REGION XIII (CARAGA)

LIT 318
 History
The history of Caraga can be traced back to 15th century
when explorers discovered the existence of Kalagans,
believed to be of Visayan Origin in one of the three districts in
Mindanao. The word Caraga originated from the Visayan
word Kalagan: “Kalag” meaning soul or people and “An”
meaning land. The Kalagans have a long history of being
brave and fearless. Thus, the region was called by early
chroniclers as the “Land of the Brave and Fierce People.”
The Kalagans, called Caragans by the Spaniards, occupied
the district that was composed of the two provinces of
Surigao, northern part of Davao Oriental and Eastern Misamis
Oriental. The two Agusan Provinces were later organized
under the administrative jurisdiction of Surigao and became
the independent Agusan province in 1914. In 1960, Surigao
was divided as Norte and Sur. And in June 1967, Agusan
followed suit. While Butuan then was just a town of Agusan,
by virtue of Republic Act 523, the City Charter of Butuan was
approved on August 2, 1950.
On February 23, 1995, Republic Act No. 7901, “An Act
Creating Region XIII To Be Known As Caraga
Administrative Region And For Other Proposes”, was
signed into law by President Fidel V. Ramos, constituting
the provinces of Agusan del Norte, Agusan del Sur,
Surigao del Norte, Surigao del Sur and the cities of
Surigao and Butuan, which serves as the regional center.
On August 24, 2006, Republic Act No. 9355 created a
new province from Surigao del Norte, the Dinagat Islands
province which constituted the fifth province of Caraga.
 CULTURAL GROUPS
• Mandaya
• Higa-onon
• Banwaon
• Umayamnon
• Mamanwa
 MANDAYAN CULTURE
Mandaya
Ethnic Mandaya culture is similar to its highland counterpart, the
Mandaya. However, the incursion into Mandaya settlements of Manobo
clans significantly influenced ethnic Mandaya clothing and language.
Furthermore, like other lowland dwellers, the Mandaya were Christianized
and therefore acculturated. Today, you would seldom see them in
native Mandaya clothing and jewelry, except in ethnic festivals, such as
the Paladong Festival of Hinatuan.
Mandaya dancers in the Paladong Festival of Hinatuan,
Surigao del Sur
CUSTOMS AND BELIEFS OF MANDAYA
• During conception, the husband is usually generous to the wishes
of his wife. However, the wife continuous to work in the farm even
when it rains. It is believed that the tagali or object of conception
lies with the child.
• Pregnant wives are encourage to eat ubod ng uway or young
coconut, if she wishes her child to have a fair complexion.
• On the third months of pregnancy, the hilot or yanagamon (local
midwife) is invited to start the monthly massage.
• No rites accompany the act of name giving. The father observes
any event during child birth and names the child accordingly. For
example, if the child is born during the earthquake, it is called
linog.
• When the child is one year old, the head is shaved, and the hair is
wrapped and kept in the roof. It must be noted that the hair must
neither be intentionally disposed of nor used as toys.
• Throwing away the hair signifies a lack of love and affection for the
child.
MANDAYA’S DISTINCT PRACTICES IN DEATH, BURIAL AND
MOURNING
• Before death, a Mandayan is given a sponge bath.
• Close relative keep vigil.
• The dead should lie straight with hands in the sides.
• The corpse is then covered with dagmay (cloth made from abaca
fibers.)
• No prayers are said before or after death.
• A Mandaya who is killed by an opponent is left reclining on a tree
to rot.
• A Mandaya who dies in the morning is buried in the afternoon.
• The coffin is a lug cut in two with a space in the center.
• Before burial, the chanting is done by the spouse.
• If the husband dies, the wife sings the dawot; then, she cannot sing
until she remarries.
 RELIGIOUS BELIEFS AND PRACTICES
• The Christianity that Mandaya profess is a mix of traditional
Catholicism with their own indigenous beliefs and practices.
• The Mandaya have a high regard and respect to nature.
• They perceive the world based on their twofold belief of nature as
governed by good spirits and evil spirits.
• They perform rituals and give offering and sacrifices.
• The Mandaya idols called manauag are made from wood of the
bayong tree.
• To make the idols more human, they are painted from the chest
up with some kind of sap.
 VISUAL ARTS AND CRAFTS
 The clothes of Mandaya are considered the
most beautiful in Mindanao.
 Mandaya costume motifs are characterized
by block designs, line patterns, rick racks,
scrolls, curvilinear motifs, and diamonds and
crosses. Another popular motif is the
crocodile done at various level of
abstraction.
 Traditional skirts are usually made of dagmay,
adored in an almost A-style and pleated on one
side.
 The waist is held by small piece of coco negra.
 Some old women wear patadyong and cotton
skirts for younger one.
 MUSIC
 The dawot (song) of the Mandaya are chanted to entertain
people on special occasions.
Examples
Sadya na Yalabo (The banishment of Sadya) which takes
three nights to narrate.
Yangangaw si Dilam (Dilam takes tibay’s bethroted by
force) which takes around four nights to tell.
Syukli si Ubang (The Abduction of Ubang) it is about four
nights
Maylan (Mylan’s death and resurrection) also about seven
days and seven nights.
 PERFORMING ARTS
MUSICAL INSTRUMENTS
 The kobeng or a slender piece of bamboo
resembling a jew’s harp are played while dancing
the gandang.
 The kudlong or a two stringed instrument similar to
the kudyapi of Maranao.
 The gimbal or native drum made of tree trunk or
deer skin are played to accompany a dancing
bailana.
 The nakuyag or instrument resembling a Spanish
tambourine are played to accompany a gimbal.
 HIGA-ONON CULTURE
 The Higaonon described as “people of living mountains” and
“people of the wilderness” are one of the lumads (indigenous
peoples) in the mountainous areas of Northern Mindanao in
southern Philippines, who have resisted assimilation or
acculturation, with their traditional systems, practices, beliefs
remaining relatively intact (Tri-people Consortium for Peace,
Progress and Development in Mindanao, 1998).
 HIGAONON WEDDING RITUAL
 Higaonon marriage is arranged mainly by the parents of the
bride and groom. The arrangement is a long and tedious
process. Prior to the wedding, the groom-to-be must live in the
girl's house for about a year to prove his worth and where he is
scrutinized by the parents of the bride-to-be.
 The wedding ceremony is elaborate and expensive. Feasting
lasts for several days at the residence of the bride and groom.
The marriage of a datu is even more elaborate.
 A typical Higaonon wedding ceremony begins with the bride
and groom, wearing traditional Higaonon wedding attire, enter
a home while an elder chants a form of blessing for the
ceremony, called Dasang.
 Once inside, the couple sits down together with the Higaonon
leader and the elders who will perform the ceremony. Two
candles are placed on a plate that is filled with triangle-like items
wrapped in banana leaves and coins. The candles are lit and
afterwards, another elder recites a series of chant, called Limbay
which is tonal in nature, as if he is singing.
 The wedding officiant, normally the datu, begins to bless the
couple by reciting chants and giving them advice on marriage.
 After the blessing, the datu gets a chicken and places the
Bukala, or the counterpart of the wedding ring, above the
chicken.
 He then recites a chant while the hands of the bride and groom
are placed over the chicken. The chicken’s neck is slit and its
blood is poured over the plate.
 An elder takes a feather from the chicken and dips it to
the plate with blood. The datu then smears blood on the
hands of the couple. Once the blood ceremony is done,
they wash their hands and proceeds outside to dance and
celebrate their union.
 BANWAON TRADITION AND CULTURE
 The landlocked province of Agusan del Sur, located on the
eastern side of Mindanao, is home to the indigenous tribe
known as the Banwaon people. Also known as Adgawanon or
Banwanon, the Banwaons derived their name from the word
banwa meaning "home." They are village dwellers who live in
remote locations, mainly in the areas of Maasam, Libang, and
Adgawan Rivers.
 The Banwaons are recognized as among the largest tribe in
Agusan del Sur, with their population numbering 12,000 in 2006.
They are fluent speakers of the dominant Cebuano language
and considered to be related to the Manobo ethnic group.
The Banwaons live among four other indigenous peoples in the
region, namely, the Higaonon, Mamanwas, Talaandig, and
Manobo.
 Budyung ( by some banwaon called lungga)
is usually made out of a big shell to make
sounds in their cultural and marriage events.

 Kuratung is a musical instrument used in

festival to celebrate.

 Limbay is the song speeches dasang of the

Banwaon with traditional dance step.
 UMAYAMNON BELIEFS AND CUSTOMS
 These Indigenous peoples dwell along the watershed of Umayam
River in the Mountains of Pantaron in the Eastern side of the
province of Bukidnon. They are fair in complexion five feet or
above in height. Their eyes are set closed enough to each other
with an average height of nose bridge. They are proud and
reserved people.
 The Umayamnon is synonymous to fierceness for their group is
regarded as warlike and forest experts. But according to Opena
(1982), these people are just suspicious and wary of strangers for
whenever there are crimes committed in places that are easily
reached by law enforcing agencies, the criminals often flee to the
Umayam region hence criminals are often hunted in Umayam and
almost always these hunts are futile.
 They chew betel nut very frequently and their teeth are filed
to uniform length which are mostly blackened. Purposes for
making the teeth black are two namely: for medicinal
purposes and for decoration. The black dye that they
used to blacken the teeth means one distinction of being a
human (who knows how to dye his teeth black) for
according to them only monkeys have white teeth.
 UMAYAMNON TRADITION DURING DEATHS
 When death occurs, lapuy, death messengers, are sent to inform
relatives and friends.
 The body is washed, dressed in best clothes of the deceased, laid on
mat at the exact center of the floor directly underneath the peak of
the rooftop, and completely covered with a blanket.
 Objects, such as a bolo sword that the dead must take with it on its
journey to the afterlife, are placed near the body.
 A clothesline is strung parallel to the body, and the clothes of the
family or the dead person's personal possessions are hung there.
There is much wailing and shouting, and the agung (gong) is
constantly beaten to announce the death to everyone within the
hearing distance. The number of beats indicates the dead person's
age, status and social position.
 After the grave has been dug, someone stands guard by the pit to keep the
busaw away. Burial rites begin in the house with the "cutting the strand" ritual:
an elder blackens half of a strand of manila hemp. This blackened end is held
by the family while the white end is tied to the corpse. The strand is cut to
signify the cutting of ties of affection between the family and the dead.
 A man is buried facing the east so that the sunrise will signal to him that it is time
to work. A woman is buried facing the west so that the sunset will remind her
that it is time to cook. As the dirt is thrown back into the pit, all turn their backs
to avoid temptation of accompanying the dead person. The grave marker is
a low wooden frame. Tree cuttings are stuck around the grave.
 After the burial, the mourners go to an unfrequented part to wash themselves
and the tools used to dig the grave. When they return to the house, they spit
on a burning woo or a fire by the doorway.
 Everyone takes a small bite from the small meal that has been placed on the
mat where the corpse had lain in state. The last person coming in takes the
glowing piece of wood and the meal out of the house and throws it in the
direction of the grave. Everyone, including the soul of the dead, is invited to
eat.
 MAMANWA CULTURE, CUSTOMS AND
BELIEFS
 The Mamanwa can be found in Agusan del Norte, Surigao del
Norte, Surigao del Sur, Panaoan Island, and in the mountains of
Southern Leyte. The Mamanwan dialect is bordered on the
north and east by Suriganon; on the west by a mixed vernacular of
Surigaonon and Cebuano; on the southwest by Butuanon; and on
the southeast by Bislig Kamayo. Mamanwan is typologically an
Austronesian language classified as a member of the Visayan
language family tree of the Southern Philippines (by Dyen 1965).
According to comparative studies made by Pallesen (1985), the
Southern Visayan language family, historically, has two dominant
branches which are Proto-Surigao and Proto-Mansaka; from Proto-
Surigao are ascended the Mamanwa, Surigaonon, Butuanon,
Kamayo, and Tausug.
 The kahimunan is the grand festivity in the Mamanwa land, it is
offered when welcoming an important person in the town or
province. There is a great feast of the celebration where more
than two pigs were slaughtered.
 The ritual was performed by the main Baylanon with the
assistance of an associate Baylanon, the altar or Oyagdok is
well decorated with young coconut and anahaw leaves, the
community was dressed in traditional costume.
 The kahimunan started with a prayer of the main Baylanon
called panawag-tawag, after his supplication the three
associates, the Baylanon chanted the "Tud-em kang daan
malaaser inin Tribu" (Narration of the oral history of
Mamanwa).
 The Mamanwas have the characteristic habit of building constant and eternal fires
at the sides or under their makeshifts. The purpose is to drive away mosquitoes and
flies, their most dreaded insects. Until now, some Mamanwas still believe that flies
bring bad omens. To them, these insects are harbingers and heralds of deaths as
the old Mamanwas said. One of the causes of their being nomadic is the
prevalence of flies. Although the above custom is ebbing with the advent of
Christianity, many still cling and adhere to the belief of building fires to drive the evil
spirits away.
 The Mamanwas have a ritual for the full moon. From moon rise in the early
evening to the setting of the moon, they dance their moon dance - generally
regarded as a form of spirit dance which involves a repetitive chant.
 The Mamanwas are a respectable people who have a distinctive way of worship.
They show respect on things and places which are beyond their comprehensions.
The sun, moon, stars, big rocks, mountains, rivers, seas and lakes have special
places in the hearts and minds of the Mamanwas. Anything that gives goodness
and food to them is to be respected. The lights from the heavenly bodies, the
fishes from the waters, the big rocks that sometimes become their temporary homes
in their nomadic lives are to be honoured by them. The mountains that give
them food like wild berries, fruits, birds, animals and reptiles are likewise given
respect. For them, things and places that are sources of foods seem to be gods.
 FAMOUS FOODS IN REGION XIII

 Binaga is a native term for roasting mudfish which is abundant in Agusan del Sur.
Since the start of the Naliyagan Festival in 1993, the Binaga became the main
attraction that catches the attention of guests and local residents alike because of
the aroma of the roasted mudfish that fills the air.
 Sahang is a is a sea snail which is abundant in the bodies of water of
Surigao. It is then cooked adobo style with bell pepper.
 . Sayongsong
This famous Surigao delicacy is a kakanin wrapped in banana leaves with the
color and consistency of a puto or rice cake. It’s made up of glutinous rice,
brown sugar, calamansi juice, roasted peanut, and coconut
milk. Sayongsong comes out wrapped in banana leaves. Some people say it
tastes like “puto” but with coconut milk.
 . Poot Poot Ginamos
This delicacy is unfamiliar to tourists and even Filipinos coming from
Manila. Poot poot ginamos is a unique and tasty treat from Surigao. This
flavorful delicacy is made of small fishes locally known as poot poot. This
type of fish can only be found in Philippine shores. This fish specialty comes
with fermented fish sauce which is very cheap, making it even more popular
to tourists.
 . Kinilaw
Kinilaw is a common dish for many provinces. What sets apart Surigao’s kinilaw among
others is its exotic flavor. This local delicacy is made of raw fish and it does not involve
any form of cooking. To prepare this native cuisine, the people of Surigao debone and
wash the raw fishes and combine it with a number of condiments. The perfect mix of
ginger, vinegar, onions, chilli peppers, and salt makes this delicacy a haven for your
taste buds.
 Palagsing
Palagsing is another version of the suman that is made from the starch of the
sago palm mixed with coconut and brown sugar. This is usually eaten along
with hot chocolate or coffee.
 FAMOUS HISTORICAL LANDMARK IN
REGION XIII
 The San Salvador del Mundo Church is the parish church
of Caraga, Davao Oriental. The town was established in
1861 making it one of the oldest towns in the province of
Davao Oriental. When the Jesuits took charge of the
spiritual administration of the town in 1871 from
the Augustinian Recollects, a stone and wooden church
was built in 1877 to serve as mission station of Spanish
Missionaries in propagating Christianity in the eastern side
of Mindanao. When it was completed in 1884, the church
was dedicated to San Salvador del Mundo (Christ, the
Saviour of the World).
 LITERATURE OF THE REGION
 MUSIC
 Joey Ayala
 In the Philippine Literature written texts like books that are written by
author's are the most common on Philippine literature but this man
give contribution in the Philippine literature not just in books but in a
form of songs, not just songs but ethnic songs that talks about the
environment.This man is the one and only Joey Ayala.
 José Iñigo Homer Lacambra Ayala or also known as Joey Ayala was
born on June 1 1956 in Bukidnon Philippines. He was known for his
folk and contemporary pop music artist in the Philippines, he is also
known for his songs that are more on the improvement of the
environment.
 He is also one of the leading members of the "Bagong Lumad"
literally means "New native". All of the songs he composed are not
just song that gives entertainment but it gives a message in every
people who listens to it. The way his songs are popular is because it
has a twist of pop music.
 Using of traditional instruments in the Philippines like the Kulintang,T'boli,Kubing and
Gong makes him a famous and a unique artist. Even his compositions are most likely
on ethnic songs, it is still recognized by the people and one of his songs "Papel" made
a shot in the finals he was named one of the twelve finalist in the Philpop 2013 .In his
song, "Papel", he uses birth and death certificates as metaphors to express one's role
in life. From birth, we're born with paper and for rest of our lives until one's death, we
all act like paper.
 FAMOUS SONG OF JOEY AYALA
 Karaniwang Tao
Aako po'y karaniwang tao lamang
Kayod-kabayo, 'yan ang alam
Karaniwang hanap-buhay
Karaniwan ang problema
Pagkain, damit at tirahan
'Di ko kabisado 'yang siyensiya
Ako'y nalilito sa maraming salita
Alam ko lang na itong planeta'y
Walang kapalit at dapat ingatan
Kapag nasira, sino ang kawawa
Chorus
Karaniwang tao, saan ka tatakbo
Kapag nawasak iisang mundo
Karaniwang tao, anong magagawa
Upang bantayan ang kalikasan
Karaniwang bagay ay 'di pansin
Kapag naipon ay nagiging suliranin
Kaunting basura ngayo'y bundok
Kotseng sira ay umuusok
Sabong panlaba'y pumapatay sa ilog
May lason na galing sa industriya
Ibinubuga ng mga pabrika
Ngunit 'di lamang higante
Ang nagkakalat ng dumi
May kinalaman din ang tulad natin
 EXPLANATION OF THE SONG
 This song was conceptualized during the height of Bataan Nuclear issue and is a
reference to a Nuclear Meltdown.
 FAMOUS ARTS
 Pakhal na habol (right) is a traditional hand woven
abaca used by the Higaonon as a sleeping blanket. It
has vertical stripes of alternating color combination of
dark brown and beige. The brown color is dye while
beige is the natural color of abaca.
 Ivory Seal (replica) circa 10th century A.D. is carved from
animal tusk. The design was written in ancient Javanese
script and was translated by a paleographer as But-wan.
It was used to identify the place of origin of goods or
communications.
 The Golden Tara of Agusan (replica) is the image
identified to be of Indian origin. The specimen was
recovered from the left bank of Wawa River, after a storm
and flood in 1917. This discovery corroborates the
laksoyearly Indo-Philippine Contact. The Agusan Image,
with an Indian imprint, is a Buddhist image of the
Sailendra period of Sri-Vijaya history (900-950 A.D.).
FAMOUS POEM
 CANTA PARA KANMO
(A Song for You) By Danny Sillada
 Panalingahi da yang kanak canta
Sin-ing duŏm ng kanak harana
Sin-o man ngawon yang makadungog
Yang kasing-kasing ko dili masipog.

Malawom man yang kanmo pag-tuog

Baktason ko yang mga panganod,
Ngadto sang hangin ako mo-anod
Sang mga damgo mo ako mo-suõd…

Kay yang harana ng kanak gugma

Sang kanmo mga damgo mobuwa,
Matam-is kung mga sonata
Mohangkop sang kanmo pagmata…

Mosawop man mosubang yang buwan

Yang canta ko kanmo way utlanan,
Ma-temprano man ngini madoūm
Ikaw perme yang kanak ihandum…
 A Song for You
(English translation)

Please listen to my song

in this evening of my serenade,
my heart will not be ashamed
whoever listens to its melody?

However deep is your deep slumber,

I will traverse onto the clouds,
glide among the winds,
and sneak in to your thoughts.

Because the serenade of my love

will cradle your dreams;
my sweet, gentle melody
will embrace you when you wake up.

The moon may ascend or descend

but my music will never end
from morning till evening,
my heart will keep on singing…
 It is a love poem about a man who expresses his love through a song to a native
woman. It is about an undying love and passion of a man to a woman. It is in the
category of ethnic love song, an antiphonal song where two lovers or would be
lovers would sing their respective songs extemporaneously, expressing their love
and affection for each other.
ANY WOMAN SPEAKS
BY ANGELA MANALANG GLORIA

Half of the world's true glamour

Is held--you know by whom?
Not by the gilt Four Hundred
Parading in perfume,
Nor by the silvered meteors
That light the celluloid sky--
But by these eyes that called you,
Blind fool who passed me by!
Thank you
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