Now and then, there has been some passive interest in reviving the original Cebuano or Sugbuanon cultural heritage that used to be popular among rural folk before the mid-20th century.
Since these “mga kalingawan nga banikanhon” were orally handed down from generation to another as native oral literature, but more of folktales and folklore, there appears no clear written repository to preserve them. That’s the great loss to the Cebuano heritage.
In hindsight, had one opted for the masteral, it was a likely thesis for research and dissertation. It’s a happy turn that Executive VP and The Freeman Chairman, Dr. Jose “Dodong” R. Gullas, finds inspiration to revive the old rural cultural arts which he passionately calls “mga kinaiyang Sugbuanon”. With the now popular pop music genre of Congressman Eddie R. Gullas on its 28th annual fame, Ex-Cong. Dodong Gullas aptly wants a segue of Cebu’s rich folk culture for posterity.
To mention at random, these are the indigenous ”harana” or serenade, the “balitaw”/the “linambay”/and the “kuratsa”, the “kulilisi”, the “baligya sa bulak”, the stage “drama”, the “pasyon”, the “balak o garay”, and the string band or the “kumparsa”.
The “harana” is an evening courtship when barrio swains sing romantic Cebuano ballads with guitar accompaniment. The original custom was for the suitor to first recite a rhymed verse for permission to serenade before rendering the songs. It was also customary that the maiden would open her window and listen to the serenade. In some localities, the serenaders may be invited inside the girl’s house to continue their serenade and, the girl may even respond with songs. Compliant with good manners, the “harana” lasted within reasonable time, with a parting song or farewell, and of thanks.
The “balitaw” and the “linambay” are not the same, but similar in that the dancing partners rhythmically sashay or pirouette with the music. The “balitaw” was a one-on-one love courtship set to music, and/or a lovers’ quarrel in verbal tousle or “tinubagay”. The “linambay” (from “langbay” or crab) was also a man and a woman in dance and song which was usually lilting and brisk in tempo, with the dancers’ hands and feet in agile movements. They were held in town/barrio fiestas, wedding celebrations, and informal parties. The “balitaw” was popularized last by the likes of Tonyo and Pasing Bohol… Another variation called the “kuratsa” was livelier and with much brisker tempo, and faster movements also set to music.
In times of death as part of rural religious tradition and folklore, during the nine-day “novena” or death wake, after the “pangadye” led by a “mananabtan” as is still observed now in most bereaved households, the “kulilisi”, or “kulilising-hari” in some places, was also held as tribute to the deceased.
The ordinary format of the “kulilisi” was for a leader or “hari” to form his “subjects” or “sakop”, consisting mostly of adult men and women, and even interested teenagers, in semi-circle seated on the floor, with lighted candles at the center. The “hari” opens with admonition in verse to observe solemnity and proper decorum, and any breach would be penalized by requiring the culprit to recite a “pangadye”, such as “Amahan Namo”, “Mituo Ako”, etc..
The usual game was for a handkerchief to be handed by one who recited a “verso” – lines in verse with rhyming scheme – say, “Lupad panyo, taba’g hangyo/ Basin pa nga kang inday makapaniba”. Should it be a young man handing the hankie to a young woman, she may naughtily reply: “Pagka lahap ugod nimo undo nga ikaw maniba/ Maglisud man gani ang imong dila, ilabi na sa pagpaniba”. The hankie is tossed from one person to another, always accompanied by a “verse” whose topics may range from jokes to serious subjects, like, love, courtship, death, history, customs, or just plain doggerel. Whoever could not recite a “verso”, or whoever laughed, or made obscene remarks, or whatever misbehavior, the culprit would be made to kneel and recite a prayer.
It’s a great cultural loss that the “kulilisi” gradually died a natural death after the inception of the early mid-20th century, or a few years following World War II.
(To be continued)
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Email: lparadiangjr@yahoo.com