story told in the great oral tradition of the Maranao tribe. It is a story about
the great Prince Bantugan, the greatest warrior of the kingdom of Bantugan.

The Darangen is an ancient epic song that encompasses a wealth of knowledge of the Maranao
people who live in the Lake Lanao region of Mindanao. This southernmost island of the
Philippine archipelago is the traditional homeland of the Maranao, one of the country’s three
main Muslim groups.

Comprising 17 cycles and a total of 72,000 lines, the Darangen celebrates episodes from
Maranao history and the tribulations of mythical heroes. In addition to having a compelling
narrative content, the epic explores the underlying themes of life and death, courtship, love
and politics through symbol, metaphor, irony and satire. The Darangen also encodes customary
law, standards of social and ethical behaviour, notions of aesthetic beauty, and social values
specific to the Maranao. To this day, elders refer to this time-honoured text in the
administration of customary law.

Indarapat at Sulayman-this is a Maguinadanon epic that was all about the fight of King
Indarapatra's brother Sulayman, to the monsters.

The “Parang Sabil hi Abdulla” tells the story of Putli Isara, the beautiful daughter of a panglima
the fiance of Abdulla. By the river one day, a Spanish soldier accosts Putii Isara and touches her.
The event causes Putli Isara and Abdulla to commit parang sabil (“Parang Sabil” 1973).

POEMS

Sulu's Poem
Adventure stories were my game
And so I heeded Starfleet's call
A starship pilot I became
To visit planets large and small

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I drive the ship through vacuum black
Warmed briefly by the breath of star
There's Chekov here to watch my back
Scott keeps the engines up to par

McCoy in Sickbay heals our wounds

And on the bridge with cocoa eyes
Smart, sweet Uhura, hear her croon,
The voice of Starship Enterprise

I'm busy working at my shift

I navigate the sea of space
I see the Vulcan's eyebrow lift
A smile lights up the Captain's face

A wink from Pavel makes me grin

It's cute how Kirk thinks we don't see
Commander Spock and he are in
A love of bonded loyalty

Their pure affection radiates

Although they try to keep it hushed
It warms my heart to see these mates
As through the endless sky we're rushed

Their dedication to their love

Is mirrored in the way we feel
About our ship, this silver dove
We do our jobs, from crown to keel.

19 Brothers of Basilan
Should I, in that split second decide to run away?
Or be like one of the Nineteen who chose to stay
My poor mind is not addled at the callousness
Was it not Man, the first brute -- since Abel's case?
Even the thought terrifies me, will I be able to fight?
In a strange terrain, with a gun, without light?
These men knew and dealt with death for they have lived
for others and for those like me who just writes poetry and read.

FOLK TALES (fables)

 Amomongo and Iput-Iput (The Ape and the Firefly)
 Ang Masamang Kalahi

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MYTH
 Ang Unang Hari ng Bembaran (A Maguindanaon Myth)

PROVERBS
Tausug: Ayaw mangaku daug salugay buhi.
Tagalog: (1) Huwag aaminin ang pagkatalo haggang ikaw ay nabubuhay. or (2) Hanggang
maybuhay, may pag asa.
English: Never admit defeat as long as you live.

Tausug: Atay nagduruwaruwa wayruun kasungan niya.

Tagalog: Kung ang isa ay hindi makapag disisyon, siya ay walang kinabukasan.
English: One who cannot decide will have no future.

Tausug: Wayruun asu bang way kayu.

Tagalog: Kung walang usok, wala ring apoy.
English: There is no smoke where there is no fire.

Tausug: In lasa iban uba di hikatapuk.

Tagalog: Ang pag-ibig at ubo ay hindi maitatago.
English: Love and a cough cannot be hidden.

Tausug: In ulang natutuy mada sin sug.

Tagalog: Ang natutulog na alimango ay matatangay ng agaos.
English: A sleeping crab will be carried by the current.

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