Darangen

''Darangen'' is a Maranao epic poem from the Lake Lanao region of Mindanao, Philippines. It consists of 17 cycles with 72,000 lines in iambic tetrameter or catalectic trochaic tetrameter. Each cycle pertains to a different self-contained story. The most notable of which deals with the exploits of the hero Bantugan.

In 2002, the ''Darangen'' was declared a National Cultural Treasure of the Philippines by the National Museum and a Provincial Treasure by the Lanao del Sur provincial government. The ''Darangen'' epic was also proclaimed as a Masterpiece of the Oral and Intangible Heritage of Humanity in 2005 by UNESCO (inscribed in 2008). It is the longest surviving epic poetry in the Philippines.

''Darangen'' is meant to be narrated by singing or chanting. Select parts of it are performed by male and female singers during weddings and celebrations (traditionally at night time), usually accompanied by music from ''kulintang'' gong ensembles, ''Tambor'' drums, and ''kudyapi'' stringed instruments. It is also traditionally accompanied by several dances, each interpreting specific episodes of the epic. Depending on the part being performed, the performance can last a few hours to a week. The epic also incorporates Maranao customary laws, social values, and practices prior to the Maranao conversion to Islam in the 14th century.

Etymology

The term ''Darangen'' literally means "that which is narrated by song or chant" in the Maranao language, from the verb ''darang'' ("to narrate in the form of songs or chants").

Provenance

The ''Darangen'' was originally a purely oral tradition. Its importance was first recognized by Frank Charles Laubach, an American missionary and teacher then living in the Lanao Province. He first encountered it in February 1930 on a return trip to Lanao by boat after he had attended the Manila Carnival. He was accompanied by 35 Maranao leaders, two of them sang ''darangen'' (epics) of Bantugan for the two-day journey.

After hearing parts of the ''Darangen'', Laubach was so impressed by the "sustained beauty and dignity" of the songs that he immediately contacted Maranao people who could recite various parts of it. He transcribed them phonetically by typewriter. His best source was the nobleman Panggaga Mohammad, who also helped Laubach transcribe the epics. Laubach described Mohammad as a man who "knew more Maranao songs than any other living man." Laubach published part of the ''Darangen'' in November 1930 in the journal ''Philippine Public Schools''. This was the first time the oral epics have ever been recorded in print, and it was also the first instance of the Maranao language being published in the Latin script.

Laubach's version, however, was incomplete. A more complete version was later compiled by modern scholars from the Folklore Division of the Mindanao State University Research Center (now the Mamitua Saber Research Center) under the sponsorship of the Toyota Foundation. They collected, transcribed, and translated various parts and versions of the ''Darangen'' from Maranao elders and from ''kirim'' (handwritten Maranao songbooks written in the Jawi alphabet) over a period of ten years. The entire epic was published from 1986 to 1988 in eight volumes, in both original Maranao and their English translations.

Background

The ''Darangen'' does not have a single author, but is rather a collection of tales passed down orally from generation to generation. It has 72,000 lines divided into 17 cycles (also called books or episodes) in iambic tetrameter or catalectic trochaic tetrameter. Each of the cycles can be treated as an independent story, but they are all connected sequentially. The epic is also recorded in the archaic Maranao language, which differs significantly from the modern colloquial version of Maranao.

''Darangen'' was memorized by their performers. Skilled chanters were known as ''onor''. The epic was most commonly sung at night time, during weddings (''kawing'') and other celebrations. But it can also be used as a lullabye for children.

A full performance of the entire epic usually takes about a week. In modern times, however, it is more common to only perform parts of the epic, which usually lasts for a few hours. The chanting or singing is commonly accompanied by dances and musical performances using traditional Maranao instruments like ''kulintang'' gong ensembles, ''Tambor'' drums, and ''kudyapi'' stringed instruments.

The ''Darangen'' originates from before the conversion of the Maranao people to Islam, and thus details the traditional pre-Islamic anito religions of the Maranao. The heroes in the epic worship and interact with various ancestor and guardian spirits ('' tonong'') and nature spirits (''diwata''). An example is ''Batara-sa-Marudo'',Compare with Bathala a nature spirit capable of bringing down floods and storms.

Setting

The ''Darangen'' features several locales, but the principal setting is the grand city of Bembaran (also spelled Bumbaran or Bembran),The town of Bumbaran (modern Amai Manabilang) of Lanao del Sur was named after the mythical Bembaran in 1977 the seat of the Kingdom of Bembaran, which was described as being near a great river. It supposedly does not exist anymore as it was enchanted and sank to the bottom of the sea. In the epic, Bembaran is described as being founded by Diwata Ndaw Gibbon, the grandfather of Prince Bantugan.

The epic also illuminates the inter-ethnic relationships of the Maranao people. They mention the Manobo, the mountain-dwellers, and the "Samar" (Sama-Bajau), the sea people, many times.

Summary

*CYCLE 1: ''Paganay Kiyandató'' ("The First Ruler") - deals with the founding of the city (''iliyan'') of Bembaran by Diwata Ndaw Gibon (also spelled Diwatandao Gibon), a powerful hero born with the twin-spirit (''tonong'') Pinatolá a Tonong.
*CYCLE 2: ''Kambembaran'' ("The Story of Bembaran")
*CYCLE 3: ''Kapmadali'' ("The Story of Madali") - deals with the conquest of Danalima a Rogong by Prince Madali of Bembaran
*CYCLE 4: ''Kapaesandalan a Morog sa Iliyan a Bembaran'' ("The Story of Pasandalan a Morog in Iliyan a Bembaran")
*CYCLE 5:
:*''Kapagondoga'' ("The Story of Hurt Feelings")
:*''Kaplombayawan a Lena'' ("The Story of Lombayawan a Lena")
*CYCLE 6:
:*''Paramata Gandingan'' ("The Story of Paramata Gandingan") - deals with the courtship of Paramata Gandingan of Komara by Prince Bantugan of Bembaran
:*''Alongan Pisaeyanan'' ("The Story of Alongan Pisaeyanan")
*CYCLE 7:
:*''Kaplomna'' - also known as ''Kiyasugo a Ki Lomna''
:*''Kormatan Borodan''
:*''Minirigi a Rogong''
:*''Kaploboway''
:*''Kiyatidawa i Lomna go so Ikadaraan''
*CYCLE 8: ''So Kiyaprawa'a Ko Lawanen'' ("The Abduction of Lawanen") - also known as ''Kapmabaning'' ("The Story of Mabaning")
*CYCLE 9:
:*''Saolaya'a''
:*''Paramata Selegen''
*CYCLE 10: ''Pangensayan a Rogong''
*CYCLE 11: ''Bagombayan a Lena''
*CYCLE 12: ''Taratakan a Oray''
*CYCLE 13:
:*''Sandalinayan Sirig sa Minilalansay Lena''
:*''Kangginaasan a Oray''
*CYCLE 14: ''Kap Minango'aw a Rogong''
*CYCLE 15:
:*''Kapmaginar''
:*''Kapnataengkoban a Ragat''
*CYCLE 16: ''Kaprinandang''
*CYCLE 17: ''Kiyandató i Sayana sa Kormara''

Dances

Dances associated with the ''Darangen'' include the following:
*'' Kaganat sa Darangen'' - A dance illustrating the journey of Prince Lomna to Gindolongan, to propose marriage on his father's behalf. It means "To stand from the Darangen" and involves graceful movements of the fingers and hips with fans.
*''Sagayan'' - A war dance reenacting Prince Bantugan's preparation for battle. Also known as ''Kasagyan''.
*''Singkil'' - A dance involving two pairs of clashing bamboos. The name of the dance derives from the ankle rings worn by the lead female dancer. It illustrates the abduction of Princess Gandingan and her rescue by Prince Bantugan. Also known as ''Kasingkil'' or ''Kasayaw sa Singkil''.

Modern adaptations

The Bantugan cycle of the ''Darangen'' has been adapted into the ballet performance ''Darangen ni Bantugan'' by the Philippine Ballet Theatre.

Conservation

The conservation of the ''Darangen'' faces several challenges. Some modern Maranao Islamic religious leaders object to the non-Islamic themes of the ''Darangen''. Some modern revisions have omitted mentions of the ''tonong'' and ''diwata'' entirely. Some older ''Darangen'' singers have refused to sing these versions as they are deemed inauthentic. The use of archaic Maranao in the ''Darangen'' also makes it less readily accessible to modern Maranao speakers, leading to decreasing interest among modern Maranao youth. Some versions are so old only the chanters can understand the words used. The number of people able to play instruments like the ''kulintang'' and ''kudyapi'' are also declining.

See also

*Philippine epic poetry
*''Maharadia Lawana''
*'' Biag ni Lam-Ang''
*''Hinilawod''

Notes

References

{{reflist

External links

The Darangen Epic of the Maranao People of Lake Lanao
UNESCO
Paganay Kiyandatu Cycle
chanted by Sinar Capal in the Epikong-Bayan Conference 2018
Kapagondoga Cycle
National Commission for Culture and the Arts of the Philippines

Philippine poetry
Epic poems
National Cultural Treasures of the Philippines