Every year on the first Sunday of June, Madison Ave in New York City comes alive with vibrant colors, rhythmic beats and a display of traditional textiles during the NYC Philippine Independence Day Parade. Running along Madison Ave from 38th-27th Street, hundreds of people gathered to see the parade.

This year is the 125th anniversary of the commemoration of the Philippines Independence and the 33rd annual celebration in NYC.

 I have been coming to the parade for over a decade now, first attending with my old Filipino youth group, Paaralang Pinoy, as we marched in our yellow shirts. Since then, every year I see that the parade draws in more and more people to join the festivities. Its reputation continues to grow and it has become the largest street parade outside of the Philippines.

Some notable performances in this years parade includes dancers from Bacolod City in Negros Occidental, Philippines, who performed dances representing the MassKara Festival. Donning colorful masks, they got the crowd cheering as they paraded through the streets of NYC. Others performed dances representing another festival in the Philippines, Sinulog, which is held in Cebu, Philippines.

Dancers representing the Sinulog Festival in Cebu, Philippines.

Representatives from the MassKara Festival, held in Bacolod City, Negros Occidental, Philippines every year in October, danced along Madison Ave entertaining the crowd.

Kinding Sindaw, a local NYC-based nonprofit dance theater company run by indigenous activist and cultural bearer, Potri Ranka Manis, a member of the Meranao community. Kinding Sindaw performs traditional dances and plays from various indigenous cultural groups in Mindanao and is a well known part of the Filipino NYC community. 

Marching together with members of Kinding Sindaw are members representing Choose Bangsamoro: The Autonomous Region in Muslim Mindanao, who wave the green, white and red flag representing the Bangsamoro Autonomous Region. This includes the provinces of Basilan, Lanao del Sur, Maguindanao del Norte, Maguindanao del Sur, Sulu, Tawi-Tawi and Cotabato City.

The group, Tribu Gingoog, represented the Kaliga Festival of Gingoog City, Misamis Oriental, Philippines. The annual festival occurs every July and showcases the culture and dances of the Manobo and Higaonon. The word “kaliga” means thanksgiving and the festival itself is a thanksgiving festival, where they dance and perform rituals for abundance and prosperity. Some of the dances performed include the Binanog (eagle), Inamo (monkey) and Inuwang (shrimp hunters and shrimps), each movement of the dances representing certain aspects of the overall thanksgiving ritual.

A few Filipino celebrities attended the parade including Filipino-American actor, Xian Lim, and models Venus Raj, who was Binibining Pilipinas Universe 2010 and the 4th runner up for Miss Universe 2010, Megan Young, who was crowned Miss World 2013, and Miss Universe 2022, R’Bonney Nola Gabriel. 

After the parade, my boyfriend and I headed to the street fair that is close to Madison Square Park. Nearby is the stage area where they have performers come up, however none of the Kapwa Team stayed too long to see and cover that. The street fair was pretty crowded and long lines for certain stalls made up most of the street fair. Unfortunately, due to this I wasn’t able to see and cover every vendor and food stall. I did manage to check out one though, which was Kalye, a pretty recent addition to the Filipino culinary restaurants in and around the NYC area. My boyfriend and I bought their Pork Ube Sliders and some ube ice cream that was inside a bun. Both were really delicious and as someone who doesn’t like pork, whatever sauce they used tasted amazing and I absolutely loved the Ube Sliders. Maybe it was either the Manang or Manong sauce that they had displayed? Either way, the food was delicious and shout out to Kristine for inviting me to visit your food stall. It was lovely meeting and talking to you about Kalye and I can’t wait to visit the restaurant in person in the future! 

You can follow Kalye @kalye.nyc on Instagram and on their website, https://www.kalye.com/. If you are in the area, don’t forget to check them out at 251 Broome Street New York, NY 10002.

As long as humans have existed, cultures across the world have preserved and processed their food in one way or another. For indigenous Filipinos, this was no different. Whether as a means to ensure there was enough to eat during seasons when supplies were low, to have a meal during travel, or to make an essential cooking ingredient, food preservation in the precolonial Philippines helped play a major role in developing some of the signature flavors of our cuisine. 

While it’s easy to associate the term “pre-colonial” with something that is no longer being practiced, these methods haven’t disappeared completely. Although the procedures may have evolved, preserved foods have helped lay the foundation for many of the most beloved Filipino dishes; from the vinegars that flavor our lola’s signature adobo to the tinapa (smoked fish), our parents served with rice and eggs.

Fermentation

The word fermentation often invokes images of alcohol or pickles (like atchara). While both of these were made prior to the Spanish landing on our islands and are still part of the Filipino culinary landscape today, it would be doing a great disservice to not mention one of the most essential Philippine ingredients: vinegar. Antonio Pigefetta, a historian who arrived with Magellan’s crew, recorded coconut vinegar as one of the first food items he encountered when he arrived in 1521. 

Vinegar, or suká, was extremely important to the pre-colonial Filipinos. In addition to being used for cooking and food preservation, vinegar was also believed to cure a variety of physical ailments, including fevers and headaches. To make vinegar, one could use a variety of natural ingredients; some of the most popular include: nipa palm sap, coconut flower sap, and sugarcane. There was no primary vinegar type that was used throughout the entire archipelago, as this depended on what natural resources were available where it was being made. To make vinegar, the natural liquid of choice was gathered and stored in earthen-ware clay jars called tapayan. Sometimes, this would require cooking the liquid. The jarred liquid would then be exposed to the sun. Within a week, it would turn into vinegar and ready to use. While today’s modern world relies more on mass produced vinegars, there are still a small number of artisans today who make their vinegars according to the traditional methods passed down through the generations.

Aside from vinegars, our ancestors also made alcohol. Commonly called alak, tapuy, or tuba; these libations were also made from saps, nectars and other fermentable ingredients. Oftentimes, vinegar happened to be a by-product of this alcohol-making. For example, in the Illocos region they make their indigenous alcohols and vinegars from the abundance of sugarcane in the region. The sugarcane juice is extracted, boiled down and fermented in tapayan to make the fermented wine called basi. Sukang Illoco vinegar can be made by further allowing the basi to ferment past its required fermentation period.

For those with access to the various bodies of water, seafood was fermented to make beloved condiments. Similar to surrounding Asian countries, Filipinos fermented tiny fish in tapayan to make patis (fish sauce). Bagoong (a fermented seafood paste) was also made through salting and fermenting small fish or shrimp. In the Visayas and Mindanao, dayok was made according to a process similar to that of bagoong; a key difference being that fish entrails were used as the primary ingredient, rather than the whole fish. The result of all three fermentations is a wonderfully salty condiment and seasoning agent. Today, though despite being produced industrially, these products are still enjoyed by Filipinos both at home in the motherland and spread throughout the diaspora.

Salting, Drying, and Smoking

While it’s no longer necessary for us to hunt and fish as our ancestors did, it doesn’t mean that dried foods aren’t enjoyed any less. Similar to the bacon and jerky that we enjoy today, early Filipinos also smoked, dried and salted their proteins to preserve them for extended use. It is unknown if Pigefetta was able to witness any specific methods of salting, drying, or smoking food, as he didn’t record any of these observations. 

As an island nation, it’s impossible to think of dried or smoked food without thinking of seafood. Walk into a Filipino market or restaurant and find at least one dish with a component prepared in this way.  According to Filipino food writer and historian Doreen G. Fernandez, fish was salted and dried in times of abundance, in order to prepare for times of scarcity. This was such a common practice for those who had access to the ocean and rivers that there were specific terms for the methods of drying, salting and smoking. 

If you were looking to prepare fish in the daing method, a large fish would be split open and butterflied from the back. This fish would be dried in the sun for later use (often to be roasted as is or used to flavor vegetable dishes). Tuyo referred to smaller fish prepared in this manner; tuyo is still enjoyed today as a popular accompaniment for champorado (chocolate rice porridge) and as a snack. Tinapa was the term for any size of fish that was smoked until its skin turned golden brown. Balbakwa (in Tagalog) referred to small fish that were layered in rock salt and allowed to dehydrate in containers; these were often saved to cook in vinegar or as a flavoring agent for other dishes. Fish wasn’t the only water-based protein that was preserved either. Shrimp was an abundant resource around the coastal areas of the archipelago. The Illongo would salt and dry tiny shrimp into kalkag. Larger shrimp prepared in this manner (after being peeled) was called hibe. 

Communities with limited access to fishing waterways also dried their land-based proteins after hunting. This method, called tapa, usually invokes our modern mental images of beef. However, in the precolonial Philippines, their tapa usually consisted of deer or wild boar. According to Fernandez, the meat used for tapa was never sold for profit. Instead, it was shared amongst members of the hunter’s community.

Cooking with Vinegar

This one probably shouldn’t come as much of a surprise, due to the fact that Philippine adobo has often been hailed as one of the dishes that has survived from pre-colonial times. To reference previous parts of this article, vinegar has long been used for purposes other than fermenting. In “Tikim: Essays on Philippine Food and Culture” by Doreen G. Fernandez, there is a theory by Raymond Solokov that states that Philippine adobo was named because Spanish explorers thought the cooking method was similar to their “adobado” method, which was meat being stewed in wine and onions. Pigefetta recorded “adobado” as “meats marinated in vinegar to avoid them from spoiling quickly.” 

On all accounts, there is a nugget of truth in this. Pre-colonial Filipinos didn’t have refrigeration or widely-used methods of cooling foods to avoid spoilage. Cooking and marinating items in vinegar and other souring agents, such as sampalok (tamarind) or kamias (sour member of the starfruit family), served as a way to extend the longevity of these proteins, as well as a way to preserve food for travel. There are quite a few of these methods, used both for seafood and animals hunted from the land. It is believed that these long-used cooking methods are one of the many reasons why the Filipino flavor palate has a love for sourness.

Beyond adobo, another method is that of paksiw. Foods cooked for paksiw (traditionally fish) were cooked in vinegar and could be served either hot or cold. In modern cuisine, leftover lechon (suckling pig) is often cooked paksiw-style as a way to transform an ingredient for use in another dish. The Illongo people also use a method called pinamalhan. When cooking something pinamalhan, the food is cooked until all the liquid (including the vinegar) is cooked away. This comes from the word “mala,” which means “dry.”

Finally, there is the lamayo method, which is also popularly used for fish. This “wet” preservation method (a marination step) is commonly used for dishes like daing na bangus. For dishes that use the lamayo method, the fish or other desired seafood is marinated in garlic, spices, and vinegar (or other souring agent). The acid partially cooks the seafood, helping it last a bit longer before the protein is cooked or dried. 

The food preservation methods detailed above are only a sampling of the ones used by our ancestors, but it is apparent how they still greatly influence Philippine cooking today. Mass production may have helped bring these methods into the modern age, but our culture will always have the blueprint. Despite the passage of time and foreign influence, these techniques and the iconic dishes they produce remain undeniably Filipino.

Sources: 

Tikim: Essays on Philippine Food and Culture. By Doreen G. Fernandez, published in 1994.

Palayok: Philippine Food Through Time, On Site, In the Pot. By Doreen G. Fernandez. Published in 2000

Pigefetta’s Philippine Picnic: Culinary Encounters During the First Circumnavigation, 1519 – 1522. Retold by Felice Prudente Sta. Maria, Published in 2021

Lactic Acid Bacteria in Philippine Traditional Fermented Foods. By Charina Gracia B. Banaay, Marilen P. Balolong and Francisco B. Elegado. Accessed on May 5, 2023.  

Culture Ingested: The Indigenization of Philippine Food. By Barbara Kirshenblatt-Gimblett and Doreen G. Fernandez. Accessed on May May 7, 2023.

Taste Atlas: Lamayo

Accessed on May 7, 2023

Processed Food: A 2-Million Year-History. By Evelyn Kim. Published September 1, 2013 in Scientific American. Accessed on May 22, 2023.

History of Food Preservation Timeline – When Did People Start to Preserve Food? By Eric Mitchell. Updated April 29, 2023. Accessed on May 22, 2023.

Music is at the epicenter of any Filipino party; karaoke is a gold standard and dancing in a circle with your titos/titas is essential. In celebration of Philippine Independence Day and Pride Month we invited the perspectives of various master artists, musicians, healers, elders, and youth into a sharing circle. We span across the generational landscape and beyond the boundaries of land and water to discover how the lineage of music is deeply healing to our people, and to preserving and evolving our culture.

What is your lived healing experience with music and sound as healing? 

“Music can communicate to the most silent corner of the heart. Music has a unique ability to reach deep within us to touch our emotions and feelings in a way that other forms of communication can not. Chanting can be directed to someone you are in love with or if someone is sick it can be used to aid the healing process and can be used to support conflict resolution. And not just chant but all the music gives relaxation, calmness, and connection to the music world. We call it chanting or music for healing.”

– Waway Saway (Talaandig tribe Sungco, Lantapan, Bukidnon, Philippines)
Master Artist, Recording, Artist, Chanter, Soil Painting, Artist, Teacher, Councilor, Rainforest Conservationist

healing feeling: freedom, flying above the sky and mountains
healing person: happy people
healing food: indigenous food

“I’ve had hyperthyroidism, and the thyroid sits in the throat. Through voice coaching and singing I’ve been able to work through traumas that have blocked my throat chakra. Sound healing is not a new phenomenon, it has been a human practice that dates back to our ancestors. Evidence has shown that sound for ceremony and rituals are to transform the consciousness and heal the mind, emotions, and the body. ”

-Katrina Cabeltera (San Francisco, USA)
Trained Vocalist, Healing Sound Workshop Facilitator, Yoga and Meditation Teacher, Writer

healing sound: chanting so-hum
healing feeling: rest
healing ritual: Journaling

“For the Maguindanaos, chanting has two significance. First for entertainment, and also an association with shamanic practices. For shamans, chanting is used to summon the spirits and incorporated into the rituals.”

-Faisal Monal (Cotabato City, Maguindanao)
Master Artist, Chanter, Shamanic Practitioner, Artistic Director, Social Cultural Affairs, Recording Artist 

healing sound: sacred texts of the dagguing
healing place: spiritual summoning of the spirits of the rainbow
healing food: ritual food offerings

“I have been in recovery from depression for more than 25 years, I started to heal with music, vibrations, and I have created [my own] instruments. It has been my tool to help calm my mind, relax my body, and be able to meditate. It played a major part in finding my own healing and it also became my calling to also share what I do and become of service to others. Sound Healing is a form of music therapy, where I use vibrations and frequencies to relax the body and the mind. As these vibrations flow in our body, it relieves us from blockages, releasing negative and/or stagnant energies.”

-LJ Navera (Lipa City, Philippines)
Resident Sound Healer of the House of Gaia, Multidisciplinary craftsman and artist.

healing person: Buffalo God the life giver
healing food: whatever food you crave
healing ritual: music and meditation

How do you believe music plays in preserving and/or evolving Filipino culture?

“I first learned Kulintang music when I was a child. It was a pre-colonial tradition that we had in the southern Philippines that predates Islam and Spanish colonization of the Philippines so it was preserved by our forefathers. This tradition was passed on through generations and now we still have it and it is part of our way of living.”

-Farid Guinomla (Maguindanao Philippines)
Master Kulintang Artist, Nurse, Humanitarian

healing sound: tagunggo
healing place: home
healing person: younger self

“There are accounts where Magellan’s ships were approaching Mactan, Cebu and they were hearing bell sounds that resembled Kulintang gong music. Kulintang is used in many different forms of healing, and communicating to the spirit. Many indigenous types of gongs in the Philippines, in the south, they call them kulintang or kulintangan up north, they are called gangsa. They all create a percussive sound that connects us with the spirit world.”

-Lydia Querian (San Francisco/Hawaii/Philippines)
Musician, Dancer, Fashion Designer, Entrepreneur, Co-creator of House of Gongs

healing sound: tagunggo
healing feeling: wedding dancing
healing person: grandma (my mamma G)

“From a diasporic perspective, in the 21st century there is a growing demand among us for deeper knowledge and understanding of the cultural arts beyond folk dances. This is the environment where Danny Kalanduyan presented music that comes from perpetuating music from a family or tribe. What I think young people are looking for is why we put on Gongster’s Paradise, the only North American Kulintang Festival, every 2 years, and why Kapwa magazine is here is because people are wanting and needing a better understanding of who they are. And for those of us who survived immigration and assimilation, we carry these scars and wounds and we need to find our way back beyond Manila from sounds like kulintang, gangsa, chanting, and rituals. This is what I observe people are wanting now.”

-Ron Querian aka Kulintronica (San Francisco/Hawaii/Philippines)
Gongster, Electronic Dance Musician, Co-creator House of Gongs, Instructor

healing sound: gong
healing food: chocolate
healing ritual: river offering

 What does Philippine Independence Day represent for your group? 

“It lights up with pride and as both queer and Filipino, whenever June hits we think about activities that celebrate both. Our music is a memoir that talks about our journey as queer and diasporic Filipinas in Canada. To play music as Filipinos, it is a privilege to represent ourselves in an otherwise very white dominated industry. In Canada, June is also National Indigenous History Month. Kulintang music survived because of the determination and resilience of Indigenous peoples. There is such a connection between Indigenous people in the Philippines and also here in Turtle Island. It is a reminder to us where we stand, where we align our values and to look at the systems of oppression that are still in place and explore our role in dismantling them. And hopefully our music is one way to get people to think about that and for us to express that as artists. We wanted to learn Kulintang because music is the most accessible way to learn about our culture. Being far removed from the islands now known as the Philippines there is that longing to connect with the culture, ourselves, our lineage, our people, and our teachers. The name Pantayo is inspired by Zeus A. Salazar’s work, “Pan”-”Tayo” means — for us, of us, by us. It means making space for each other’s perspectives even if they’re different and gives us space to be ourselves. Our best selves.”

-Pantayo: Eirene Cloma, Michelle Cruz, Joanna Delos Reyes, Kat Estacio, and Katrina Estacio (Toronto, Canada)
Songwriters, Singers, Musicians (Agung, Kulintang, Sarunay, Synths, Bass, Guitar)

healing sound: sounds that match our mood
healing place: any body of water
healing person: oneness of the group
healing ritual: moving our bodies

**Deep gratitude to Lydia, Ron, Waway Saway, Balugto, Farid, Faisal, LJ, Tipati, Katrina, and Pantayo who weaved their presence, spirit and knowledge into this sharing circle. Watch full interviews on the Kapwa Magazine Youtube Channel.

Follow these musicians at:

Lydia : https://www.instagram.com/ellekarayan/
Ron: https://www.instagram.com/kulintronica/
Waway Saway: https://instagram.com/1969waway/
Balugto: http://www.instagram.com/balugto/
Farid: ​​https://www.instagram.com/dashofaridgee/
Faisal: https://instagram.com/paramatabantugen/
LJ: https://www.facebook.com/lj.navera
Tipati: https://www.facebook.com/tapatiitapat
Katrina: https://instagram.com/trina.c.yogini/
Pantayo: https://instagram.com/pantayomusic/

Sing, dance, and celebrate with us on Kapwa Magazine’s Spotify & watch footage of the interview on our YouTube channel. 

Nestled in the fertile plains in the scenic province of Albay in the Bikol peninsula, lies the majestic Mt. Mayon. Rising at 2462 meters, this active stratovolcano is known for its beauty and perfect conical shape. The landscape surrounding Mt. Mayon has played a significant role in the local communities by providing them a source of livelihood. Due to the rich, volcanic soil that dominates the land, agriculture has become one of the leading sources of income. Taro, coconut, rice, sugar and abaca are some of the major crops grown in the region.

As one admires Mt. Mayon from a distance or sees it in a photograph, one can’t help but be in awe of both its beauty and power. It has long held a place in the hearts of the people of Ibalon, the ancient name for the Bikol peninsula, having great importance in its history and culture. But what makes Mt. Mayon an icon of Bikol?

Throughout history, Mt. Mayon has erupted multiple times, leaving a mark on the surrounding areas. Its eruptions have ranged from minor explosions to catastrophic events, resulting in loss of lives, property damage and significant changes to the landscape. Being the most active volcano in the Philippines, it has had a total of 52 recorded eruptions since 1616, according to the Philippine Institute of Volcanology and Seismology (PHIVOLCS). The deadliest and largest eruption happened in the year 1814, when around 12,000 people died. In its wake, it buried the town of Cagsawa under volcanic debris and eventually left behind the iconic Cagsawa Ruins, a remnant of the town’s church left standing as a solemn reminder of the volcano’s mighty power. The last eruption was in 2018, from Jan. 13 to March 18, which captivated onlookers and the world as it made headlines. However, despite the frequent volcanic eruptions, her beauty remains, and people have learned to adapt and live alongside the volcano in harmony.

(NOTE: At the time of publication, this has changed since the author originally wrote the article. On June 8, Phivolcs put Mt. Mayon under Alert Level 3, as a few days prior volcanic activity could be seen. As of publication, lava continues to flow as ash and smoke continue to rise from the volcano. We pray for the safety of all those in the area. If you live in close proximity to Mt. Mayon, please follow warnings of evacuations.)

The Battle Between Two Volcanoes

Mt. Mayon has always been regarded as a sacred site and has been central to the mythology and folklore of the people of Bikol. One such myth is that of the Bikolano god of destruction, Kalaon, who lived in the bowels of Mt. Mayon and who was said to bring his wrath of lightning and rain to the region. 

Another, more well-known myth involves Gugurang, the supreme god of the Bikolano, and Asuang, oftentimes recounted as the brother of Gugurang. The story of Gugurang and Asuang can be found in an account dated to 1931, called “A Collection of Bikol folktales from Bacacay, Albay” by Hilarion Vibal. Both gods were originally friends or brothers, who lived separately in their respective mountains. Gugurang lived inside Mt. Mayon and Asuang lived inside Mt. Malinao. Gugurang, being the chief deity of the people of Bikol, was looked to for protection. Whenever the people disobeyed his orders or wishes, he would cause the pit of Mt. Mayon to rumble. In time, the people saw this as a warning from Gugurang and adjusted their ways, so as not to feel the wrath of the god. If their actions were unforgivable, Gugurang in anger would cause Mt. Mayon to erupt. Whenever people saw fire flow out from the crater of Mt. Mayon, they became scared. In an effort to calm Gugurang’s wrath, they would hold an atang, or ritual food offering, to appease him. They would have the baliana, or priestess, conduct the ritual ceremony. 

Meanwhile, his brother Asuang did not have any fire to control in his abode in Mt. Malinao. In jealousy, he envied Gugurang having possession of the sacred fire of Mt. Mayon. One day, he asked Gugurang if he could have some of the fire given to him, but Gugurang refused. The two gods quarreled, Asuang threatening to steal the sacred fire and Gugurang swearing to cut Mt. Malinao in half if his brother tried. Soon the gods declared war against each other and became enemies. Asuang gathered all the evil spirits, whom he then sent to earth to corrupt and turn the people to commit evil acts. In the wake of this chaos among the people, Gugurang sent pestilences to their communities and requested another atang, warning them to follow him and not Asuang. If not, he would sweep away their villages in floods or cause the mountain to erupt. Fearing that Asuang might steal the sacred fire, Gugurang assigned his katambang, spirit helpers, to guard it. He refused to give the fire to Asuang, fearing that if his brother did get it, the whole world would then be consumed in flames.

Despite this, Asuang managed to sneak into Mt. Mayon and locate the sacred fire. After many attempts, he finally tempted and bribed the guards with gold. With the sacred fire now in his possession, Asuang put it inside a coconut shell and fled. Soon, cries were heard in the bowels of Mt. Mayon and its insides turned black, and the land and villages were on fire. In fury, Gugurang cried out Asuang’s name and flew to stop him. As Asuang was about to descend on Mt. Malinao, Gugurang snatched the fire from the coconut shell and then vanished. Returning to Mt. Mayon, the god returned the sacred fire back home to its rightful place and the light began to shine inside the volcano once more. With the land still in flames, Gugurang made it rain until the fire was put out. In joy, the people offered more atang and celebrated Gugurang’s victory, and as punishment for Asuang’s actions, Gugurang sent his thunderbolt to Mt. Malinao, cracking it in two. 

While this myth is more commonly known, there is actually another myth involving the two volcanoes that is rarely discussed. In a myth recounted by Venacio Prietoziga in 1930, the two volcanoes were seen as female and Mt. Malinao originally had the sacred fire. Mt. Mayon, on the other hand, was just a mountain and had no fire or smoke. She was often barren of vegetation, resorting to borrowing from her neighbors, Mt. Malinao and Mt. Isarog. Malinao, though annoyed with Mayon, was still hospitable and tried her best to help her. Mayon, with greed, took advantage of Malinao’s good nature and soon took whatever she wanted.

One day, Mayon unexpectedly received visitors and had to prepare food for them. Unfortunately, there was no fire and in haste she went to Malinao to ask for some. Tired of Mayon and her antics, Malinao refused to give her a share of the sacred fire. Furious, Mayon became impulsive and hated Malinao for refusing her. As Malinao began to weave a piece of cloth, Mayon saw a big bolo knife beside her. After continuously asking Malinao to give her the sacred fire, Mayon tried to grab and steal it. Failing in her attempt, Malinao managed to keep the sacred fire away from her. In anger and desperation, Mayon then grabbed the bolo, closed her eyes, and struck Malinao, successfully beheading her. Frightened, Mayon ran back to her home, taking the sacred fire with her and attended to her guests. From this point on, Mt. Mayon held the sacred fire, while Mt. Malinao became only a mountain with a split peak.

The Lovers of Mt. Mayon 

One of the most famous myths surrounding the volcano focuses on a tragic love story: Bikol’s own Romeo and Juliet. The myth is called “Daragang Magayon” (Beautiful Maiden), and according to local folklore, Magayon was a maiden of unparalleled beauty who captivated the hearts of all who beheld her. While there is no historical text or documents that have the myth recorded, the myth itself is heavily ingrained in the culture and history of the Bikolano people. For context on the telling of the myth, we will look at an account written by Damiana Eugenio, a renowned author and professor who was titled the Mother of Philippine Folklore in 1986.

In the myth, Daragang Magayon was the only daughter of Datu Makusog, the chief of Rawis. His wife, Dawani, died in childbirth and he was left to take care of their only daughter. As the years went by and Daragang Magayon grew older, her beauty and kindness became well known. As she came of age, many suitors from different tribes and towns were captivated by rumors of her and traveled far and wide to try and win Daragang Magayon’s heart. However, none of those men were successful in drawing an interest from Magayon. Not even Pagtuga, the handsome and proud hunter and Datu of Iraga. Among the many gifts of gold, pearls and other treasures offered to Magayon and her father, she turned them away, rejecting his affections. 

One day, a curious young man named Panganoron/Ulap, the son of Datu Karilaya of Katagalugan (Tagalog), journeyed far from home just to get a glimpse of Daragang Magayon after hearing of her beauty. He was a quiet but courageous young man, who only wanted to see Magayon and discover if the rumors were true. He eventually caught glimpses of her from afar, while she paddled in the Yawa River. One rainy night, Magayon went to the Yawa River again and the kind Panganoron happened to see her once more. Suddenly, as she was wading through the river, her foot slipped on a rock and she fell into the cold waters. Panganoron immediately sprung into action and raced to the river to save her. Grabbing hold of Magayon, he helped bring her to the shore to safety. As Magayon went to thank her savior, their eyes met and thus started the beginning of their love.

After that initial meeting, the two lovers would continue to meet each other. One day, Panganoron brought Magayon home, whereupon arriving at Datu Makusog’s house, he threw a spear to the stairs of the house with all his might and courage — a precolonial custom that signified his desire to marry. After the declaration of marriage, Magayon blushed, stifled a laugh and shyly looked away. Datu Makusog, upon seeing her happy reaction, knew that his beloved only daughter was in love with this young man. And so, the Datu accepted the marriage proposal and they began to make plans for a wedding in a month’s time. Panganoron, overjoyed, began to make his way back home to deliver the wonderful news to his people and bring them to Rawis for the wedding celebration.

News of the wedding soon spread and eventually reached the ears of Pagtuga, who fumed red with anger that the beautiful Magayon was marrying someone other than him. One day, as Datu Makusog went out to hunt, Pagtuga ambushed and captured him. He then sent a message to Magayon, threatening that he would kill her father and start a war if she did not marry him. Scared for her father’s and people’s safety, and with no Panganoron in sight, she agreed to marry him against her will. In triumph, Pagtuga immediately started to prepare their wedding. 

News spread fast, and Panganoron soon learned of what happened. With his bravest warriors, he hurried back to Rawis to stop the wedding and save Magayon, her father and their people. As he arrived, the wedding ceremony was just beginning and a bloody war broke out between Panganoron and Pagtuga. The sky was filled with arrows and the air rang with the sound of swords clashing. Panganoron and Pagtuga began to fight one another, battling for the hand of the beautiful Magayon, until Panganoron slashed Pagtuga, killing him. Magayon, who was hiding in wait, saw that their fight was over and, overjoyed, rushed to Panganoron’s embrace. Sadly, however, as the young woman ran to her love, a stray arrow hit her in the back and she collapsed into Panganoron’s arms. As he held her, one of Pagtuga’s warriors, Linog, stabbed Panganoron in the back with a spear and killed him. 

Datu Makusog, seeing the two lovers slain in an embrace, cried out and killed Linog with his minasbad, a type of sharp bolo. Soon, all the warriors fell silent and the war stopped. Instead of a joyous wedding celebration, cries and wails of mourning for the dead echoed in the air. Distraught with the loss of his beloved daughter, tears formed in Datu Makusog’s eyes as he began to dig a grave for the two lovers. Once ready, he tenderly buried them together, side by side, their arms hugging each other in an embrace, just as they had when they died.

Days passed, but the people soon noticed that the land where the two lovers were buried gradually rose higher and higher. A shaking of the earth, muffled rumblings, and red-hot, burning rocks burst into the air from its peak as a mighty volcano formed. Elders believe that whenever an earthquake or eruption happens, it’s Pagtuga in anger who causes it, wanting back the treasures he gave to Magayon, which were buried with her. 

On days when clouds cover the tip of the volcano, the elders say that it’s Panganoron kissing Magayon and when it gently rains down the slopes of the volcano, it is Panganoron shedding his tears. Over time and generations, Magayon’s name was shortened to Mayong, then Mayon, and the majestic volcano was named after her. 

During the most recent eruption in 2018, a peculiar event happened within the clouds above Mt. Mayon that made headlines. On Jan. 17, 2018, as ash clouds formed in the sky above the volcano, a photojournalist, Ciriaco Santiago III, was taking photos of the scene from a vantage point in Barangay Tagaytay, Camalig, Albay. He posted the photo and it went viral as many saw in the clouds an image of what looked to be two people embracing one another like lovers. The photo captivated locals and Filipinos around the world, with many commenting and believing that it was Daragang Magayon and Panganoron making their presence known as they awakened from their slumber. The photo eventually inspired artist Kerby Rosanes to create an illustration depicting the lovers within the same photo.

The Magayon Festival 

Over time, the people of Albay and Bikol have developed local myths and beliefs regarding Mt. Mayon, even having several festivals in honor of it. One of them is the month-long Magayon Festival, held every year in May. Locals celebrate the rich cultural heritage of the people of Bikol and honor the folklore of Mt. Mayon, with Daragang Magayon and her lover, Panganoron. 

The Magayon Festival is named after Daragang Magayon herself, and all through May, a schedule of events is planned throughout Bikol. They include a plethora of activities and events that showcase the unique cultural heritage and talents of Bikolanos, including the Magayon Drum & Lyre Corps Parade and Competition, and the Miss Magayon Beauty Pageant. Parades feature people dressed up in traditional clothing and vibrant costumes as they make their way down the streets. A variety of musical instruments are played as songs fill the air and people dance. Art exhibits and cultural showcases provide glimpses into the diverse artistic expressions that abound in the region. Additionally, culinary events and food fairs present the flavorsome Bikolano cuisine. 

Now, how did the festival start? Was it a precolonial festival? Well, no, not quite. The festival itself is a fairly recent development and was originally created to not only enrich people with the history and culture of Albay, but also to bring tourism to the region. On Dec. 16, 1998 the 23rd Governor of Albay, Al Francis C. Bichara, signed Proclamation No. 6, declaring the Magayon Festival to be an annual celebratory event. Since then, it has driven tourism to the area and brought joy to the people of Albay. 

A Legacy 

Mt. Mayon is not just a geographical wonder to behold. It is steeped in myths and lore that have been passed down through generations. From the destructive battle between the gods, Gugurang and Asuang, to the tale of love and sacrifice of Daragang Magayon and Panganoron, these myths have been ingrained into the culture of the people of Bikol, of Ibalon. The myths and beliefs of Mt. Mayon even reached nearby islands such as their neighbors in the Bisayas. The 1637 Hiligaynon and Panay dictionary by Alonso de Mentrida includes an entry that lists the goddess of Mt. Mayon as Mayong, signifying that the Illongo and other ethnic groups in the island of Panay possibly knew of the tale of Daragang Magayon and saw her as a goddess.

Besides the myths, certain beliefs and practices were developed by the Bikolano people in kwentong bayan, or community stories. They have been passed down through the generations to help predict when an eruption would occur — methods and lessons learned over time to help save lives in the event of another disaster. One such method and belief is in the ominous appearance of an old lady asking for water prior to an eruption. This would happen when water sources on the mountain and in nearby areas dry up before an eruption occurs, and has been learned from experience. The elders living around Mt. Mayon know that if the water sources at an 8 km distance dry up during the rainy season, the volcano is preparing to erupt.

As another year passes with the celebration of the Magayon Festival, we continue to celebrate the rich mythology and culture of Albay, Bikol. May it continue to bring joy and a sense of pride to the Bikolano people, as the stories of Mt. Mayon continue to survive and thrive. 

Cited Sources:

• Jefferson Chua, “The Mixed Heritage Values of Mount Mayon Natural Park: A Case Study on Harnessing a People-Centered Approach to Nature-Culture Linkages Conservation in a MultiHazard Context,” Ateneo, January 1, 2019, https://www.academia.edu/64005829/The_Mixed_Heritage_Values_of_Mount_Mayon_Natural_Park_A_Case_Study_on_Harnessing_a_People_Centered_Approach_to_Nature_Culture_Linkages_Conservation_in_a_MultiHazard_Context?auto=download.
• Lucita Cachuela, “Kalaon, The God of destruction,” NLP Digital Collection, September 3, 1931, https://nlpdl.nlp.gov.ph/OB01/NLPOBMN0002002067/bs/datejpg.htm.
•  Hilarion Vibal, “A Collection of Bikol folktales from Bacacay, Albay,” NLP Digital Collection, September 27, 1931, https://nlpdl.nlp.gov.ph/OB01/NLPOBMN0002002068/bs/datejpg.htm.
•  Venacio Prietoziga , “Folktales From Albay Province,” NLP Digital Collection, January 1, 1930, https://nlpdl.nlp.gov.ph/OB01/NLPOBMN0002002061/bs/datejpg.htm.
•  “Ang Alamat Ni Daragang Magayon Ni Damiana Eugenio | Philippine Literature,” n.d., http://www.thephilippineliterature.com/ang-alamat-ni-daragang-magayon/
•  Ivy Jean Vibar, ABS-CBN News, “Photo of Mayon Volcano Sparks Romance in Social Media Users’ Hearts,” ABS-CBN News, January 18, 2018, https://news.abs-cbn.com/life/01/18/18/photo-of-mayon-volcano-sparks-romance-in-social-media-users-hearts.
•  “Province of Albay : MAGAYON FESTIVAL 2008 : History,” n.d., https://web.archive.org/web/20080916185029/http://magayonfestival.albay.gov.ph/history_mf.htm.
•  Chua, “The Mixed Heritage Values of Mount Mayon Natural Park: A Case Study on Harnessing a People-Centered Approach to Nature-Culture Linkages Conservation in a MultiHazard Context.”
•  Greg Bankoff, Christopher G. Newhall, and Alicia Schrikker, “The Charmed Circle: Mobility, Identity and Memory around Mount Mayon (Philippines) and Gunung Awu (Indonesia) Volcanoes,” Human Ecology 49, no. 2 (April 1, 2021): 147–58, https://doi.org/10.1007/s10745-021-00225-0.